Relevant bibliographies by topics / Music examiners

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Music examiners'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Music examiners"

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Susino, Marco. "Examining the Examiners: Investigating IT and Music Examination Boards." Journal of Information Technology Teaching Cases 4, no. 1 (2014): 49–57. http://dx.doi.org/10.1057/jittc.2014.1.

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Ross, Valerie. "External music examiners: micro–macro tasks in quality assurance practices." Music Education Research 11, no. 4 (2009): 473–84. http://dx.doi.org/10.1080/14613800903390774.

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Southcott, Jane. "Examining Australia: The Activities of Four Examiners of the Associated Board for the Royal Schools of Music in 1923." Journal of Historical Research in Music Education 39, no. 1 (2017): 51–77. http://dx.doi.org/10.1177/1536600617709543.

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In the mid-nineteenth century, a system of music examinations was initiated in Britain that came to encompass the far-flung reaches of the British Empire. These examinations offered an internationally recognized system of professional and musical standards. For the next several decades the Associated Board of the Royal Schools of Music (ABRSM) and Trinity College London (TCL) maintained this extensive system of graded instrumental and vocal examinations across large parts of the globe, principally those countries that were part of the British Empire (later the Commonwealth). Both the ABRSM and
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Binek, Janek, Markus Sagmeister, Jan Borovicka, Matthias Knierim, Bernhard Magdeburg, and Christa Meyenberger. "Perception of Gastrointestinal Endoscopy by Patients and Examiners with and without Background Music." Digestion 68, no. 1 (2003): 5–8. http://dx.doi.org/10.1159/000073219.

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Winter, Neal. "Music Performance Assessment: A Study of the Effects of Training and Experience on the Criteria Used by Music Examiners." International Journal of Music Education os-22, no. 1 (1993): 34–39. http://dx.doi.org/10.1177/025576149302200106.

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Byrne, Charles, Raymond MacDonald, and Lana Carlton. "Assessing creativity in musical compositions: flow as an assessment tool." British Journal of Music Education 20, no. 3 (2003): 277–90. http://dx.doi.org/10.1017/s0265051703005448.

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This study was designed to examine any links between the concept of flow or optimal experience and the creative output of student compositions. The creative products of group compositions by university students (n=45) were rated for creativity and on a number of standard criteria and compared with scores obtained from Experience Sampling Forms (Csikszentmihalyi & Csikszentmihalyi, 1988) completed by each participant. A significant correlation was found between optimal experience or flow levels of students and the quality of their group compositions as measured by creativity ratings. Some i
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Sparshott, Francis, Roman Ingarden, Adam Czerniawski, and Jean G. Harrell. "Music Examined." Musical Times 128, no. 1734 (1987): 440. http://dx.doi.org/10.2307/965012.

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Ihde, Don. "Technologies—Musics—Embodiments." Janus Head 10, no. 1 (2007): 7–24. http://dx.doi.org/10.5840/jh20071012.

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Today recorded music probably accounts for the single largest category of music listening. This essay seeks to re-frame the usual understanding of the role of that type of music. Here the history and phenomenology of instrumentally mediated musics examines pre-historic instruments and their relationship to skilled, embodied performance, to innovations in technologies which produce multistable trajectories which result in different musics. The ancient relationship between the technologies of archery and that of stringed instruments is both historically and phenomenologically examined. This narr
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Rustiyanti, Sri. "Musik Internal dan Eksternal dalam Kesenian Randai." Resital: Jurnal Seni Pertunjukan 15, no. 2 (2015): 152–62. http://dx.doi.org/10.24821/resital.v15i2.849.

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Kehidupan musik pada masyarakat Minangkabau tidak terlepas adanya peranan serta fungsi yang melekat pada kesenian Randai. Melalui pendekatan etnomusikologi, tulisan ini menelaah peranan musik internal dan eksternal dalam kesenian Randai. Kesenian ini menggunakan medium seni ganda atau kolektif karena didukung oleh beberapa cabang seni antara lain tari, musik, teater, sastra, dan rupa. Hasil penelitian menunjukkan bahwa musik iringan dalam Randai terbagi menjadi dua, yaitu musik internal dan musik eksternal. Musik internal adalah musik atau bunyi-bunyian yang berasal dari anggota tubuh manusia
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Morton, Melissa. "‘Where Did That Voice Come From?’." MUSIC.OLOGY.ECA 1 (September 11, 2020): 8–25. http://dx.doi.org/10.2218/music.2020.5695.

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For the last two decades, the viewers of televised talent competitions have witnessed an intriguing phenomenon—singers with voices that fail to ‘match’ their bodies. With a particular focus on female child singers, this article explores the phenomenon of the ‘mismatched girl’. Combining theories from voice studies and musicology, the article examines the depiction of the relationship between voice and body within the talent competitions. Ultimately, mismatched girls prompt journalists, fans, and musicians alike to consider fundamental questions concerning the human voice—where do voices come f
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Dissertations / Theses on the topic "Music examiners"

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Winter, Neal, and n/a. "A study of music performance assessment : the effects of training and experience on criteria used by music examiners." University of Canberra. Education, 1991. http://erl.canberra.edu.au./public/adt-AUC20061110.163509.

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Music is both an art and a science involving emotional appreciation and intellectual understanding. When music performances are assessed, appropriate criteria should be used by examiners who appreciate the art and understand the science. This study examined the effects of training and experience on the judgements made by individuals who possessed an understanding of music performance (i.e. qualified musicians and music educators), from observations on videotape of three piano performances (by the same pianist). The thirty three participants were required to observe the videotape and complete a
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Mierowska, Jean Elaine Nora. "The ballads of Carl Loewe : examined within their cultural, human and aesthetic context." Thesis, Rhodes University, 1989. http://eprints.ru.ac.za/2310/1/MIEROWSKA-PhD(Music)-TR90-50.pdf.

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This thesis has been written in order to provide, especially for the non-German-reading musician, a fuller picture of Loewe and his ballads than has been available up to now. This picture is developed within the literary background history of the ballad poems, and the literary, mental, and musical climate at the beginning of the Romantic era; further, Loewe's life, as revealed in his many letters, his diaries, and his autobiography, provides the human context from which the ballads emerge as a logical extension of his personality. These earlier parts of the thesis have considerable bearing o
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Lehman, Patty J. "An analysis of research that examines the correlation between the study of music, overall learning success and personal well-being." Online version, 2002. http://www.uwstout.edu/lib/thesis/2002/2002lehmanp.pdf.

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Holmes, Ramona Adella. "A model of aural instruction examined in a case of fiddle teaching /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/11219.

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Ward, Megan. "When Love Cries: Popular 1980's Love Songs Examined Through Intimate Partner Violence." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1396889008.

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Schmidt, Florian [Verfasser], Birger [Akademischer Betreuer] Kollmeier, and Jesko L. [Akademischer Betreuer] Verhey. "Loudness models examined in the light of findings from loudness judgments and neural loudness correlates / Florian Schmidt ; Birger Kollmeier, Jesko L. Verhey." Oldenburg : BIS der Universität Oldenburg, 2019. http://d-nb.info/1201481341/34.

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Dumlavwalla, Diana Teresa. "Approaching the Examiner's Chair: Chronicling the Experiences of Piano Examiner Apprentices for the Royal Conservatory of Music." Thesis, 2011. http://hdl.handle.net/1807/30055.

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Examinations administered by the Royal Conservatory of Music (RCM) play a major role in the musical education of many individuals across Canada. The evaluative process needs to be a constructive one in order to ensure its positive impact on students’ musical education. Examiners who are confident and comfortable in their roles as assessors are more likely to provide this ideal environment for the students. Individuals at the dawn of their examining careers are prone to lower confidence and comfort levels due to their inexperience. Yet all music students deserve an optimal examination situation
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Books on the topic "Music examiners"

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Snigurowicz, Diana. The Musical examiner, 1842-1844. U.M.I., 1992.

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Ho, Wai-Chung. Globalization, Nationalism, and Music Education in the Twenty-First Century in Greater China. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463729932.

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Globalization, Nationalism, and Music Education in the Twenty-First Century in Greater China examines the recent developments in school education and music education in Greater China – Mainland China, Hong Kong, and Taiwan – and the relationship between, and integration of, national cultural identity and globalization in their respective school curriculums. Regardless of their common history and cultural backgrounds, in recent decades, these localities have experienced divergent political, cultural, and educational structures. Through an analysis of the literature, official curriculum document
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Slaughter, Karin. Skin Privilege. Penguin Random House, 2013.

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V, Rosenberg Neil, ed. Transforming tradition: Folk music revivals examined. University of Illinois Press, 1993.

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Rosenberg, Neil V. Transforming Tradition: FOLK MUSIC REVIVALS EXAMINED (Folklore and Society). University of Illinois Press, 1993.

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The organ question critically examined. 2nd ed. s.n.], 1985.

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Cox, Damian, and Michael Levine. Music and Ethics. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935321.013.145.

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This essay examines the relationship between music and ethics. Can music have a positive or negative role in our disposition toward, or performance of, right and wrong acts, duties, and virtues? Can it make a difference to us morally? Can musical experience make us better or worse off from a moral point of view? It is argued that although there is no necessary connection between listening to or appreciating music and one’s moral character, the contingent connections are many and various. Kivy’s critique of the character-building force of absolute music is examined and rejected. If music posses
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Bontemps, Arna. Music. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037696.003.0027.

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This chapter examines Negro music as well as musicians such as singers, instrumentalists, directors, and composers in Illinois in the late nineteenth and early twentieth centuries. It begins with a discussion of various Negro musicians in Illinois, from piano prodigy “Blind Tom” Wiggins and the Hampton Singers to the Fisk Jubilee Singers and choral groups known for singing spirituals. Among them were the Chicago Choral Study Club, one of the first to perform the works of black composer Samuel Coleridge-Taylor. The chapter also considers the emergence of organized music schools among Chicago Ne
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Greasley, Alinka E., and Helen M. Prior. Shaping popular music. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0017.

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Much of the research on musical shaping in performance focuses on western classical music. This chapter explores musical shaping from the perspectives of popular musicians. First, we examine the performer’s role in shaping music in live performance, drawing on recent survey research and existing work. Second, the roles of performer, producer and technology in shaping music in the recording studio are examined, including an investigation of how popular music recordings are shaped by technological practices. Third, we discuss ways in which popular music recordings may be used in performance, wit
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Brown, Frank Burch. Music. Edited by John Corrigan. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780195170214.003.0012.

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Music has often been regarded as the most directly emotional of the arts and the art most intimately involved with religious and spiritual life. In the endeavor to understand music's relation to emotion and religion, a variety of approaches and disciplines are relevant. There are, for example, scientific and psychological studies that can yield insight into the character of musical and emotional response, and of music's access to the affective life. Thus, multiple disciplines are pertinent, from musicology (including ethnomusicology) and history to philosophy, psychology, and various branches
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Book chapters on the topic "Music examiners"

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Evans, Mark. "Creating the Hillsong Sound: How One Church Changed Australian Christian Music." In The Hillsong Movement Examined. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-59656-3_4.

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Reagan, Wen. "“The Music That Just About Everyone Sings”: Hillsong in American Evangelical Media." In The Hillsong Movement Examined. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-59656-3_8.

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Waagen, Wenche. "Vurderingskriterier i utøvende musikk – et verktøy for pålitelig vurdering av studentenes bachelorkonsert?" In Higher Education as Context for Music Pedagogy Research. Cappelen Damm Akademisk/NOASP, 2021. http://dx.doi.org/10.23865/noasp.119.ch2.

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At the Norwegian University of Science and Technology (NTNU), Department of Music (IMU), new assessment guidelines were implemented during spring 2019, which had consequences for the assessment of bachelor concerts. The assessment guidelines offered two substantial new tools for external examiner use in summative assessment: They contained predefined assessment criteria and mark descriptions adapted to the expected learning outcome on the main instrument. In this chapter, I attempt to find out how the new tools function in practice and whether they clarify the task for the external examiners and increase transparency. A focus group interview with six examiners who used the guidelines at IMU is used to shed light on different aspects of the summative assessment. Sadler’s theory of qualitative assessment and the twin concepts of holistic and analytic assessment are used as a basis for my discussion.
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Whitmore, Aleysia K. "Setting the Scene." In World Music and the Black Atlantic. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083946.003.0002.

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Part I examines the world music industry from the points of view of European and American industry personnel (e.g., booking agents, record labels personnel, tour managers). Chapter 1 contextualizes the world music industry in the larger music and culture industries. Since its birth in 1987, world music has been a vague category. It has encompassed an enormous variety of music: traditional and folk musics, newly composed traditional musics, and vintage and contemporary popular musics. What, then, is “world music”? Where did it come from? After providing a historical overview of world music through its emergence as a genre category in the 1980s and its growth in the ’90s, the chapter examines how culture industries have, in collaboration with consumers, developed a market for, and expectations of, ethnic “others” in Europe and North America.
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"Economists Examine File Sharing and Music Sales." In Industrial Organization and the Digital Economy. The MIT Press, 2006. http://dx.doi.org/10.7551/mitpress/3740.003.0005.

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Whitmore, Aleysia K. "Cuban Music Is African Music." In World Music and the Black Atlantic. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083946.003.0004.

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Part II examines how AfroCubism and Orchestra Baobab musicians negotiate geographic, cultural, and linguistic boundaries as they mix musics across the black Atlantic and bring their music into the word music industry. In so doing, this section shows how musicians’ experiences are intertwined with the commodities they create, and that many of us consume (and critique). This chapter explores how musicians creatively combine African and Cuban musics. In bringing these musics together, musicians (re)negotiate and (re)imagine cultural, historical, political, and economic ties between Africans, Cubans, Europeans, and Americans. Their ideas conflict, diverge, and intersect as they strategically combine musics and social meanings, idealistically connect peoples and musics across the Atlantic, and pragmatically address the limits of musical mixing and collaboration.
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"Visual Music." In Advances in Multimedia and Interactive Technologies. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4627-8.ch024.

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Visual music projects involve visuals combined with music in various configurations. They may refer to the use of images, light, and sound, such as music and voice, including songs, and also haptic experiences, touch, and gesture. This chapter examines this century-old form of entertainment in terms of the technology options available in the successive decades.
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Harris, Rachel. "Memories of Music, Memories through Music." In Singing the Village. British Academy, 2004. http://dx.doi.org/10.5871/bacad/9780197262979.003.0004.

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This chapter examines the types and functions of Sibe music. It provides biographical sketches of village musicians including Ga'altu of the Anjia clan, Guo Rongxing, and a certain Shoulintai. The chapter highlights the social functions of songs and their role as vehicles of formalised expression of human relations in the Sibe community. It describes the songs and musical activities at weddings, funerals, and calendric festivals.
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Whitmore, Aleysia K. "Postlude." In World Music and the Black Atlantic. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083946.003.0008.

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The Postlude examines how musicians, industry personnel, and audiences today reflect on the history of the industry and its future. New technologies and platforms offer exciting new tools for participating in the genre culture and for addressing the issues of (mis)representation and power asymmetries that world music has been grappling with for the last thirty years. New world music 2.0 actors are redefining world music and rejecting the label altogether. However, they also confront the same challenges as their predecessors. While they denounce “old” world music, power asymmetries, self-righteous attitudes, and colonialist associations, they too find themselves negotiating which sounds to record, how to sell them, and what values and identities these musics carry with them. This chapter argues that those working in world music 1.0 and 2.0 should speak with one another—collaborate—in order to productively negotiate these issues in the context of a changing genre culture.
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Harris, Rachel. "Sibe Music." In Singing the Village. British Academy, 2004. http://dx.doi.org/10.5871/bacad/9780197262979.003.0003.

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This chapter examines the styles of song, instrumental music, and opera of the Sibe people in demonstrate aspects of change and continuity in Sibe music during their 240-year residence in Xinjiang, China. It aims to show that contrary to the conclusions of Chinese and Sibe musicologists, Sibe music in Xinjiang has undergone a great degree of change and innovation, and has been substantially influenced by other musical styles in the region. The chapter discusses existing accounts of Sibe music and comments on the approaches and agendas that underlie them.
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Conference papers on the topic "Music examiners"

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"Usage Habits in Music Streaming Applications and Their Influence on Privacy Related Issues [Research in Progress]." In InSITE 2019: Informing Science + IT Education Conferences: Jerusalem. Informing Science Institute, 2019. http://dx.doi.org/10.28945/4272.

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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In a later stage, we intend to test privacy related issues in music streaming applications and the factors that influence privacy concerns when using these services. Methodology: This is examined by using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage i
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Marx, Tobias, and Martin Lissner. "Thüringer Musikszene – Jugendmusikredaktionen als außerschulische musikbezogene Bildungskontexte." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.64.

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This contribution addresses a music editorial youth project in the context of extracurricular music education: Where and in which manner does musical education take place, particularly regarding music journalism? Opportunities for music journalism do not so much arise in schools or music schools but rather in actively used leisure time. The present study examines the motivation of participants in relation to their peers, host organisations, and project tutors. The concept of serious leisure perspective (Robert A. Stebbins) delivers the frame to discuss the results of the study.
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Thongrom, Pimpika. "The effect of Music Festivals on Perceived Destination Images." In INNODOCT 2019. Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10179.

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Music festival is one of the special event. It is a unique cultural event which continuously held on a particular place and time. It has been confirmed that music festivals can attract people to visit the destinations for instance Glastonbury, and the Fuji Rock. Various researches have explored the potential of festivals in forming destination image. It has not been yet explored a link between the music festivals and image formation of thedestination. The research aim is to examine the effect of music festivals on the perceived images of destinations. The objectives are to explore music festiv
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Jayanti, Ova, and Rosmawati Lubis. "Murottal Music on Dysmenorrhea Pain Among Students in Madrasah Aliyah Sultan Hasanudin, South Jakarta." In The 7th International Conference on Public Health 2020. Masters Program in Public Health, Universitas Sebelas Maret, 2020. http://dx.doi.org/10.26911/the7thicph.05.05.

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ABSTRACT Background: The incidence of dysmenorrhea is more than 50% among women in every country. In the United States, an average of 60% with the highest prevalence of dysmenorrhea is among adolescent girls, 15% of whom have severe dysmenorrhea. Dysmenorrhea that is not treated properly can interfere with daily activities. Non-pharmacological handling by listening to murottal music can cause the brain to emit theta waves which cause a sense of calm. This study aimed to examine the murottal music on dysmenorrhea pain among students in Madrasah Aliyah Sultan Hasanudin, South Jakarta. Subjects a
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Weinberger, Maor, and Dan Bouhnik. "The Emergence of Music Streaming Applications and Its Effect on Changes in Personal Information Management and Privacy Related Issues [Abstract]." In InSITE 2020: Informing Science + IT Education Conferences: Online. Informing Science Institute, 2020. http://dx.doi.org/10.28945/4523.

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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In addition, we explore the extent of user privacy concern in using music streaming applications. Background: This paper represents the second phase of the article titled Usage Habits in Music Streaming Applications and their Influence on Privacy Related Issues [Research in Progress] (Weinberger & Bou
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Moustgaard, Allan J., Richard W. Jones, Benny Lassen, and Rahimullah Sarban. "The Low Frequency Characteristics of Dielectric Elastomer Acoustic Actuators." In ASME 2010 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. ASMEDC, 2010. http://dx.doi.org/10.1115/smasis2010-3669.

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This contribution examines the low frequency acoustic characteristics of dielectric elastomer (DE) acoustic actuators. Both flat panel and tubular actuator geometries are investigated experimentally and compared in terms of sound level and total harmonic distortion (THD) for the frequency range of interest, 20–200 Hz. A number of operating factors are examined to determine their influence on the performance of the actuators. These include the use of a D.C. voltage bias signal as part of the applied voltage, pre-straining of the actuator and the use of a variety of mechanical bias’s on the flat
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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.

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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number
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Cornelissen, Willy, and Maurício Loureiro. "Automatic onset detection using convolutional neural networks." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10446.

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A very significant task for music research is to estimate instants when meaningful events begin (onset) and when they end (offset). Onset detection is widely applied in many fields: electrocardiograms, seismographic data, stock market results and many Music Information Research(MIR) tasks, such as Automatic Music Transcription, Rhythm Detection, Speech Recognition, etc. Automatic Onset Detection(AOD) received, recently, a huge contribution coming from Artificial Intelligence (AI) methods, mainly Machine Learning and Deep Learning. In this work, the use of Convolutional Neural Networks (CNN) is
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Tislar, Kay, Zackery Duford, Brittany Nelson, Madeline Peabody, and Myounghoon Jeon. "Examining the Learnability of Auditory Displays: Music, Earcons, Spearcons, and Lyricons." In The 24th International Conference on Auditory Display. The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.029.

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Auditory displays are a useful platform to convey information to users for a variety of reasons. The present study sought to examine the use of different types of sounds that can be used in auditory displays—music, earcons, spearcons, and lyricons—to determine which sounds have the highest learnability when presented in sequences. Participants were self-trained on sound meanings and then asked to recall meanings after listening to sequences of varying lengths. The relatedness of sounds and their attributed meanings, or the intuitiveness of the sounds, was also examined. The results show that p
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Arrington, Nancy McBride. "Examining Preservice Teachers’ Self-Efficacy for Enhancing Literacy of Diverse Learners through Music." In Third International Conference on Higher Education Advances. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5415.

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The sense of efficaciousness for teaching diverse learners was examined with twenty-four pre-service teachers concurrently enrolled in a junior-level Creative Arts methods course and a field experience course with placements in K-2 general education classrooms. The pre-service teachers participated in music and literacy activities in their university class, then planned and implemented standards-based music activities in literacy lessons with their young students. Both quantitative and qualitative data were collected, including a teacher self-efficacy scale, an attitude survey, written reflect
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Reports on the topic "Music examiners"

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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field int
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Winseck, D. Growth and Upheaval in the Network Media Economy in Canada, 1984-2019. Canadian Media Concentration Research Project (CMCRP), Carleton University, 2020. http://dx.doi.org/10.22215/cmcrp/2020.1.

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This report examines the development of the media economy over the past thirty-five years. Since beginning this project a decade ago, we have focused on analyzing a comprehensive as possible selection of the biggest telecoms, Internet and media industries (based on revenue) in Canada, including: mobile wireless and wireline telecoms; Internet access; cable, satellite & IPTV; broadcast television, specialty and pay television services as well as Internet-based video subscription and download services; radio; newspapers; magazines; music; Internet advertising; social media; operating systems
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of ce
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