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Presented at the 25th International Conference on Auditory Display (ICAD 2019) 23-27 June 2019, Northumbria University, Newcastle upon Tyne, UK. ; Data-music reflects the ubiquity of data in modern society. Composers have not engaged widely with the opportunities opened up by this, despite the chance to overcome a gulf between academic art music and social engagement. Their reluctance might be traced to the challenge of reconciling abstract data and concrete sound, in political implications, and in technological barriers in computer music. The present paper argues that socially relevant music composition for the 21st century can adopt a programme of sonification grounded in politically acute data. As examples of such practice, two compositions are discussed founded upon US and UK social data sets, and realised via the SuperCollider programming language. The consequences for the composer of new music are further discussed from political and musicological angles, with the ムpurposeメ of writing such music analysed from the perspective of various commentators.

'Rumba on the River: A history of the popular music of the two Congos' by Gary Stewart is reviewed.

Bartók's Concerto for orchestra and the demise of Hungary's "third road" -- A compromised composer : Bartók's music and Western Europe's fresh start -- "Bartók is ours" : the Voice of America and Hungarian control over Bartók's legacy -- Bartók and his publics : defining the "modern classic" -- Beyond the folk song; or, what was Hungarian socialist realist music? -- The "Bartók question" and the politics of dissent : the case of András Mihály -- Epilogue East : Bartók's difficult truths and the Hungarian revolution of 1956 -- Epilogue West : Bartók's legacy and George Rochberg's postmodernity

This paper employs aspects of Hannah Arendt's thought to explore different but interrelated questions that haunt contemporary music education. We see the importance of a return to Arendt now more than ever as we find ourselves, three authors in three different countries, trying to contribute to democratic music education practices and to researching the conceptual base of such practices, in countries where technocratic approaches to policy development prevail. More specifically in this article we address the following questions: how can we re-think the political and creative dimensions of music education pedagogies in the face of recent educational policy trends? How can we go beyond linearity in our everyday educational encounters? How can we create forms of music education practice and research that induce a continuous interplay between acting and thinking? We pursue these questions through reference to three specific forms of music education practice: research seminars for PhD-students and senior researchers, pre-service music teacher education, and teaching music improvisation. In the first part of the paper, Cecilia Ferm-Almqvist elaborates upon how Hannah Arendt's thinking influences our teaching, taking an on-going research seminar in music education as an example of a common place. In the second part, Cathy Benedict writes of 'meeting' Arendt and coming to an awareness of how Arendt can help us interrogate practices we have come to assume as 'the right ones'. Seeking to create together with her students an epistemological space of appearance she challenges common teaching strategies that seem to 'work'. Working within a teacher preparation program she comes to realize that students must also reflect on these moments so as to name what has occurred; thus they need to engage in acts of performative listening, setting aside their own desire and need to speak and be heard first. Finally, in the third part, Panagiotis (Panos) A. Kanellopoulos raises the complex issue of how we should respond to the current ...

In the early years of the Cold War, Western nations increasingly adopted strategies of public diplomacy involving popular music. While the diplomatic use of popular music was initially limited to such genres as jazz, the second half of the 20th century saw a growing presence of various popular genres in diplomatic contexts, including rock, punk, reggae, and hip-hop.This volume illuminates the interrelation of popular music and public diplomacy from a transnational and transdisciplinary angle. The contributions argue that, as popular music has been a crucial factor in international relations, its diplomatic use has substantially impacted the global musical landscape of the 20th and 21st centuries

Objective: This study aimed to determine the effects of active workstation designs on speed and error during typing, mouse pointing, and combined type and mouse-use tasks. Background: Office ergonomics has focused on musculoskeletal disorder prevention; however, increasing computer-based work also increases health risks associated with inactivity. Workstations allowing computer users to walk or cycle while performing computer tasks have been shown to demand sufficient energy expenditure to result in significant health benefits. However the performance effects of being active while using a computer have not been documented. Method: Thirty office workers (16 female, 15 touch typists) performed standardized computer tasks in six workstation conditions: sitting, standing, walking at 1.6 km/h and 3.2 km/h, and cycling at 5 and 30 watts. Performance, perceived performance, and heart rate were measured. Results: Computer task performance was lower when walking and slightly lower when cycling, compared with chair sitting. Standing performance was not different from sitting performance. Mouse performance was more affected than typing performance. Performance decrements were equal for females and males and for touch typists and nontouch typists. Conclusion: Performance decrements maybe related to both biomechanical and cognitive processes. Active workstations may be less suitable for mouse-intensive work and susceptible users. Application: Although active workstations may result in some decrement in performance, their ability to increase daily energy expenditure may make them a feasible solution for workplace inactivity.

The Revista Brasileira de Música (Brazilian Journal of Music) continues its editorial policy of internationalization and democratization of access to knowledge by increasing geographic diversity of authors and dissemination of the publication itself. The theme of each issue expresses the convergence of topics, theoretical or methodological frameworks of the selected texts. This issue proposes the theme "Music in urban spaces", and presents some approaches that have engaged musicology recently, alongside other approaches that have occupied music research for a longer time. The articles that make up this issue deal with musical contexts of the Americas and Europe.

part Part I Gender and Sexuality -- chapter 1 Todd M. Borgerding (2002), 'Sic ego te dilegebam: Music, Homoeroticism, and the Sacred in Early Modern Europe', in Todd Borgeding (edition), Gender, Sexuality and Early Music, New York and London: Routledge, pp. 249-63 -- chapter 2 Suzanne G. Cusick (1996), 'On a Lesbian Relationship with Music: A Serious Effort Not to Think Straight', in Philip Brett, Elizabeth Wood and Gary C. Thomas (eds), Queering the Pitch: The New Gay and Lesbian Musicology, New York and London: Routledge, pp. 67-83 -- chapter 3 Freya Jarman-Ivens (2011), 'Introduction: Voice, Queer, Technologies', in Queer Voices: Technologies, Vocalities, and the Musical Flaw, New York: Palgrave MacMillan, pp. 1-24 -- chapter 4 Fred Everett Maus (1993), 'Masculine Discourse in Music Theory', Perspectives of New Music, 31, pp. 264-93 -- chapter 5 Susan McClary (1991), 'Introduction: A Material Girl in Bluebeard's Castle', in Feminine Endings: Music, Gender and Sexuality, Minneapolis: University of Minnesota Press, pp. 3-34 -- chapter 6 Henry Spiller (2007), 'Negotiating Masculinity in an Indonesian Pop Song: Doel Sumbang's -- part Part II Race -- chapter 7 Deborah Pacini Hernandez (1998), 'Dancing with the Enemy: Cuban Popular Music, Race, Authenticity, and the World-Music Landscape', Latin American Perspectives, 25, pp. 110-25 -- chapter 8 Josh Kun (2005), 'The Yiddish Are Coming', in Audiotopia: Music, Race, and America, Berkeley and Los Angeles: University of California Press, pp. 48-85 -- chapter 9 Russell A. Potter (1995), -- chapter 10 Katie Trumpener (2000), 'Béla Bartók and the Rise of Comparative Ethnomusicology: Nationalism, Race Purity, and the Legacy of the Austro-Hungarian Empire', in Ronald Radano and Philip V. Bohlman (eds), Music and the Racial Imagination, Chicago: University of Chicago Press, pp. 403-34 -- part Part III Social Identities -- chapter 11 Philip V. Bohlman (1996), 'The Final Borderpost', The Journal of Musicology, 14, pp. 427-52 -- chapter 12 Tak Wing Chan and John H. Goldthorpe (2007), 'Social Stratification and Cultural Consumption: Music in England', European Sociological Review, 23, pp. 1-19 -- chapter 13 Anahid Kassabian (2001), 'At the Twilight's Last Scoring', in Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music, New York and London: Routledge, pp. 91-116 -- chapter 14 George Lipsitz (1994), 'That's My Blood Down There', in Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place, London and New York: Verso, pp. 69-93 -- chapter 15 Alex Lubet (2010), 'Losing. My Religion: Music, Disability, Gender, and Jewish and Islamic Law', in Music, Disability, and Society, Philadelphia: Temple University Press, pp. 89-133 -- chapter 16 Bode Omojola (2009), 'Politics, Identity, and Nostalgia in Nigerian Music: A Study of Victor Olaiya's Highlife', Ethnomusicology, 53, pp. 249-76 -- chapter 17 Anne K. Rasmussen (2001), 'The Qur'ń in Indonesian Daily Life: The Public Project of Musical Oratory', Ethnomusicology, 45, pp. 30-57 -- chapter 18 Martin Stokes (2004), 'Music and the Global Order', Annual Review of Anthropology, 33, pp. 47-72.