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This study examines the relationship between forearm EMGs and keyboard reaction forces in 10 people during keyboard tasks performed at a comfortable speed. A linear fit of EMG force data for each person and finger was calculated during static fingertip loading. An average r2 of .71 was observed for forces below 50% of the maximal voluntary contraction (MVC). These regressions were used to characterize EMG data in force units during the typing task. Averaged peak reaction forces measured during typing ranged from 3.33 N (thumb) to 1.84 N (little finger), with an overall average of 2.54 N, which represents about 10% MVC and 5.4 times the key switch make force (0.47 N). Individual peak or mean finger forces obtained from EMG were greater (1.2 to 3.2 times) than force measurements; hence the range of r2 for EMG force was .10 to .46. A closer correspondence between EMG and peak force was obtained using EMG averaged across all fingers. For 5 of the participants the force computed from EMG was within ±20% of the reaction force. For the other 5 participants forces were overestimated. For 9 participants the difference between EMG estimated force and the reaction force was less than 13% MVC. It is suggested that the difference between EMG and finger force partly results from the amount of muscle load not captured by the measured applied force.

Music – as many of the contributors to this special issue of Urban History point out – is an important component of the urban experience and can play a significant role in the construction of a civic identity, and yet it is a topic that urban historians have tended to overlook. There are some parallels with the case of the fine arts, to which a special issue of this journal was devoted in 1995, both in the causes for this neglect – which similarly include 'the intimidating traditions of connoisseurship associated with the field' and the difficulty we have with analysing the 'aesthetic experience' – and in the developments which are helping to overcome such inhibitions. So far, the impulse seems to be coming from musicologists and music historians, who, inhabiting a fairly small corner of the academic field, are fully conscious of the need to forge connections with other disciplines and historiographical traditions. The importance of contextualizing and historicizing not only the composition but also the production, transmission and reception of music has been recognized for some time, but so far urban historians have not responded as perhaps the music historians thought they might to the insights and openings that a musical 'new historicism' seems to offer. But there is clearly an opportunity – indeed, a pressing need – to develop a broadly-based cultural history of towns and cities in which music will take its place. The aim of this special issue is to promote that objective by illustrating the state of the art and suggesting some of the ideas, tools and methodologies with which it might be developed in future.

A keyboard concept based on biomechanical considerations was studied with 51 trained typists. The keyboard is split into two half-keyboards. An adjustable model allowed study of the preferred settings of opening angles, lateral inclinations, and distances of the split keyboard. The preferred split keyboards decrease the lateral deviation of the hands, and the use of a large forearm-wrist support is associated with a backwards leaning of the subjects and with an increased pressure of forearm-wrists onto the support. After the typing tasks, about two-thirds of the subjects asserted that they preferred the split keyboard models. Less pain and an increased feeling of relaxation were reported by the subjects when operating the split keyboards.

A consideration of the contemporary musical soundscape in Syria provides unique insights into how Syrians of multiple classes and generations discriminate between critical points in their own past, who they perceive they are today, and how they might think about their future. This review, based on fieldwork in Syria conducted between 1997 and 2001, suggests that people in Syria can use music to negotiate the following complex issues: 1) the struggle between an identity rooted in the modern nation-state of Syria and one rooted in the more traditional concept of 'Bilad al-Sham' (roughly 'the lands governed from Damascus,' a region that included all of modern Lebanon, as well as portions of Turkey, Palestine, and Jordan); 2) the struggle between a Syrian identity and an Arab identity; and 3) the maintenance of a strongly Arab and necessarily anti-Western canon.