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Algorithms C (Heritage)Creative Villages: New York City and Los Angeles; Multicultural Urban Music Scenes; Walking Through Music History; Music Ecosystems and Branding; Music, Technology and Urban Communication; Issues Affecting the Music Cities of New York City and Los Angeles; Los Angeles's Urban Sprawl; Pay-to-Play Music in Los Angeles; Impact of Gentrification; New York Is Music; Role of Night Mayors in the US; Conclusion; References; Part III: Life; Chapter 6: Marvelous (Musical) Melbourne (1835 to 1980s); Introduction; Stage 1: Indigenous Times to 1880 (Gold Rush to Marvelous Melbourne)

"Music from the backyard": Hagström's music education, is a PhD thesis that investigates the music education that the company Hagström ran from 1946 to 1983. The aim of the thesis is to investigate and recreate Hagström's music educational history from a Deweyan pragmatist point of departure. The study searched for answers to the following questions: What were the societal and educational settings in which Hagström's music education took place? How did Hagström's music education develop, and what led to its rise and fall? What educational content and pedagogical ideas constituted Hagström's music education? How can Hagström's educational enterprise be understood with the help of Bourdieu's theories of symbolic capital? Because of the historical nature of the study, the availability of empirical material was limited. Hagström had some archived material which I was given access to, and there were a great deal of periodicals from the time with articles about music education on people's spare time. Additionally, the Hagström course books were important documents, since they were the only centralized document to govern the directions for Hagström's music education. The pragmatist perspective of the study led to a desire to highlight parts of the human experience that constituted the history. Based on a snowball-sampling strategy, I traced down eleven persons from Sweden and Norway which were interviewed.The results of the analysis became a story about Hagström in the society - a story that revealed an entrepreneur whose company grew quickly and represented other values than the better parts of the cultural establishment in Sweden. The company rested on several pillars: The production of accordions, and later on even guitars, basses, organs and amplification systems, import of music merchandise, as well as the largest chain of music retail shops in the Nordic countries. The music education started in 1945 in Växjö, and in 1946, the rest of the country. In the beginning they taught accordion and guitar, but later developed to include electric bass, organ and keyboard as well. The courses were organised as group education with a duration of ten weeks in a semester. Geographically they were spread all over Sweden as well as around Oslo, Bergen and Copenhagen. All in all there were close to 100 000 pupils attending Hagström's music education. Hagström's music education was, despite new ideas such as group education and that the student should be able to play a melody as quickly as possible, a fairly traditional master-apprentice kind of education. The teacher demonstrated what he considered to be the correct technique and musical performance, and the student imitated. The pupil had little or no opportunities to influence the content of the education. On a macro level however, Hagström's music school was important in the process towards a more democratic music education in Sweden. Hagström helped to increase the availability of music education through their geographical dispersion as well as the affordability of attending the courses. An important difference from the other agents on the market that aimed to refine the students' musical preferences, was that Hagström had no musical agenda. Hagström might have contributed to Sweden's strong position on the global popular music scene. ; "Från musikundervisningens bakgårdar": Hagströms musikpedagogik är en monografi som behandlar den musikundervisning som bedrevs i företaget Hagströms regi från 1946 till 1982. Syftet med avhandlingen var att undersöka och återskapa Hagströms musikpedagogiska historia med utgångspunkt i ett pragmatisk utbildningspedagogiskt perspektiv. Studien sökte svar på följande frågor: I vilka sociala och utbildningsmässiga kontexter försiggick Hagströms musikutbildning? Hur utvecklades Hagströms musikundervisning och vad ledde till dess uppgång och fall? Vilket pedagogiskt innehåll och vilka pedagogiska var väsentliga i Hagströms musikpedagogiska verksamhet? Hur kan Hagströms musikpedagogiska verksamhet förstås med hjälp av Bourdieus teorier om symbolisk kapital? Som historisk studie var det tillgängliga empiriska materialet begränsat. Hagström hade en del arkivmaterial lagrat som jag kunde få tillgång till, och det fanns en mängd tidskrifter från den aktuella perioden som behandlade utbildningen. Kursböckerna var viktiga dokument genom att de var de enda centraliserade styrdokumentet för hur Hagströms musikskola skulle utformas. Det pragmatiska perspektivet förde med sig ett behov av att synliggöra delar av den mänskliga erfarenhet som konstituerar historien. Baserad på en snöbollssamplings-strategi spårade jag elva personer från Sverige och Norge som jag intervjuade. Resultatet av analyserna blev en historia om Hagström i samhället - en historia som visade en entreprenör vars företag växte snabbt och i opposition till stora delar av det kulturella etablissemanget i Sverige. Bolaget hade flera ben att stå på: Produktion av dragspel och senare även gitarrer, basar orglar och förstärkarsystem, import av musikutrustning, försäljning genom Nordens största kedja med butiker, tryck av noter samt musikundervisning.Musikundervisningen startade 1945 i Växjö och 1946 i resten av landet. Instrumenten som det inledningsvis undervisades på var dragspel och gitarr men det utvecklades till att även inkludera elbas, orgel och keyboard. Kurserna var organiserade som gruppundervisning och en kurs pågick under tio veckor. Geografiskt var de spridda över nästan hela Sverige samt runt Oslo, Bergen och Köpenhamn. Tillsammans estimerar jag att uppemot 100 000 elever har fått undervisning i Hagströms musikskola. Hagströms musikundervisning var, trots nya idéer som gruppundervisning och att eleven snabbt skulle uppnå klingande resultat, en variant av traditionell mästare-lärling-pedagogik. Läraren förevisade vad som ansågs rätt teknisk och musikalisk och eleven imiterade. Eleven hade liten eller ingen påverkan på innehållet i undervisningen. På ett makroplan var Hagströms musikskola viktig i arbetet med att demokratisera svensk musikpedagogik genom att tillgängligheten ökade. Vidare var kursavgifterna överkomliga och det var billigt att hyra instrument. Hagström hade ingen musikalisk agenda, vilket skilde honom från andra aktörer på marknaden som hade som mål att förädla elevernas musikaliska preferenser. Hagströms musikskola kan sägas ha bidragit till vad som nuförtiden kallas det svenska musikundret. ; Godkänd; 2009; 20090501 (kettho); DISPUTATION Ämnesområde: Musikpedagogik / Music Education Opponent: Professor Gunnar Ternhag, Högskolan Dalarna Ordförande: Professor Sture Brändström, Luleå tekniska universitet Tid: Fredag 5 juni 2009, klockan 13:00 Plats: Musikhögskolan Piteå, Sal L165

Classroom music teachers in England design their own music curricula for Key Stage 3 (11 – 14 year olds, 6th – 8th Grades). These curricula are designed in a context where policymakers define, regulate and legitimate curriculum formulations. This study traced curriculum development in England, where government has validated a policy driven approach. It explored programs of study, which music teachers in England design as summaries of musical learning for Key Stage 3. The research consisted of documentary analysis in a two-phase study of 13 secondary (high) schools in the English midlands, exploring musical knowledge for musical learning, which is analysed utilizing qualitative and quantitative methodologies. The paper concludes with a discussion which explores the impacts of music education policy on classroom practices, and presents a proposed model which captures this interaction.

Qualitative research has provided a home for innovative approaches to collecting, analyzing, and representing data (Hesse - Biber & Leavy, 2006; Janesick, 2011; Ketelle, 2010). Reflexive journaling, photography and photo elicitation, poetry, video representations, dramatic enactments, visual presentations, and play - writing are but a few of the creative techniques embraced by qualitative researchers in search of ways to help their audiences move beyond reading and into experiencing the data (Collier, 2001; Deacon, 2006). These formats have opened doors to re - inventions of traditional thick, rich descriptions and provided living, intentional metaphors through which a reader can filter data via their own emotional, cognitive, spiritual, and scholarly lenses. Music, however, is one area that has been minimally used as an approach to mining and re/presenting data. This piece explores the use of music in a qualitative research project. My intention is to initiate a conversation on how music can capture both participant and researcher experiences in a way that naturally challenges words, thoughts, reactions, and assumption.

First presented as a lecture (entitled "Musik und neue Musik") on TV in May 1960. The meaning & validity of the concept "new music," referring to abrupt change undergone by music in the early twentieth century, are examined. While current composition of music essentially derives from this new approach, its reproduction & consumption are based on the traditional tonal approach, to which new music can be contrasted. The practice of new music rests on systematic rejection of even the remotest derivatives of the tonal tradition, & of the desire to ingratiate or appeal to the emotions, which has been recognized as implicitly ideological in significance. Electronic music in particular creates a sense of alienation in many hearers, by refusing to produce a music consonant with the existing world, & can be expected to become a major part of the development of new music. Ultimately, the category of new music is useless, because the "distinction between new music & music per se has become the distinction between good & bad music." W. H. Stoddard.

INTRODUCTION; UNIT 1: INTERPRETING MUSIC; Chapter 1: Form; Chapter 2: Sound Analysis; Chapter 3: Lyrics; UNIT 2: INTERPRETING VISUALS; Chapter 4: Narrative; Chapter 5: Cinematography; Chapter 6: Editing and Special Effects; UNIT 3: INTERPRETING SOCIOLOGY; Chapter 7: Sexuality and Gender Diversity; Chapter 8: Representing Race and Ethnicity; Chapter 9: Music Video and Politics

Music Generation is the title of one of the most significant national initiatives in music education in Ireland. It seeks to put in place a countrywide infrastructure for instrumental and vocal music education. It has long been awaited. Over the last 30 years numerous reports and initiatives have highlighted the geographic inequity of the lack of access to high quality and affordable music tuition outside major urban centers.(1) In the ensuing years many ambitious plans and proposals have been made, including those commissioned by Government.(2) Funding to realize these plans however was always elusive. It is significant that they are now made possible not by a national government-led initiative, but as the result of philanthropy. This essay examines the context in which a philanthropic gift by the Irish rock group U2 and the philanthropic organization The Ireland Funds has enabled the development of a much needed nationals system of vocal and instrumental music education. Furthermore, it explores how philanthropy has shaped the development of this new national infrastructure and influenced the guiding principles.

Intro -- Title Page -- Foreword -- Acknowledgments -- Figures -- Introduction -- Chapter 1: Meaning in Music -- Chapter 2: Towards a Hermeneutical Understanding of Music -- Chapter 3: An Approach to Musical Semiotics -- Chapter 4: Towards a Theological Epistemology of Music -- Chapter 5: Theological Aesthetics in Contemporary Theology -- Chapter 6: Theology of the Body of Christ and Contemporary Music -- Conclusion -- Appendix -- Bibliography.

During the COVID-19 pandemic, a new form of live music – streaming music festivals – has been popularised in China. With a particular reference to the Chinese indie music scene, this article critically examines the changes that streaming music festivals bring to audiences and music. Through a comparison to offline live music activities, this article examines the spatial change and its consequences for audiences, the shift of shared meaning within indie music communities, and the alteration in the value of music. This article argues, based on interviews and online ethnography, that by immersing themselves in live music, indie music lovers position themselves in multiple social relationships, seek shared meanings with peers, and construct the self through cultural participation; however, streaming music festivals cannot achieve similar effects as offline live music. The findings help us understand more about the digital trend of live music and allow us to reflect on what 'live' really means to the audience and the music.

In this Element, the author set out to answer a twofold question concerning the importance of music to Wittgenstein's philosophical progression and the otherness of this sort of philosophical importance vis-à-vis philosophy of music as practiced today in the analytic tradition. The author starts with the idea of making music together and with Wittgenstein's master simile of language-as-music. The author traces these themes as they play out in Wittgenstein early, middle, and later periods. The author argues that Wittgenstein's overarching reorientation of the concept of depth pertaining to music in the aftermath of his anthropological turn, and against the backdrop of the outlook of German Romanticism, culminates in his unique view of musical profundity as 'knowledge of people.' This sets Wittgenstein's view in sharp contrast with certain convictions and debates that typify current analytically inclined philosophy of music.