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Citation: Sweet, Bertha Florence. History of music. Senior thesis, Kansas State Agricultural College, 1907. ; Morse Department of Special Collections ; Introduction: Rome has almost all the credit for the early development of music, but according to actual history it seems that the Romans were a people of observance of and appreciation for arts, but the artists were all from foreign countries, who came to Rome to receive the praise of the hosts, and then made their homes there, practicing and teaching. The most ancient treatise on music is written in the Grecian language, and there had been no original work on the subject by the Romans till the time of Boethius. Another cause for Rome becoming the center of music is that of the spread of the Christian religion. The persecution of the Christians in their own countries caused many to flee from their mother land, and seek the lad of Rome, where they could worship in secrecy. With them they brought the memory of the songs of their native land, and by an intermingling of the various melodies of the different countries, a new type of music was created, but even this deteriorated, as there was no written music, and the so-called melodies were either changed or forgotten.

In its various guises, blockchain technology has generated friction across a range of sectors; most notably as an enabler of anonymous trading, but perhaps more significantly in terms of longer-term adoption, via its application in supply-chain monitoring, and rights management. This article draws on stakeholder theory to examine the deployment of blockchain technology in the music streaming sector, in order to assess how these blockchain-based innovations - via interactions with users, market environments, and overarching economic and political frameworks - are contributing to evolving conceptions of ownership, inclusion and involvement. Initially, the article examines three approaches to theorising and designing inclusive governance structures that acknowledge the distributed, and at times collaborative, nature of interaction between members of a group; be that a society, a company or other form of organised grouping. Here I draw on three discourses to underpin the evolving role that stakeholders - in the guise of networks, companies, societies and platforms – can play in digital commerce: (i) John Rawls' concept of Distributive Justice, (ii) a set of principles known as the 'Scandinavian approach to Participatory Design'; and (iii) the emergent concept of 'New Economics', a term particularly associated with current and emergent left-wing political perspectives in the UK. Taking three use cases in Resonate, Musicoin and Choon, the article engages with how blockchain-based music start-ups are interacting with an evolving marketplace; identifying the benefits and beneficiaries of blockchain uptake, along with a wider set of structural changes that are taking place within music commerce. The article focuses on music streaming in particular to explore how blockchain is transforming the way that things are owned, and how it is contributing to an evolving conception of ownership, and reflects on how blockchain is finding increased used within the physical world of private and public property, and political governance. The article concludes by considering how stakeholders with the music streaming sector are indicative of wider changes, challenges and tensions within the digital marketplace, and the role that innovations in blockchain can play in this transition.

Musicologists have increasingly taken a wide-angled lens on the study of music in society, to explore how it can be intertwined with issues of politics, gender, religion, race, psychology, memory, and space. Recent studies of music in connection with society take in a variety of musical phenomena from diverse periods and genres-medieval, classical, opera, rock, etc. This ten-chapter book not only asks how music and society are, and have been, intertwined and mutually influential, but it also examines the agents behind these connections: who determines musical cultures in society? Which social groups are represented in particular musical contexts? Which social groups are silenced or less well represented in music's histories, and why?

chapter 1 Charles B. Paul (1971), 'Music and Ideology: Rameau, Rousseau, and 1789', Journal of the History of Ideas, 32, pp. 395-410 -- chapter 2 David M. Powers (1998), 'The French Musical Theater: Maintaining Control in Caribbean Colonies in the Eighteenth Century', Black Music Research Journal, 18, pp. 229-40 -- chapter 3 Katharine Thomson (1976), 'Mozart and Freemasonry', Music and Letters, 57, pp. 25-46 -- chapter 4 Nicholas Mathew (2009), 'Beethoven's Political Music, the Handelian Sublime, and the Aesthetics of Prostration', 19th Century Music, 33, pp. 110-50 -- chapter 5 Jolanta T. Pekacz (2000), 'Deconstructing a -- chapter 6 Marina Frolova-Walker (1997), 'On Ruslan and Russianness', Cambridge Opera Journal, 9, pp. 21-45 -- chapter 7 Jess Tyre (2005), 'Music in Paris during the Franco-Prussian War and the Commune', Journal of Musicology, 22, pp. 173-202 -- chapter 8 Glenn Watkins (2003), 'The Old Lie', in Proof through the Night: Music and the Great War, Berkeley: University of Califomia Press, pp. 47-60; 439-43 -- chapter 9 Jane F. Fulcher (1999), 'The Composer as Intellectual: Ideological Inscriptions in French Interwar Neoclassicism', Journal of Musicology, 17, pp. 197-230 -- chapter 10 Reinhold Brinkmann (2004), 'The Distorted Sublime: Music and National Socialist Ideology — A Sketch', in Michael H. Kater and Albrecht Riethmüller (eds), Music and Nazism: Art under Tyranny, 1933-1945, Laaber: Laaber Verlag, pp. 43-63 -- chapter 11 Pamela M. Potter (2005), 'What is -- chapter 12 Richard Taruskin (1995), 'Public Lies and Unspeakable Truth Interpreting Shostakovich's Fifth Symphony', in David Fanning (edition), Shostakovich Studies, Cambridge: Cambridge University Press, pp. 17-56 -- chapter 13 Danielle Fosler-Lussier (2007), 'Beyond the Folk Song: Or, What was Hungarian Socialist Realist Music?', in Music Divided: Bartók's Legacy in Cold War Culture, Berkeley: University of California Press, pp. 94-116; 194-7 -- chapter 14 Penny M. Von Eschen (2004), 'Ike Gets Dizzy', in Satchmo Blows Up the World: Jazz Ambassadors Play the Cold War, Cambridge, MA: Harvard University Press, pp. 1-26; 263-70 -- chapter 15 Robin Denselow (1989), 'Born Under a Bad Sign', in When the Music's Over: The Story of Political Pop, London: Faber, pp. 1-30 -- chapter 16 Simon Frith (1988), 'Rock and the Politics of Memory', in Sohnya Sayres and others (eds), The 60s Without Apology, Minneapolis: Minnesota University Press, pp. 59-69 -- chapter 17 Daniel Kreiss (2008), 'Appropriating the Master's Tools: Sun Ra, the Black Panthers, and Black Consciousness, 1952-1973', Black Music Research Journal, 28, pp. 57-81 -- chapter 18 Mao Yu Run (1991), 'Music under Mao, Its Background and Aftermath', Asian Music, 22, pp. 97-125 -- chapter 19 Jean During (2005), 'Power, Authority and Music in the Cultures of Inner Asia', Ethnomusicology Forum, 14, pp. 143-64 -- chapter 20 Kelly M. Askew (2003), 'As Plato Duly Warned: Music, Politics, and Social Change in Coastal East Africa', Anthropological Quarterly, 76, pp. 609-37 -- chapter 21 Nick Nesbitt (2001), 'African Music, Ideology and Utopia', Research in African Literatures, 32, pp. 175-86 -- chapter 22 George Ciccariello Maher (2005), 'Brechtian Hip-Hop: Didactics and Self-Production in Post-Gangsta Political Mixtapes', Journal of Black Studies, 36, pp. 129-60 -- chapter 23 Lydia Goehr (1994), 'Political Music and the Politics of Music', Journal of Aesthetics and Art Criticism, 52, pp. 99-112.

1. Introduction -- Part I: The Impact of the COVID-19 Pandemic on the Music Business -- 2. 'Losing Work, Losing Purpose': Representations of Musicians' Mental Health in the Time of COVID-19 -- 3. The Impact of the COVID-19 Pandemic on the Incomes of Freelance Classical Musicians in Austria -- 4. Digital Transformation in the Music Industry: How the COVID-19 Pandemic Has Accelerated New Business Opportunities -- 5. Social 'Capitalising' the COVID-19 Pandemic: A Portrait of Three Zimbabwean Female Musicians -- 6. The Shape of Clubs to Come: Exploring the Pandemic's Impact on Live Music Venues in Germany -- 7. Jazz Festivals in the Time of COVID-19: Exploring Exposed Fragilities, Community Resilience and Industry Recovery -- Part II: The Music Business in General -- 8. Straight Outta Mumbai: Exploring Informality and Innovation in Dharavi's Hip-Hop Industry -- 9. Optimisation of Musical Distribution in Streaming Services: Third-Party Playlist Promotion and Algorithmic Logics of Distribution -- 10. The Music Modernization Act: Mechanical Copyright in the Age of Music Streaming -- 11. Musical Aspirations and DIY/DIO Practices in Online Communities of Amateur Independent Filipino Songwriters -- 12. Market Readiness for the Digital Music Industries: A Case Study of Independent Artists -- 13. The Changing Role and Function of Music Charts in the Contemporary Music Economy.