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This article presents reflections on a symposium on eudaimonia and music learning, from the perspective of one of the organizers. The symposium had been planned as a traditional, in person event in the United States, but was held online in response to the 2020 COVID-19 pandemic. Despite shortcomings, the video-conferencing format possibly created a more democratized liminal space that served to dissolve hierarchies and broaden participation. ; Published version

An overview of the relevance of marketing to the public sector is given and three main divisions of the UK public sector are identified. The focus of discussion is how and where marketing can be applied best to the public sector and local authority leisure centres are considered as a case example. The various marketing techniques and principles which could be applied in this situation are reviewed.

The author explores the liberatory experience of improvised, woodland drumming as DIY music-making music and DIY learning in nature. A drummer and music education professor, he presents descriptive vignettes on the transformative possibilities of making music amongst trees and by water. The method is autoethnographic, itself a DIY type of doing and recording research. Using Tim Ingold's lens of correspondence, the author suggests that, more than making music merely on trees and on ice, we channel music together with non-human co-musicians. The author draws on research in eco-psychology and eco-literacy to suggest, more than indulgence, being and making music in nature might be foundational to humanity recovering respect for our world and taking seriously how we might continue to live in it. Moreover, this article explores music making as a DIY pedagogical practice, grounded in the depth of listening and engagement with nature.

As there is not universal acceptance of political parties as brands, the paper justifies and theoretically supports considering them as such. It then uses a cognitive psychology perspective to explain in detail how consumers learn about political brands. From this, the interaction between the leader, the party and its policies is considered as a means by which political brand image forms in consumer memory. This is followed by an analysis of the potential benefits proffered by political brands to voters. These benefits, it is postulated, motivate consumers to learn about, interact with and eventually help decide upon a political brand. Finally, the paper considers the future of political brands, in particular through the prism of postmodern consumer behaviour.

"Music has been a vital part of leisure activity across time and cultures. Contemporary commodification, commercialization, and consumerism, however, have created a chasm between conceptualizations of music making and numerous realities in our world. From a broad range of perspectives and approaches, this handbook explores avocational involvement with music as an integral part of the human condition. The chapters in The Oxford Handbook of Music Making and Leisure present myriad ways for reconsidering and refocusing attention back on the rich, exciting, and emotionally charged ways in which people of all ages make time for making music. The contexts discussed are broadly Western, including an eclectic variety of voices from scholars across fields and disciplines, framing complex and multifaceted phenomena that may be helpfully, enlighteningly, and perhaps provocatively framed as music making and leisure. This volume may be viewed as an attempt to reclaim music making and leisure as a serious concern for, amongst others, policy makers, scholars, and educators who perhaps risk eliding some or even most of the ways in which music - a vital part of human existence - is integrated into the everyday lives of people. As such, this handbook looks beyond the obvious, asking readers to consider anew, "What might we see when we think of music making as leisure?""--publisher's website

"Music has been a vital part of leisure activity across time and cultures. Contemporary commodification, commercialization, and consumerism, however, have created a chasm between conceptualizations of music making and numerous realities in our world. From a broad range of perspectives and approaches, this handbook explores avocational involvement with music as an integral part of the human condition. The chapters in The Oxford Handbook of Music Making and Leisure present myriad ways for reconsidering and refocusing attention back on the rich, exciting, and emotionally charged ways in which people of all ages make time for making music. The contexts discussed are broadly Western, including an eclectic variety of voices from scholars across fields and disciplines, framing complex and multifaceted phenomena that may be helpfully, enlighteningly, and perhaps provocatively framed as music making and leisure. This volume may be viewed as an attempt to reclaim music making and leisure as a serious concern for, amongst others, policy makers, scholars, and educators who perhaps risk eliding some or even most of the ways in which music - a vital part of human existence - is integrated into the everyday lives of people. As such, this handbook looks beyond the obvious, asking readers to consider anew, "What might we see when we think of music making as leisure?""--publisher's website

ch. 1. The musician and teacher in you : a matter of multiple identities -- ch. 2. Music learning and teaching as socially situated acts -- ch. 3. Teaching as work -- ch. 4. Music in social theories : voices from ethnomusicology, music sociology, cultural theory, and music education -- ch. 5. Sociology of education : social constructs with relevance for music teachers -- ch. 6. The music teacher as value educator -- ch. 7. The sociologically savvy music educator.