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The music of Saudi Arabia and the Gulf flourishes predominantly within its own regional boundaries, a function of both the fragmented music distribution channels in the Middle East and the deep imprint that local traditional cultures have left on it. While the music's popularity is strictly regional, it is full of vitality, supporting an array of male and female song stars whose audiences eagerly await performances and recordings.The distinct sound of Gulf music echoes the internal and external historic influences on the region, interwoven with the highly syncopated rhythms and the stark unaccompanied songs of the Bedouin. Pilgrims brought foreign music influences to Mecca and Medina and left their mark on the musical ensembles of the Arabian cities in rhythms and maqāmāt. The trading and pearling towns on the coasts and in the Peninsula's interior also saw foreigners come and go, who left their music and songs behind. As a result, a rich and varied yet distinctly Arabian/Khalījī sound developed, echoing the voices and instrumental music of East Africa and the Indian subcontinent.

This bibliography is intended as an aid and impetus to the study of African music and dance with the hope of eventually elucidating the ethos of African culture. Although there exist bibliographies on African music and dance, none has been specific to Nigeria. With this modest beginning it is hoped that more researches will delve into the music and dance of various ethnic groups in Nigeria.

Music has played an important role in the lives of twentieth-century combatants, but recent technologies such as MP3 players are now ubiquitous, rendering music more accessible than ever before and allowing soldiers to shape their sonic landscapes in considerably more personalized ways. Although scholars have examined US soldiers' musical practices while serving in Iraq and Afghanistan, no research to date has investigated the musical practices of Canadian military personnel. In this article, I explore how music might help Canadian veterans manage the pressures associated with deployment and cope with psychologically-based operational stress injuries.

It has been observed that when people think in dissimilar ways and are not willing to compromise at all, conflict arises. Preventing conflict and building peace are long term processes that need to be sustainable for the full realization of human rights. In order to sustain peace there is need to prevent conflicts. The changing nature of conflicts presents new threat to man, hence the expanded number of situations to address. But since conflict emanates from the mind, it makes good sense to look at ways by which the mind could be trained to become restful. Music as an art that works on the mind has a role to play here. Music education is not only useful in preventing conflicts but in sustaining peace. The focus of this paper is to establish the role of music in resolving a spectrum of social and political crisis in the contemporary world. It examines the materials and practices of music making to reveal how music and performance can be used to nurture cultural awareness among communities in conflict in Nigeria. It discovers that music is a vehicle to promote conflict resolution, peace building and to build awareness of the necessity of peace and avoid future conflict. It recommends music education programmes to build capacity by developing and enriching knowledge, skills and values that prevent conflicts and promote a culture of peace. DOI:10.5901/mjss.2013.v4n2p703

Art subcultures, and music scenes in particular, have featured prominently in academic discourse on gentrification in the neo-liberal city. Although scholarly accounts have done much to clarify the process through which music scenes become implicated and entangled within wider patterns of urban transformation and redevelopment, these studies often leave us with a flattened and undertheorized picture of the scenes themselves. Departing from David Ley's conception of the 'cultural field of gentrification', I sketch out an analytical framework for understanding the heterogenous and contested character of music scenes in the face of urban change, focusing on a case study of the underground music scene in Rome's Pigneto neighbourhood in 2017. As variegated waves of scene participants drift into new spaces, scenes coalesce into distinct territories, administered by venues and delineated by 'scene ideologies' – matrices of ethical and aesthetic values and judgements constituting a collective scene habitus. This complicates any facile conception of artistic communities as either unwitting agents of gentrification or isolated underground enclaves; rather, premised on collective rituals of aesthetic judgement and differentiation, music scenes constitute a continuum of cultural production whose spatial practices both generate and subvert conditions for their eventual appropriation by market forces.

A review essay on books by: Derek Sayer, The Violence of Abstraction: The Analytical Foundations of Historical Materialism (Oxford: Basil Blackwell, 1987); & Alex Callinicos, Making History: Agency, Structure and Change in Social Theory (Cambridge: Polity Press, 1987 [see listings in IRPS No. 59]). The principal concepts of historical materialism are analyzed by Sayer as a response to G. A. Cohen's critique of traditional Marxism (Karl Marx's Theory of History: A Defence Oxford, 1978). Three aims are outlined: to produce an alternative interpretation of the compatibility of Marx's theory with empirical cases studied; to critique Cohen's definition of base, superstructure, & capitalist economic relations as eternally applicable; & to emphasize the interpenetration of production, productive forces, politics, law, & ideology. Callinicos examines the main concepts of historical materialism, drawing heavily on the works of Anthony Giddens, in which social structure is seen as both imposed on, & created by, individuals. It is concluded that this book provideds yet another critique of various accounts of Marxism rather than an alternative view of Marx's theoretical concepts. A. Devic

Bourdieu's cultural sociology has become increasingly attractive to sociologists of music looking to account for the complex interrelations between industry, institution and practice. There remains, however, a tendency in such work to reduce the complexity and scope of Bourdieu's ideas. This paper attempts to apply Bourdieu's field theory to music, but does so with a critical orientation. The focus of the paper is the fin de millénaire music style called glitch, a style characterized by sonic fragments of technological error. While we learn a lot about the social trajectories of glitch from greater sensitization to its position in a structured setting of socio-economic relations, it becomes difficult to account for the centrality of technological mediators to this contemporary style of music using Bourdieu's categories alone. The paper pursues the possibility of supplementing or combining a Bourdieusian approach with actor network theory.

This article addresses the DIY career building strategies in the Portuguese independent music scenes. Is it anchored on the reading of DIY careers as a pattern of promoting employability, in a context marked by major transformations in the music industries and the precarization of professional trajectories. Drawing from interviews with 71 individuals involved in the production and mediation of Portuguese independent music, we seek to understand how these actors build their DIY careers considering their different positions within the music scenes, the strategies used to negotiate their careers, and the way DIY is present. For this, we conduct a typological reading of these careers to identify different career profiles. Based on a mixed-methods approach, we identify five distinct career profiles: 'catch-all musicians', 'non-stop musicians', 'mediator musicians', 'author musicians', and 'mediators'. In their differences, these trajectories are marked by DIY ethos and praxis, from their beginnings to the present day.

The story of American intellectual history's decline, fall, and phoenix-like rebirth in recent decades has become trite with the retelling: knocked from its position of prominence by the new social history and plunged into the chastened soul-searching of the famed Wingspread Conference of 1977, only to find itself rescued in part by the linguistic and cultural "turns" that swept the entire discipline of American history in the 1980s and 1990s. Like many a narrative, this one undoubtedly imposes too clear a pattern of meaning on a messier reality, but also like many a narrative, it has powerfully shaped the professional identities of American intellectual historians by giving them a sense of where they have been and how they arrived at their current place. That current place is a hospitable one, in many ways, for in the last couple of decades American historians seem to have grown increasingly receptive to the notion that ideas have mattered in history.