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From Face to Mask: Introduction -- The Double Persona: Pop Subject and Mask -- The Immobile Face: Coolness -- The Backside of the Mask: Anonymity -- The Mask as Logo: Style Community and Series -- Me and No Mask: Unmaskings -- The Immobile Face II: Mask and Death -- Femininity Instead of Masquerade: Countergendered Masks -- Conclusion: From Face to Mask to Avatar?

Student creative assignment collection is inspired by the idea that music can be assigned broader symbolic roles in society and culture, roles in which music itself is taken to symbolize values, beliefs and even passions of the most general nature. Students enrolled in the course Anthropology of Music came from a variety of disciplines and created their unique interpretation of Jazz that reflects their personal understanding of jazz music as a symbol of human modern thought, metaphor for democracy and freedom of expression. ; https://source.sheridancollege.ca/swfhass_antrop_catalog/1000/thumbnail.jpg

Innovative thinking is an innate human capacity geared towards adaptation and survival. Theories of education accordingly aim at developing teaching-learning strategies that promote creative, problem-solving reasoning referred to as higher order thinking. This essay briefly explains some of the assumptions underlying this concept, and then suggests how they may be reconfigured in a strategy suitable for education in and through music. The strategy involves a basic process of analysis, evaluation and creativity related to actual social experience. Higher order thinking therefore aims to equip learners with the capacity to synthesise relationships in and beyond particular fields of study so that their thinking may expand into the concreteness of the world.Keywords: social challenges, higher order thinking, education, music education, culture contact, Frère JacquesDisciplines: Disciplines: education, music education, musicology, history, anthropology, folklore studies, philosophy of art

Comunicació presentada a: Web Audio Conference WAC-2018, celebrat del 19 al 21 de setembre de 2018 a Berlin, Alemanya. ; Recent advancements in web-based audio systems have enabled sufficiently accurate timing control and real-time sound processing capabilities. Numerous specialized music tools, as well as digital audio workstations, are now accessible from browsers. Features such as the large accessibility of data and real-time communication between clients make the web attractive for collaborative data manipulation. However, this innovative field has yet to produce effective tools for multiple-user coordination on specialized music creation tasks. The Multi Web Audio Sequencer is a prototype of an application for segment-based sequencing of Freesound sound clips, with an emphasis on seamless remote collaboration. In this work we consider a fixed-grid step sequencer as a probe for understanding the necessary features of crowd-shared music creation sessions. This manuscript describes the sequencer and the functionalities and types of interactions required for effective and attractive collaboration of remote people during creative music creation activities. ; This work has received funding from the European Union's Horizon 2020 research and innovation programme under grant agreement No 688382 \AudioCommons".

In Voices of Drought, Michael B. Silvers proposes a scholarship focused on environmental justice to understand key questions in the study of music and the environment. His ecomusicological perspective offers a fascinating approach to events in Ceará, a northeastern Brazilian state affected by devastating droughts. These crises have a profound impact on social difference and stratification, and thus on forró music in the sertão (backlands) of the region. At the same time, the complex interactions of popular music and social conditions also help create the environment. Silvers offers case studies focused on the sertão that range from the Brazilian wax harvested in Ceará for use in early wax cylinder sound recordings to the drought- and austerity-related cancellation of Carnival celebrations in 2014-16. Unearthing links between music and the environmental and social costs of drought, his daring synthesis explores ecological exile, poverty, and unequal access to water resources alongside issues like corruption, prejudice, unbridled capitalism, and expanding neoliberalism [Publisher description].

Although the United States has the highest incarceration rate in the world and music therapy has existed in U.S. correctional facilities for almost a century, little is known about music therapists who provide services to people who are incarcerated. Exploration in this area is important as it could help inform clinical practice, music therapy curriculum, and potentially influence policy in the treatment of inmates. This study explores the philosophy, practices, and protocols of music therapists working in the U.S. corrections system. Board-certified music therapists ( N = 542) completed an online survey in which they indicated their reasons for working or not working in corrections. Participants who worked in corrections (n = 52) answered additional questions about their religious beliefs and political affiliation, music therapy practices in corrections, and protocols at their facility related to provision of music therapy services. The results of this survey revealed differences in demographic variables for music therapists who worked in prisons, who were significantly more likely to be men, χ2 (1) = 6.57, p = .015, or under-represented racial minorities, χ2 (1) = 5.82, p = .021, than music therapists who did not work in prisons, who were representative of music therapists in the U.S. (almost 90% white women). The majority of respondents who worked in corrections reported they were Democrats and more than half reported that their religious and/or spiritual views did not influence their decision to work in corrections. Music therapists most frequently addressed emotional awareness, impulse control, and self-awareness through music listening, discussion, and playing instruments. We discuss results in the context of current efforts to improve rehabilitation and treatment services within the U.S. correctional system. ; Obwohl die Vereinigten Staaten die höchste Inhaftierungsrate der Welt haben und Musiktherapie in amerikanischen Justizvollzugsanstalten schon seit fast einem Jahrhundert praktiziert wird, ist nur wenig über Musiktherapeut*innen bekannt, die Dienstleistungen für Menschen erbringen welche inhaftiert sind. Untersuchungen in diesem Bereich sind wichtig, da sie die klinische Praxis und die musiktherapeutischen Lehrpläne unterstützen und möglicherweise die Politik bei der Behandlung von Inhaftierten beeinflussen könnten. Diese Studie untersucht die Philosophie, die Praktiken und die Dokumentationen von Musiktherapeut*innen, die im US-amerikanischen Strafvollzugssystem arbeiten. Zertifizierte Musiktherapeut*innen (N = 542) füllten eine Online-Umfrage aus, in der sie ihre Gründe für oder gegen eine Tätigkeit im Strafvollzug darlegten. Teilnehmende die im Strafvollzug arbeiteten (n = 52) beantworteten zusätzlich Fragen zu ihren religiösen Überzeugungen und ihrer politischen Zugehörigkeit, zur musiktherapeutischen Praxis im Strafvollzug und zu den Dokumentationen aus Einrichtung in Bezug auf die Bereitstellung musiktherapeutischer Dienste. Die Ergebnisse dieser Umfrage zeigten Unterschiede in den demografischen Variablen der Musiktherapeut*innen. Musiktherapeut*innen die in Gefängnissen arbeiteten waren signifikant häufiger Männer (χ2 (1) = 6,57, p = .015) oder unterrepräsentierte ethnische Minderheiten (χ2 (1) = 5,82, p = .021). Musiktherapeut*innen welche nicht in Gefängnissen arbeiteten waren repräsentativ für die Gesamtpopulation der Musiktherapeut*innen in den USA (rund 90% weiße Frauen). Die Mehrheit der Befragten die im Strafvollzug arbeiteten, gab an, Demokraten zu sein, und mehr als die Hälfte der Befragten gab an, dass ihre religiösen und/oder spirituellen Ansichten keinen Einfluss auf ihre Entscheidung hatten, im Strafvollzug zu arbeiten. Musiktherapeut*innen adressierten in ihren Behandlungen am häufigsten die 'emotionale Wahrnehmungsfähigkeit', 'Impulskontrolle' und 'Selbstwahrnehmung' durch rezeptives Musikhören, Diskussionen und das aktive Spielen von Instrumenten. Wir erörtern die Ergebnisse im Zusammenhang mit den aktuellen Bemühungen um eine Verbesserung der Rehabilitations- und Behandlungsdienste innerhalb des amerikanischen Strafvollzugssystems.

Tang Hanedanlığı, Çin tarihinde kültürel ve edebi zenginliğin en fazla görüldüğü dönemdir. Bu dönemde Türk kavimleriyle yaşanan askerî mücadeleler dışında Türk kültürünün Çin kültürüne yansımaları da açıkça görülmektedir. Kültürel yansımalardan bir tanesi olan müzik, çalışmamızın ana konusunu oluşturmaktadır. Türk kavimlerinin geniş bir coğrafi alanı kapsıyor olması sebebiyle konu, etkileşimin en fazla olduğu Göktürkler, Uygurlar ve Kırgızların müzik kültürleriyle sınırlandırılmıştır. Önce bu üç Türk kavminin müzik kültürleri hakkında bilgi verilmiştir. Çalışmanın devamında
Tang dönemi Çin müziği anlatılmış, adı geçen Tük kavimlerinin müziklerinin Çin müziğine etkisi üzerinde durulmuştur. Türk müziğinin etkisiyle Çin müziği; yeni müzik sistemlerinin oluştuğu, pek çok müzisyenin yetiştiği, yenilendiği, zenginleştiği bir döneme girmiştir. Bu dönemde beş tanesi Türk kültürüne ait müzikler olan On Müzik Türü oluşturulmuş; pek çok Türk kökenli müzisyen Çin'de ünlenmiş; İmparatorluk Müzik Akademisinde yeni müzik sistemleri hakkında eğitim verilmiş, yetiştirilen müzisyenlerin birçoğu saray orkestrasında görevlendirilmiş; yeni müzikler, müzik aletleri ve danslar halk arasında beğeni toplamış ve yayılmıştır.

n recent years popular music studies has witnessed a turn towards concentrating on music at a local level (Cloonan) and its use in what DeNora calls everyday life. In a separate, but overlapping, development there has been a growing interest in the night-time economy. At an academic level this has included some interest in the role popular music plays in that economy (e.g. Bennett; Bjrnberg and Stockfelt) and at the UK governmental level it has included responses to "binge drinking" (Home Affairs Select Committee; Prime Minister's Strategy Unit; Scottish Executive) and to licensing.1 But there has been less attention paid to the role that music plays within a key part of that economy—pubs. In this article we examine the use of music in city centre pubs in Glasgow, Scotland.

In the battleground for the hearts and minds of customers, music is one of the most powerful tools that brands can use. In this definitive guide to how brands harness the power of music to drive business, three leading industry experts show you how to create and execute successful music strategies with lasting impact. Every major global brand already uses and invests in music as part of its communications but very few have created 'hits'. Music has the power to make a brand instantly recognised and loved, so what are the secrets? Including case studies from Coke, Sephora, NESCAFE and Converse and ranging from the strategic use of mnemonics to harnessing conversations in social media, Hit Brands is a practical guide from three pioneers of music branding that defines a seminal moment in the history of music, as brands start to create and own music for the benefit of their customers.