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Objective : To quantify learning percentages for alternative keyboards (chord, contoured split, Dvorak, and split fixed angle) and understand how physical, cognitive, and perceptual demand affect learning. Background: Alternative keyboards have been shown to offer ergonomic benefits over the conventional, single-plane QWERTY keyboard design, but productivity-related challenges may hinder their widespread acceptance. Method: Sixteen participants repeatedly typed a standard text passage using each alternative keyboard. Completion times were collected and subsequent learning percentages were calculated. Participants were asked to subjectively rate the physical, cognitive, and perceptual demands of each keyboard, and these values were then related to the calculated learning percentages. Results: Learning percentage calculations revealed the percentage for the split fixed-angle keyboard (90.4%) to be significantly different ( p < .05) from the learning percentages for the other three keyboards (chord, 77.3%; contour split, 76.9%; Dvorak, 79.1%). The average task completion time for the conventional QWERTY keyboard was 40 s, and the average times for the fifth trial on the chord, contoured split, Dvorak, and split fixed-angle keyboards were 346, 69, 181, and 42 s, respectively. Conclusions: Productivity decrements can be quickly regained for the split fixed-angle and contour split keyboard but will take considerably longer for Dvorak and chord keyboards. The split fixed-angle keyboard involved physical learning, whereas the others involved some combination of physical and cognitive learning, a result supported by the subjective responses. Application: Understanding the changes in task performance time that come with learning can provide additional information for a cost-benefit analysis when considering the implementation of ergonomic interventions.

The question of 20th century modernism in the history of Latvian academic genres music is still topical. The prevailing opinion in musicological research (literature) is that representation of modernism in the history of Latvian music has been fragmentary. In various decades of the 20th century (the first and second half of the century), Latvian composers have rarely turned to the most radical expression of modernism, the avant-garde. Much more often possible identified stylistically moderate manifestations of modernism. However, these issues have still been little researched. This article offers a focused (panoramic) characterisation, looking at local peculiarities of adaptation and representation of modernism in Latvian music history in the 20th century.

"In this book, Timothy D. Taylor explores just how pervasively capitalism has shaped music over the last few decades. Examining changes in the production, distribution, and consumption of music, he offers an incisive critique of the music industry's shift in focus from creativity to profits, as well as stories of those who are laboring to find and make musical meaning in the shadows of the mainstream cultural industries. Taylor explores everything from the branding of musicians to the globalization of music to the emergence of digital technologies in music production and consumption. Drawing on interviews with industry insiders, musicians, and indie label workers, he traces both the constricting forces of bottom-line economics and the revolutionary emergence of the affordable home studio, the global internet, and the mp3 that have shaped music in different ways. A sophisticated analysis of how music is made, repurposed, advertised, sold, pirated, and consumed, Music and Capitalism is a must read for anyone who cares about what they are listening to, how, and why"--Provided by publisher

This article is devoted to the study of the history of music education in Uzbekistan. Generalized questions about the changes in the field of music that occurred after the establishment of Soviet power in Uzbekistan, the subordination of music education to the ideas of communist ideology, the organization of local music, choral schools, schools of folk music, which focused on the promotion of European music. Analyzed information about the first institutions of music education organized in the region at the beginning of the 20th century, the representatives who carried out their activities there, as well as the transformation processes that took place in this area, the formation of the music education system, ranging from elementary schools to higher musical education. Considered such issues as the creation of textbooks, textbooks on music education, the publication of collections of children's songs, other books for schools and kindergartens, since the 30s of the twentieth century. The opening of musical institutions in a number of regions of the country in the 60s of the twentieth century was important in the positive solution of the personnel question in the musical sphere, the organization of special classes on Uzbek folk musical instruments in all these institutions were positive changes in the musical sphere, these data are highlighted based on archival sources. At the same time, the article describes the changes that occurred during the years of Soviet power in the field of music education in Uzbekistan, in particular, the organization of primary music schools, music schools, changes in this area, problems, information about the material and technical base of music education institutions. The essence of such issues as widespread promotion of music schools mainly in large cities of Uzbekistan, training in these educational institutions in most cases only urban children, problems existing in this field, the proportion of representatives of local nationalities, teaching music theory in secondary schools, ...

This essay discusses the music of the Maronite Church, a Christian church based in Lebanon. It provides an overview of the chants used in religious services and examines their transmission and performance practice. The Maronites have always faced challenges to maintain their identity and preserve their heritage while adapting to their cultural milieu. Their religious music reflects the dichotomy between safeguarding tradition and accepting contemporary trends. Since the late nineteenth century, Maronites looking for better opportunities and political freedom have increasingly immigrated to the New World, where they face new challenges to preserving their religious identity while assimilating to the culture of their new homeland. Therefore, this essay reaches beyond the traditional geographic boundaries of the Maronite Church in Lebanon to examine issues in the transmission of Maronite music in the diaspora.

Intro -- Title -- Copyright -- Contents -- Preface -- 1 Before the Church: The Jewish musical tradition -- 2 Psalms and hymns and spiritual songs: Music and the early Church -- 3 The Church goes public: Christian music after Constantine -- 4 Christian chant: The core of medieval worship -- 5 Music of the Orthodox Church -- 6 Medieval polyphony: The Church discovers harmony -- 7 The music of the Renaissance: The peaks of polyphony -- 8 'A safe stronghold': The music of the Lutheran Reformation -- 9 'In quires and places where they sing': The making of the Anglican tradition -- 10 Psalms, canticles and hymns: The genesis of Christian hymns -- 11 Gloria in excelsis Deo: The making of Catholic baroque -- 12 Christian music in Latin America -- 13 Bach and Handel: Two great Protestant baroque composers -- 14 The Viennese tradition: Liturgical and non-liturgical sacred music -- 15 Heights of intensity: Sacred music in the age of Romanticism -- 16 Hymns ancient and modern: The nineteenth-century hymn industry -- 17 Camp meetings and revivals: The making of the US gospel tradition -- 18 'I got a home in dat Rock': Spirituals and the blues -- 19 'God bless Africa': Christian music in Africa -- 20 Christian music in Asia and Australasia -- 21 Apocalypse now! Sacred music and the concert hall -- 22 'Surely goodness and mercy shall follow me': Popular church music -- 23 'Give me that old time religion': Gospel music -- 24 'I wish we'd all been ready': The contemporary Christian music industry -- 25 'Ain't nobody nowhere nothin' without God': Christians do country, folk and jazz -- Notes -- Further reading -- Index

"With no direct ties to traditional Chinese music, New Music reflects the compositional techniques and musical idioms of eighteenth-, nineteenth- and early twentieth-century European styles. Liu traces the genesis and development of New Music throughout the twentieth century, deftly examining the cultural, social, and political forces that shaped New Music and its uses by politicians and the government."--[book cover]