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Attending music festivals is a popular pastime. However, there will unfortunately always be a share of fans who, for a wide variety of reasons, are unable to visit a festival of their choice in person. This article reports on the expectations users have about being able to immersively experience music festivals from the comfort of their living room. Out of these expectations, we distill an approach for remote festival engagement that is centered around the concept of blending respectively professional and user-generated content. We then crystallize our approach into a Smart TV application called WanderCouch and let prospective users evaluate it in a simulated live setting. The resulting findings suggest that the proposed solution, among other things, exhibits the potential to improve on the experience provided by traditional (TV) coverages of music festivals, to have a positive impact on both immersion and level of engagement with concerts, and to transfer a veracious impression of the festival's general theme and on-site atmosphere. ; The research leading to these results has received funding from the European Union's Seventh Framework Programme (FP7/2007-2013) under grant agreement nr 610370, ICoSOLE ("Immersive Coverage of Spatially Outspread Live Events", http://www.icosole.eu). The authors would like to thank their consortium partners VRT, BBC, Technicolor, Joanneum Research, bitmovin and TaW for their help gathering the Dranouter footage. We explicitly thank prof. Philippe Bekaert for his efforts in rendering out the professional Dranouter recordings. Finally, we express our sincere gratitude to the organizers of the Dranouter music festival, as well as to Triggerfinger, Intergalactic Lovers and Bart Peeters, the three bands that are featured in our prototype.

The fundamental theme to be addressed in this article is the relation between musical styles and cultural identities in Tajikistan. Specifically, I am interested in how changing practices and metaphors in Tajik musical history have engaged local and Russian, Western or other foreign cultures in a complex dynamic of representation of selfhood and otherness. Processes of assimilation, indigenization, appropriation and differentiation will be central to my examination. Initially, I will look at the ways in which Soviet and post-Soviet official ideologies have articulated discourses about musical tradition and the national self in Tajikistan. This serves as a backdrop against which developments in Tajik popular music over the last two decades may be assessed. The main focus will be then on discussing aesthetic, economic and identity issues in Tajik popular music in the context of contrasting centralized and decentralized social ideologies.

Frontmatter -- CONTENTS -- Forewords -- Acknowledgments -- INTRODUCTION -- CHAPTER 1. THE WORLD OF THE TZ'UTUJIL MAYA -- CHAPTER 2. THE DANCE AND SONGS OF THE NAWALS -- CHAPTER 3. THE "SONGS OF THE ROAD": TEXTS AND CONTEXTS -- CHAPTER 4. THE POETICS OF TZ'UTUJIL SONGS AND THEIR RELATIONSHIP TO K'ICHE'AN LITERATURE -- CHAPTER 5. THE MUSIC OF THE "SONGS OF THE NAWALS" -- Final Words -- Audio Files of Recorded Examples -- Notes -- Glossary -- Works Cited -- Index

This essay centers on the sound- and music-based methodologies of the Marshallese Educational Initiative (MEI) in terms of "community-driven research" that began in the first year of the COVID-19 pandemic when the virus was taking a massive toll on the community. The MEI is a nonprofit based in Springdale, Arkansas, which is home to the largest diasporic Marshallese community in the continental US. The first part analyzes the MEI's COVID-19 informational materials on their website from an audiovisual perspective. Although mitigating the day-to-day consequences of COVID-19 took a necessary priority, the MEI educational programmers were determined to examine the long-term consequences of social distancing (as community disenfranchisement) in a transpacific context and the negative media representation of Marshallese regarding COVID-19 cases. Consequently, they came up with a project called "Songs of Our Atolls," that would facilitate intergenerational communication and combat negative stereotyping. The second part explores the "Songs" project from its inception to grant application to realization through the activism of Marshallese youth musicians (MARK Harmony). Based on interviews and my remote participation, I examine the studio-based outreach to elders through which the band engaged in conversations and intergenerational learning (through songs) in ways that maintained social proximity while keeping physical distance in culturally appropriate ways. The third part offers a critical assessment of potential directions for the "Songs" project, including bidirectional learning, that dovetails with part one of the essay, whereby the band would work on collaborative public service announcements with other youths and elders, which is a method inspired by Youth to Youth in Health (an organization in the Marshall Islands). My conclusion sums up the ethical importance of paying attention to sound and music in terms of communal health and situating these transpacific forms of culturally appropriate information dissemination and intergenerational learning in the broader diaspora.

This paper intends to study how three journalists, while writing about caipira and sertanejo music, managed to articulate conceptions of roots and authenticity in support of a genre that would be considered as a genuinely Brazilian one. Throughout each one's approach, it's possible to notice an updating of the myth of three races, through different perceptions of brazil's discovery and colonization present in social imaginary representations and used in the discourses of several intellectuals. Furthermore there is an analysis of their understanding of the transformations undergone by caipira music since the moment it began to be registered phonographically, from the 1920s up to the nineties. Through this analysis, it's possible to notice that the vibrant v.8 n.1 elizete ignácio dos santos argument of the modernization undertaken by some heirs of caipira tradition as a process leading to a loss for the genre is not produced without making them assume a ambivalent position in this process.

Abstract
Many artists and music labels rely on partnerships with brands to pay for the production costs of their music videos. In exchange, the brands are featured in those videos. To enhance the transparency of these embedded forms of advertising, sponsorship disclosures are required. However, it remains unknown what the content of these disclosures in music videos should be to enhance sponsor transparency for adolescents. We examined how disclosure type affected adolescents' conceptual and attitudinal persuasion knowledge. In addition, effects on responses toward the brand, music video, and artist were examined. An experiment (N = 279, ages 14–17) showed that none of the tested disclosures enhanced adolescents' conceptual persuasion knowledge. However, disclosures explaining that the embedded brand helped pay for the production cost of the video led to lower attitudinal persuasion knowledge and, consequently, to more positive attitudes toward the brand, video, and artist, and to increased intentions to purchase the brand.

Drawing on contemporary musings and references from a variety of civic records, this article will consider music heard in the public spaces of urban England between the mid-sixteenth and mid-eighteenth centuries. Negative reactions to performers such as common fiddlers and street traders became increasingly common as the period progressed and were intimately connected both with fears concerning the crowd-gathering potential of such people and with a desire to control the sound environment to enable effective sleep, worship and concentration.

Digital technologies have redefined how people use audio media, especially for the millennial audience segment. Faced with the challenge from streaming music, many broadcast radio stations have launched their own mobile apps to compete with the new audio services such as Spotify. Guided by the uses and gratifications conceptual framework, this study employed a national survey to investigate millennials' perceptions of the substitutability and complementarity of broadcast radio, its apps, and music streaming services. The results showed that while radio listeners perceived broadcast radio and its apps as similar products, they regarded music streaming services as distinct from the two. In addition, this study examined motivators behind the diverse perceptions and identified information, escapism, entertainment, and socialization as important. The results suggest that radio stations should take advantage of the mobile technology and offer unique values through their apps, rather than duplicate the offline consumption experience.

The paper considers the representation of Turkmen music culture in
the Soviet almanac "Ayding-Gyunler" (1934) and aims to recognize the patterns of
including vernacular culture into the Soviet literary field. The analysis of the texts'
content and the archival sources, including unpublished ones, sheds a light on the
processes of incorporation of the so-called "national" culture into the Soviet context,
such as declared decolonization and an attempt to "understand the new Turkmenistan". The analysis is put into historical and cultural perspective of recognizing the
typical Turkmen traits of the music culture in the texts of the almanac. Th e archival
sources include unpublished notes on the Turkmen folklore, which is considered as
one of the sources of the writers' work. Th e texts of the almanac represent the view
of the Europeans –members of the writers' brigade who provided materials for the
almanac. The poem by Turkmen author Durdy Klych is strongly connected with
vernacular culture, but being put into the context of the almanac, it gains a new use
for the aims of the Soviet literature. The view of the Turkmen culture in the almanac
remains oriental, which dissonates with the proclaimed "deexotization" of the Soviet policy. However, further investigation into the next almanac "Turkmenistan"
should be made. It is probable that the integration continued and the view of the
writers changed according to the contemporary Soviet policy.

Crime and safety at UK music festivals is a subject of growing concern for festival management, police and festival-goers, bolstered by increasing media coverage of incidents of sexual harassment and sexual assault. To date, however, there has been limited evidence regarding festival-goers' experiences and perspectives concerning safety, particularly in relation to gender-based violence at music festivals. Using data from a mixed methods pilot study, this article presents the findings of a self-selecting survey of 450 festival-goers which asked respondents about their perceptions of safety and experiences of different crime and harms including gender-based violence at UK music festivals. The findings reveal that most respondents report feeling safe at festivals, but various personal, social and environmental factors may increase or reduce these feelings of safety, and these are gendered. Similarly, although experiences of acquisitive crime, hate crime and stalking were low and broadly similar for women and men, a third of women experienced sexual harassment and 8% experienced sexual assault – significantly higher than the reported levels among male respondents. We argue that festivals must work proactively with key stakeholders and agencies, as well as artists and patrons, to develop clear policies and initiatives to prevent sexual violence.