Journal articles on the topic 'Pius X School of Music'

High School Volleyball Coaches Instructional Approaches and Perceptions to using Athlete Created Pre-competition Warm-up Music Research has shown psychological, psychophysical, and physical effects of music in sport (Bateman & Bale, 2009). However, music has received little attention among sport scholars. The purpose of this study was to examine high school varsity volleyball coaches' pedagogical assumptions and practices of allowing female high school volleyball teams to create and play their own pre-competition warm-up music. Eleven head coaches of female high school varsity volleyball teams who employed athlete created pre-competition warm-up music were interviewed (minimum 45 minutes). All interviews were transcribed then analyzed using open and axial coding (Corbin & Strauss, 2008). All 11 coaches believed that having athletes create and develop pre-competition music positively impacted athlete performance. Analysis further illustrated the coaches believed a connection exists between the use of music and athletic performance across three themes, increased motivation, mood, and team cohesion. Coaches interviewed in this study believed that music provided a consistent and inspirational routine. A limitation of this study is that actual performance was not measured, so future research is needed to examine the actual impact of music on athletic performance, as well as the impact of warm-up music in other sport settings.

The German composer Dieter Schnebel was born in March 1930, in Lahr, Baden. He began serious piano studies at the age of 10, and made his first attempts at composition around the end of the war, in his mid-teens. His principal music studies took place at the Musik Hochschule, Freiburg from 1949 to 1952; having encountered the music of Hindemith in 1949, he became aware of Bartók, Stravinsky and the Second Viennese School during the early 1950s, and studied at the Darmstadt Ferienkurse für Neue Musik, where he came into contact with Krenek, Varèse, Adorno, Henze, Nono and Boulez.

Although music has long had a place in the school, its position has often been precarious, relegated to odd hours and odd locations, and starved of both funds and attention. While at times music and the arts have enjoyed considerable support, these subjects are often the last ones added and the first ones cut from the curriculum. Yet, the arts have passionate advocates as well, including parents and pedagogues who support a holistic model of education that emphasizes humanistic values and aesthetics as well as utilitarian training. Still, music educators have struggled to justify their subject, often relying on extrinsic arguments to support its inclusion in the curriculum. Music, one is told, helps students raise their reading and math scores, improves their self-discipline, and builds community. Such arguments are rarely persuasive to voters concerned with eliminating expensive “frills” or to officials trying to balance tight budgets and raise test scores. Local newspapers bear witness to this struggle, as music and art programs fight to stay alive in American schools. This story, so potent today, has a long history. It dates back to the nineteenth century and the very birth of school music programs. It crosses continents, having as much currency in Europe as it does in North America. Debates over music in the schools are nothing less than debates over the meaning and purpose of education. Music is not one of the “three ‘R's.” Yet, precisely because of music's peripheral

The effects of age, gender, and musical training on preference ratings for 12 musical style categories were investigated in a sample of 278 British secondary school pupils drawn from the 11–12- and 15–16-year-old age-groups. There were no significant age x gender interactions, but a number of significant main effects were found. There was a general decline in liking with age, and this was particularly apparent for “serious” styles, although those “popular” styles for which the same effect was present showed considerably higher levels of liking at both age levels. Broadly speaking, girls expressed liking for a wider range of styles than did boys, especially “serious” ones, although this might be better expressed as a lower level of disliking. This could be attributable to girls' higher level of training a variable that was positively associated with liking for “serious” styles across the sample as a whole. The implications of these findings are discussed, and directions for further research are suggested.

The purpose of the research is to analyze difference of the results of students learning the practice of productive, that is: learning strategy between with music and without music, student who has high motivation even hard with learning process of with music and without music. Interactions between learning strategy with student learn motivation by music. This research is experiment research with factorial 2x2 designs. Population student X grade Tata Boga major tourism group of vocational high school in West Sumatra. The sample is taken by multistage random sampling. The Data is analyzed descriptively and ANAVA two way analyzed and continued by Tukey test. The findings research shows that (1) the result of student learning the practice of productive group with learning music is higher than without learning music. (2) there is interaction between processes using music with student motivation learning that giving difference influence to the productive practice student learning (3) the result of group of students learning the practice of productive who have high motivation by learning music is higher than without learning music, and (4) The result of a group of students learning the practice of productive who have low motivation with learning music is lower than without music.

Work such as that of John Cooksey on boys’ changing voices has influenced choral practice in the USA and in certain UK youth choirs, but has hitherto had little impact in UK schools where many teachers continue to believe that boys’ voices ‘break’. Different practices are found across the independent and maintained sectors of secondary education. The former draws on the choral tradition associated with cathedral music. The latter tends, with notable exceptions, to subscribe to the populist media view that ‘boys don't sing’ or that singing by boys is individualised and the exceptional result of ‘X Factor’ style talent shows. In neither case is there much evidence of a systematic attempt to apply research findings to develop a structured programme of vocal development for boys in early adolescence. The paper examines case studies of different choral practice in schools where boys do sing, but as the result of enthusiastic teachers working in isolation rather than a systematic, research-based approach to boys’ singing development.

ResumoEste artigo analisa a recepção da música religiosa do padre José Maurício Nunes Garcia (1767-1830) no panorama da Restauração Musical Católica no Brasil. Considerado por críticos e por parte da historiografia um mito fundador da brasilidade na música, a difusão de sua obra serviu a distintos interesses ou compreensões da identidade nacional. A restauração musical se baseava em rígidas normas, sistematizadas por Pio X num motu proprio promulgado em 1903. Este documento pressupunha uma noção de universalidade fundada em referenciais culturais europeus. Questiona-se aqui que tratamento foi dispensado pela Igreja à memória musical legada por José Maurício, como os restauristas lidaram com as influências da ópera em sua obra sacra, bem como os interesses nacionais ou religiosos envolvidos em sua aceitação. Os dados foram analisados a partir dos referenciais de memória e identidade, e apontam para uma equiparação cultural com a Europa como principal argumento para a aceitação, ainda que de maneira negociada em alguns aspectos musicais.AbstractThis article analyzes the reception of the religious music by the priest José Maurício Nunes Garcia (1767-1830) in the panorama of the Catholic musical Restoration in Brazil. Regarded by critics and by a part of the historiography as a founding myth of the Brazilianness in music, the diffusion of his work served to different interests or understandings of the national identity. The musical Restoration was based on strict standards, systematized by Pius X in a motu proprio promulgated in 1903. This document presupposed a notion of universality based on European cultural references. It is questioned here what treatment the Church gave to the musical memory of José Maurício, how the restorers dealt with the influences of the opera in its sacred work, as well as the national or religious interests involved in its acceptance. The data were analyzed from the references of memory and identity, and point to a cultural equation with Europe as the main argument for acceptance, albeit in a negotiated way in some musical aspects.

This study aims to describe the use of material concept mapping by teachers to help students understand theoretically music subject. The literature review used in this research is related to the notion of school instruction; learning during a pandemic; Learning of cultures and Arts (music) according to K13; and conceptual mapping of subject matter. This research belongs to a quantitative research using a descriptive analysis approach. Based on the research results during three online learning meetings in class X-2, it can be explained that the use of concept mapping of music art subject matter by the teachers based on the concept map made on the blackboard and PowerPoint slides has encouraged an increase in student understanding especially in terms of mastering the materials. The concept mapping made by teachers and assigned to students helps students better understand the subject matter of music in a more structured and organized way. Thus, it is in accordance with the theoretical ideas of the subject matter studied.

This scientific article involves holism, anthropological and action methodological approaches. The article includes theoretical substantiations based on J.Greata's (2006) concepts of the musical activity impact on the child holistic entirety development, B.Vikmane (1995) and L.Mackevicha's (1999), Latvian preschool music scientists, conceptions about music content and A.Liduma's (2004-2016) researches in the child musicality (emotional responsiveness, musical hearing, sense of rhythm, musical memory and musical thinking, voice vocal range and singing skill) development promotion possibilities through the teacher and the child collaboration in the preschool music sessions. The empiric research analyzes the integrity of theory and practice in the music teacher pedagogical action at the integrative music session at preschool with 3-6-year-old children in x primary school at the preschool interest education. Conclusions are drawn that the child's positive attitude to his/her musicality development is promoted due to the scientifically substantiated music content accordant to the children needs, the teacher's orientation and skill to create in equality based collaboration with children.

This study aims to find out how the use of school libraries as supporting learning activities in improving economic learning outcomes. The method used in this research is qualitative methods and data collection techniques used in this study are observation, interviews, and documentation. The results of the school library research have been used by some students as well as visitors who come to read, find information, borrow books and use as a place to practice traditional music art is good enough. Students also feel comfortable when visiting the library because the condition of the room is good and clean, the books are arranged quite neatly. But the researchers found a lack of bookshelves because there are always new library materials and lack of chairs because they are often used for school purposes The book collection is quite complete, but the lack of interest of students in participating in visiting and utilizing the library. The researcher found a list of library visits and an increase in the list of economic subjects

This study aims to explain the use of the internet as a learning media in Culture and Arts (music) instruction in grade X of SMK Negeri 4 Kerinci. The research problem stems from the existence of internet facilities in the school, but the use has not been on target. This study belongs to qualitative research with a descriptive analysis approach. The object of research was the learning activity of Culture and Arts (music) by using the internet which was conducted in grade X of SMK Negeri 4 Kerinci. The research instruments were observation, interview, and document study. Meanwhile, the data were collected through documentation notes, field notes, and interview guides. Moreover, the data were analyzed by using a qualitative descriptive approach. The results of the study explain that the use of the internet as a learning media in Culture and Arts (music) instruction in grade X of SMK Negeri 4 Kerinci has resulted in inappropriate internet usage. Learning activities that should be guided more by teachers in class are often left to students for internet-facilitated learning. Due to the fact that students get assignments to seek knowledge and understanding via the internet, the teacher often do not attend the class. The teachers let students learn Culture and Arts in the classroom using the internet without teachers’ guidance. As a result, the students do their assignments improperly. The internet is mostly used by students for things which are not really related to the subject learned. This can be proven from the fact that when the teacher asks questions and gives tests at the next meeting, the students cannot answer properly and correctly.Keywords: internet used, learning of media, culture and art (music)

The development of instructional media in this paper is the development of learning media used in learning Arts and Culture class X High School in Pangururan District, Samosir Regency. The learning media developed are invincible with the syllabus in class X, namely "presentation of musical works". The objectives of this study were to: (1) develop traditional Karo music learning videos; (2) Developing Karo traditional music learning textbooks. This research uses a Research & Development or research and development approach. The development of this learning media will be used by art teachers who are members of the MGMP (subject teacher deliberation) for Cultural Arts, especially art teachers in Pangururan District, Samosir Regency. The research conducted resulted in the development of instructional media in the form of learning videos for learning traditional Karo music and textbooks for learning traditional Karo music. The learning media developed in the form of learning videos for traditional Karo music includes the technique of playing Karo traditional music which is incorporated in the kulcapi drum ensemble whose instruments consist of kulcapi, keteng-keteng, and mangkuk. The next learning media is in the form of a textbook which contains the techniques for playing the kulcapi drum in the song Piso Surit and Terang Bulan. The two learning media that have been developed help the arts and culture teachers in carrying out the ethnicity of the ethnic North Sumatra.Keywords: Development, Learning Media, Ethnicity, North Sumatra

Adolescence is a transition from childhood to adulthood which includes biological, psychological and social changes. During menstruation there will be problems or complaints such as dysmenorrhea. Meanwhile, menstrual pain (dysmenorrhea) is a physical disorder that is very prominent in women who are experiencing menstruation in the form of pain in the stomach. This study aims to determine the effect of religious music on the intensity of menstrual pain in class X adolescents at the Daarul Muttaqien II Modern Islamic boarding school, Tangerang. The research design used was a quasy-experiment with a pre and post-test design without control (self-control). Collecting data using the NRS observation sheet and pain measurement that has been tested for validity and reliability. The sample consisted of 35 respondents who were taken by consecutive sampling technique. This study showed that 68.6% of respondents had mild pain, while 31.4% of respondents had no pain. The results of the Wilcoxon statistical test showed that there were significant differences in the level of knowledge before and after religious music therapy with a value of p = 0.001 (p <0.05). This research is expected to be developed in further research and can be used as a reference by increasing the number of samples and variables as a comparison.Keywords: Effect of Music Therapy, Menstrual Pain

At the beginning of the twentieth century about one in twenty American teenagers graduated from high school; by mid century over half of them did so; and today six of seven do. Along with this expansion in graduation, the experiences of high schooling became more significant. Though diversity existed at the school level, by the interwar period most high schools offered courses in “higher” academic subjects (literature, mathematics, and ancient and foreign languages), while they gave large numbers of students a chance to practice music, drama, and other fine arts. Business leaders and educators developed programs in technical-skill training. Courses in household economics, personal hygiene, and sex and reproduction appeared as well. A few schools operated with two shifts: day and night Many maximized their capacity by rotating students between newly constructed gymnasiums, stadiums, fields, swimming pools, showers, cafeterias, laundries, machine shops, laboratories, performance halls, and libraries. Some provided up-to-date diagnostic and preventative medical and psychological services. Others developed vocational guidance. Nearly all established relationships with juvenile justice and youth custody agencies. More than any other institution, the increasingly comprehensive high schools of the twentieth-century redefined the social lives of American youths through teams, clubs, bands, and groups engaged in a long list of contests, games, performances, and other events. Early in the century extracurricular activities began to rival formal class work as the primary focus of secondary schooling. Today there is a joke told from Ohio to Texas, funny for its sad truth. Q: How do you pass a school levy? A: Put football on the chopping-block.

The existing diverse opinions of pedagogues on innate potentials and abilities stimulated carrying out of the research. The research provides characteristics correlations of potentials and abilities in musical activity. The theoretical basis is found in the verities on the essence of innate potentials and abilities by such psychologists as Rubinshtein, Teplov, Bodalev, etc, music psychologists’ (Mjasishchev and Gotsdiner etc.) verities on manifestations of giftedness and musicality levels. For promotion of pedagogically psychological means, the verities by psychologist Students, pedagogues Dekens and Vikmane are researched. The objective and subjective conditions for activating of potentials and abilities have been researched, the promotion practice of abilities has been analyzed at preschool pedagogical process in x primary school in the school year of 2013/2014.

This article aims to reveal literature as a source of pleasure to the reader, and that in addition to reading and theoretical / semantic analysis of literature texts, when in conjunction with music, can potentiate the teaching of it, in order to make it more meaningful. Therefore, it is necessary to contextualize literature teaching and discuss the importance of music in the school context; presenting proposals for this dialogue and intertextual teaching. The poetic texts "The old man of Restelo" -Luís Vaz de Camões, "Talking of the Old Man of Restelo to the astronaut" -José Saramago "and" Astronaut "-Gabriel Pensador. A qualitative research was carried out, with bibliographical support elaborated from already published materials. The literary styles and the popular song deal with different compositions, but possessing an intimate, almost complementary relation. The intertextuality between the poems and the lyrics of the music are confirmed, in a parody condition. It turns out that it can be veryeasy to like music and it will be difficult to find someone who does not enjoy a song. After these more vertical studies, it can be affirmed that the literature x music brings an inestimable wellbeing, awakening the sensitivity and creativity of the students. In the classroom, this approach can be very beneficial and lead to learning in a more sensitive, fluid and effective way.

This research try to investigate the effect of promoting self-efficacy to musical performance in a student, which had been done by explaining the student about the concept of self-efficacy, and a series of Socratic dialogue. This educational intervention was done to a junior high school student (X). Pre and post intervention measuring test were done using Pintrich and Groot’s Motivated Strategies for Learning Questionnaire (1990) that had been adapted to suit the context of music education. This study found that improving self-efficacy level in a student using Socratic Dialogue does have positive effect on musical performance and practice

In June 1944, a delegation of African-American leaders met with New York City school officials to discuss a central focus of black concern: history textbooks. That delegation reflected a broad spectrum of metropolitan Black opinion: Chaired by the radical city councilman Benjamin J. Davis, it included the publisher of theAmsterdam News—New York's major Black newspaper—as well as the bishop of the African Orthodox Church. In a joint statement, the delegates praised public schools' recent efforts to promote “intercultural education”—and to reduce “prejudice”—via drama, music, and art. Yet if history texts continued to spread lies about the past, Blacks insisted, all of these other programs would come to naught. One book described slaves as “happy”; another applauded the Ku Klux Klan for keeping “foolish Negroes” out of government. “Such passages… could well have come from the mouths of the fascist enemies of our nation,” the Black delegation warned. Even as America fought “Nazi doctrine” overseas, African Americans maintained, the country needed to purge this philosophy from history books at home.

Students are a part of the academic community at tertiary institutions. Students are faced with a variety of stressors, one of them stress facing the final project. The results of interviews with 15 level IV students who were preparing their final project, some students felt stressed with their final project. Symptoms of stress experienced are not feeling well, not eating well, sleeping poorly, headaches, difficulty concentrating. Stress experienced must be treated so as not to have a bad impact, one way to cope with stress is to use the right coping mechanism. The purpose of this study was to determine the description of the coping mechanism in Nurse’s level IV students who are facing a final project at School of Health X Bandung. This research uses quantitative descriptive research methods. The research sample used was 58 students, and sample collection techniques used total sampling techniques. Data collection uses a research instrument in the form of a questionnaire. The results showed students have a coping mechanism in the category of emotion focused coping by 50% and in the category of problem focused coping by 50%. Based on the results of the study, nurses are expected to increase their role as counselors, hold Student Activity Units in the arts,conduct further research to relate stress and more specific coping mechanisms such as listening to music and researching relationships with other factors. Keywords: Coping Mechanism, College Students

Penelitian ini bertujuan untuk mengembangkan media Macromedia Flash untuk pembelajaran membaca dan menulis Bahasa Indonesia di SMA. Kegiatan ini merupakan penelitian dan pengembangan. Subjek uji cobanya siswa kelas X Semester 2 SMA Gama Yogyakarta. Penelitian dilakukan bulan Maret-Juni 2013. Pelaksanaannya melalui 10 tahap, dari analisis kebutuhan hingga uji lapangan. Data dikumpulkan melalui kuesioner. Data kuantitatif dianalisis dengan statistika deskriptif. Data berupa saran digunakan untuk merevisi produk yang dihasilkan. Hasil penelitian ini berupa media Macromedia Flash yang berkualitas untuk pembelajaran membaca dan menulis Bahasa Indonesia SMA. Produk tersebut mencakup teks, gambar, warna, dan suara; bersifat interaktif. Isinya berupa materi pembelajaran membaca dan menulis Bahasa Indonesia SMA Kelas X Semester 2, khususnya berkenaan dengan kompetensi merangkum tabel dan menulis paragraf argumentatif berdasarkan tabel. Ketiga pakar media mengategorikan baik. Ketiga pakar pembelajaran mengategorikan sangat baik. Kedua guru mengategorikan baik. Siswa dalam uji coba kelompok besar (lapangan) mengategorikan baik. Dapat disimpulkan bahwa media ini layak dipergunakan dalam pembelajaran di SMA.Kata Kunci: media Macromedia Flash, pembelajaran membaca dan menulis, Bahasa Indonesia Developing macromedia flash media for learning reading and writing indonesian in senior high scool AbstractThe purpose of this study is to develop Macromedia Flash media as media for learning to read and write Indonesian in senior high school. This is a research and development study. The subjects of the research were grade 10 students in the second semester of SMA Gama Yogyakarta. The research was conducted from March to June 2013. The implementation covered 10 stages, of analysis needs to field testing. Data were collected through questionnaires. Quantitative data was analyzed by applying descriptive statistics. Suggestions data are used to revise the product. The research is as a Macro-media Flash-quality which has a goal for learning to read and write Indonesian in senior high school. The developed product includes media components of text, images, colors, and sounds (music); they are interactive in nature. The content of the product are the materials of learning to read and write Indonesian subject for class X semester II Gama Senior High School Yogyakarta, especially in relation to summarizing tables and writing argumentative paragraph based on table. Three media experts categorize the product as good. Three teaching and learning experts categorize it as very good. Two teachers categorize it good. Students on the testing of a large group (field) to categorize good. It can be concluded that the media is feasible to use in the learning in senior high school.Keywords: Macromedia Flash media, learning reading and writing, Indonesian

Many studies have shown a link between being competent in early mathematics and achievement in school. Early math skills have the potential to be the best predictors of later performance in reading and mathematics. Movement and songs are activities that children like, making it easier for teachers to apply mathematical concepts through this method. This study aims to develop audio-visual learning media in the form of songs with a mixture of western and traditional musical idioms, accompanied by movements that represent some of the teaching of early mathematics concepts. The stages of developing the ADDIE model are the basis for launching new learning media products related to math and art, and also planting the nation's cultural arts from an early age. These instructional media products were analyzed by experts and tested for their effectiveness through experiments on five children aged 3-4 years. The qualitative data were analyzed using transcripts of field notes and observations and interpreted in a descriptive narrative. The quantitative data were analyzed using gain score statistics. The results showed that there was a significant increase in value for early mathematical understanding of the concepts of geometry, numbers and measurement through this learning medium. The results of the effectiveness test become the final basis of reference for revision and complement the shortcomings of this learning medium. Further research can be carried out to develop other mathematical concepts through motion and song learning media, and to create experiments with a wider sample. Keywords: Early Mathematical Skills, Movement and Song Idiom Traditional, Audio-visual Learning Media References An, S. A., & Tillman, D. A. (2015). Music activities as a meaningful context for teaching elementary students mathematics: a quasi-experiment time series design with random assigned control group. 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Satu lagi, buku teologi (sosial) yang berbobot terbit! Berawal dari penelitian yang dimaksudkan untuk penyusunan disertasi pada The South East Asia Graduate School of Theology (SEAGST), 2004, Pendeta Gereja Masehi Injili di Halmahera, Julianus Mojau menyodorkannya kepada khalayak ramai di Indonesia. Argumen utama buku ini dapat diformulasikan dalam pertanyaan berikut ini: bagaimana model teologi sosial sebagaimana dihasilkan oleh tokoh-tokoh Kristen Protestan dan dokumen-dokumen yang meretas dari Persekutuan Gereja-gereja di Indonesia selama kurun waktu tiga dasawarsa, konkretnya semasa pemerintahan Orde Baru? Selama kurun waktu tersebut, Mojau mengenali tiga model teologi sosial di lingkungan Kristen Protestan, yakni teologi sosial modernisme, liberatif, dan pluralis. Ketiga model itu diuraikan dengan sangat runtut, gamblang, sistematis, kritis, berikut logika analitik yang memperlihatkan keluasan dan kedalaman wawasan penulis. Terminologi “teologi sosial” ramai dimanfaatkan dalam blantika percaturan keilmuan di lingkungan Kristen Protestan Indonesia setelah (alm.) Pendeta Eka Darmaputera, Bernard Adeney-Risakotta, Martin Lukito Sinaga, dan Th. Sumartana menggantangnya pada awal tahun 2000.Ditunjukkannyadengan sangat jelas, bahwa “praksis” yang mengawali suatu proses berteologi sudah muncul jauh sebelum angka tahun tersebut. Pada prinsipnya segala teologi adalah teologi sosial, menurut kesimpulan A.G. Hoekema, (hlm. xv), meskipun J.S. Aritonang memberikan batasan simpel dan meyakinkan, yang intinya: “Berteologi di tengah realitas sosial yang kompleks,” itulah Teologi Sosial, (hlm. xiii). Setelah Pendahuluan yang panjang (26 halaman), yang memaparkan duduk perkara dan hal ikhwal diskursus yang diusung, berturut-turut dari Bab 1 (tentang teologi sosial modernisme, hlm. 27-142), Bab 2 (tentang teologi sosial liberatif, hlm. 143-279) dan Bab 3 (teologi pluralis, hlm. 280-365), Bab 4 (retrospeksi dan prospek teologi sosial pasca Orde Baru, hlm. 366-403) penulis memperlihatkan kajian dan analisis secara kritis ketiga model kategori teologi sosial Kristen Protestan di Indonesia. Ketiga model teologi tersebut ditempatkan oleh penulis dalam babak Orde Baru Indonesia (tahun 1969-1990-an) di bawah rezim Soeharto dan dalam pertautannya dengan Islam Politik. .............. Sebagai paparan dan kajian ilmiah yang mengedepankan pandangan putera-puteri terbaik Kristen Protestan berikut dokumen-dokumen DGI/PGI, karya Mojau ini tidak mampu menyembunyikan keyakinannya bahwa kebangkitan Islam Politik hanyalah sebuah euforia artikulasi kesadaran politis-humanistis yang sedang mencari format yang cocok dalam perubahan zaman di tengah proses transisional. Justru karena itulah Gereja-gereja perlu merangkul dan membuka komunikasi serta dialog yang tulus dengan saudara-saudara penganut Islam Politik sebagai sesama yang merindukan kedamaian, kebaikan, dan keadilan. Perjuangan bersama itulah yang dimaksudkan agar politik sebagai kearifan menatalayani kehidupan bersama tercapai. Dalam pembacaan saya, buku ini sangat inspiratif, kaya dengan informasi, mengedepankan pandangan secara komprehensif tanpa menghilangkan sikap kritis dan tajam. Ini fenomenal dan monumental! Mungkin inilah satu-satunya karya yang “berani” mengritik karya T.B. Simatupang. Mojau sendiri, menurut saya, memperlihatkan diri sebagai pribadi yang memegang teguh spirit Protestan sejati, yakni selalu bersikap kritis terhadap segala bentuk deifikasi. Karya ini akan lebih baik lagi jika ada indeks nama atau masalah pada halaman-halaman akhir. Selain itu, istilah “modernisme” yang diimbuhkan pada Teologi Sosial di mata saya memiliki konotasi lain, yakni aliran modernisme yang dikecam oleh (alm.) Pius X sebagai “biang dari segala kesesatan.” Tetapi di atas segala-galanya, analisis Mojau yang tajam membuat lorong-lorong kebuntuan koeksistensi damai dan adil dengan Islam Politik dapat diurai. Dengan demikian tanda tanya pada judul buku ini terjawab dengan pasti. (A. Eddy Kristiyanto, Program Studi Ilmu Teologi, Sekolah Tinggi Filsafat Driyarkara, Jakarta).

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Teacher's abilities to understand the benefits and use of media literacy play an important role in dealing with children as digital natives. Media literacy education can be an instrument through the use of blended-learning websites to address the challenges of education in the 21st century and learning solutions during and after the Covid-19 pandemic. This study aims to figure the teacher's perspective in understanding media literacy as an instrument for implementing blended-learning in early-childhood classes. Using a qualitative approach, this study combines two types of data. Data collection involved kindergarten teachers, six people as informants who attended the interviews and twenty-six participants who filled out questionnaires. Typological data analysis was used for qualitative data as well as simple statistical analysis to calculate the percentage of teacher perspectives on questionnaires collected the pandemic. The findings show five categories from the teacher's perspective. First, about the ability to carry out website-based blended-learning and the use of technology in classrooms and distance learning is still low. It must be transformed into more creative and innovative one. Encouraging teacher awareness of the importance of media literacy education for teachers as a more effective integrated learning approach, especially in rural or remote areas, to be the second finding. Third, national action is needed to change from traditional to blended-learning culture. Fourth, the high need for strong environmental support, such as related-party policies and competency training is the most important finding in this study. Finally, the need for an increase in the ease of access to technology use from all related parties, because the biggest impact of the Covid-19 pandemic is on ECE, which is closely related to the perspective of teachers on technology. 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-Peter Hulme, Polly Pattullo, Last resorts: The cost of tourism in the Caribbean. London: Cassell/Latin America Bureau and Kingston: Ian Randle, 1996. xiii + 220 pp.-Michel-Rolph Trouillot, Édouard Glissant, Introduction à une poétique du Divers. Montréal: Presses de l'Université de Montréal, 1995. 106 pp.-Bruce King, Tejumola Olaniyan, Scars of conquest / Masks of resistance: The invention of cultural identities in African, African-American, and Caribbean drama. New York: Oxford University Press, 1995. xii + 196 pp.-Sidney W. Mintz, Raymond T. Smith, The Matrifocal family: Power, pluralism and politics. New York: Routledge, 1996. x + 236 pp.-Raymond T. Smith, Michel-Rolph Trouillot, Silencing the past: Power and the production of history. Boston: Beacon, 1995. xix + 191 pp.-Michiel Baud, Samuel Martínez, Peripheral migrants: Haitians and Dominican Republic sugar plantations. Knoxville: University of Tennessee Press, 1995. xxi + 228 pp.-Samuel Martínez, Michiel Baud, Peasants and Tobacco in the Dominican Republic, 1870-1930. Knoxville; University of Tennessee Press, 1995. x + 326 pp.-Robert C. Paquette, Aline Helg, Our rightful share: The Afro-Cuban struggle for equality, 1886-1912. Chapel Hill: University of North Carolina Press, 1995. xii + 361 pp.-Daniel C. Littlefield, Roderick A. McDonald, The economy and material culture of slaves: Goods and Chattels on the sugar plantations of Jamaica and Louisiana. Baton Rouge: Louisiana State University Press, 1993. xiv + 339 pp.-Jorge L. Chinea, Luis M. Díaz Soler, Puerto Rico: desde sus orígenes hasta el cese de la dominación española. Río Piedras: Editorial de la Universidad de Puerto Rico, 1994. xix + 758 pp.-David Buisseret, Edward E. Crain, Historic architecture in the Caribbean Islands. Gainesville: University Press of Florida, 1994. ix + 256 pp.-Hilary McD. Beckles, Mavis C. Campbell, Back to Africa. George Ross and the Maroons: From Nova Scotia to Sierra Leone. Trenton NJ: Africa World Press, 1993. xxv + 115 pp.-Sandra Burr, Gretchen Gerzina, Black London: Life before emancipation. New Brunswick NJ: Rutgers University Press, 1995. xii + 244 pp.-Carlene J. Edie, Trevor Munroe, The cold war and the Jamaican Left 1950-1955: Reopening the files. Kingston: Kingston Publishers, 1992. xii + 242 pp.-Carlene J. Edie, David Panton, Jamaica's Michael Manley: The great transformation (1972-92). Kingston: Kingston Publishers, 1993. xx + 225 pp.-Percy C. Hintzen, Cary Fraser, Ambivalent anti-colonialism: The United States and the genesis of West Indian independence, 1940-1964. Westport CT: Greenwood, 1994. vii + 233 pp.-Anthony J. Payne, Carlene J. Edie, Democracy in the Caribbean: Myths and realities. Westport CT: Praeger, 1994. xvi + 296 pp.-Alma H. Young, Jean Grugel, Politics and development in the Caribbean basin: Central America and the Caribbean in the New World Order. Bloomington: Indiana University Press, 1995. xii + 270 pp.-Alma H. Young, Douglas G. Lockhart ,The development process in small island states. London: Routledge, 1993. xv + 275 pp., David Drakakis-Smith, John Schembri (eds)-Virginia Heyer Young, José Solis, Public school reform in Puerto Rico: Sustaining colonial models of development. Westport CT: Greenwood Press, 1994. x + 171 pp.-Carolyn Cooper, Christian Habekost, Verbal Riddim: The politics and aesthetics of African-Caribbean Dub poetry. Amsterdam: Rodopi, 1993. vii + 262 pp.-Clarisse Zimra, Jaqueline Leiner, Aimé Césaire: Le terreau primordial. Tübingen: Gunter Narr Verlag, 1993. 175 pp.-Clarisse Zimra, Abiola Írélé, Aimé Césaire: Cahier d'un retour au pays natal. With introduction, commentary and notes. Abiola Írélé. Ibadan: New Horn Press, 1994. 158 pp.-Alvina Ruprecht, Stella Algoo-Baksh, Austin C. Clarke: A biography. Barbados: The Press - University of the West Indies; Toronto: ECW Press, 1994. 234 pp.-Sue N. Greene, Glyne A. Griffith, Deconstruction, imperialism and the West Indian novel. Kingston: The Press - University of the West Indies, 1996. xxiii + 147 pp.-Donald R. Hill, Peter Manuel ,Caribbean currents: Caribbean music from Rumba to Reggae. Philadelphia: Temple University Press, 1995. xi + 272 pp., Kenneth Bilby, Michael Largey (eds)-Daniel J. Crowley, Judith Bettelheim, Cuban festivals: An illustrated anthology. New York: Garland Publishing, 1993. x + 261 pp.-Judith Bettelheim, Ramón Marín, Las fiestas populares de Ponce. San Juan: Editorial de la Universidad de Puerto Rico, 1994. 277 pp.-Marijke Koning, Eric O. Ayisi, St. Eustatius: The treasure island of the Caribbean. Trenton NJ: Africa World Press, 1992. xviii + 224 pp.-Peter L. Patrick, Marcyliena Morgan, Language & the social construction of identity in Creole situations. Los Angeles: Center for Afro-American studies, UCLA, 1994. vii + 158 pp.-John McWhorter, Tonjes Veenstra, Serial verbs in Saramaccan: Predication and Creole genesis. The Hague: Holland Academic Graphic, 1996. x + 217 pp.-John McWhorter, Jacques Arends, The early stages of creolization. Amsterdam/Philadelphia: John Benjamins, 1995. xv + 297 pp.

This study aimed to explore the perceived barriers to physical activity among college students Study Design: Qualitative research design Eight focus group discussions on 67 college students aged 18-24 years (48 females, 19 males) was conducted on College premises. Data were analysed using inductive approach. Participants identified a number of obstacles to physical activity. Perceived barriers emerged from the analysis of the data addressed the different dimensions of the socio-ecological framework. The result indicated that the young adults perceived substantial amount of personal, social and environmental factors as barriers such as time constraint, tiredness, stress, family control, safety issues and much more. Understanding the barriers and overcoming the barriers at this stage will be valuable. Health professionals and researchers can use this information to design and implement interventions, strategies and policies to promote the participation in physical activity. This further can help the students to deal with those barriers and can help to instil the habit of regular physical activity in the later adult years.

Among the books on the history and theory of music written in Lithuania in the past, there are some works that have made a significant impact on the development of the Lithuanian musical culture and which, however, are quite forgotten nowadays. One of these is the handbook of Gregorian chant Choralo mokykla (The School of Plainchant) by Teodoras Brazys (1870–1930), the renowned Lithuanian priest, composer, and musicologist of the first half of the twentieth century. The handbook was published in 1926, in the early years of the restored Republic of Lithuania. However, it could still be considered as the best written methodological aid in this field. The article deals with the circumstances and the motives of writing this handbook, along with a discussion of the European context of the movement for restoration and promulgation of Gregorian chant, especially after the pontificate of Pius X and his notable motu proprio Tra le sollecitudini. It also analyses the impact of the authors that Brazys mentions himself and the works and methods used by them. In addition, the article examines the level of originality of the handbook and attempts to trace the books and handbooks that made the biggest impact on Brazys and his work.

The aim of this study was to find out an appropriate English listening materials for the Grade X students of music performing art vocational school. Sekolah Menengah Kejuruan (SMK) or Vocational School is an institution where students are prepared to be work-ready after finishing their education in specific major. Music Performing Art is one of the major provided in Indonesia’s vocational school. By the fact that listening activities are often ignored by teachers and that listening is one of the test in the National Examination, then listening activities are considered important in English learning activity. However, the finding of materials that provided for the Grade X students of Music Performing Art major at SMK Negeri 11 Medan shows that the listening materials provided in the textbook are not related to the students’ major, instead the materials are rather general and more suitable for other major. Therefore, it is needed to develop the English listening materials for the tenth grader of music performing art major. Small-Scale Research and Development (R&D) is the suitable method in developing the materials. Based on the students’ needs analysis obtained from the questionnaires which responded by 64 students and interviews which involved 4 students, the researcher found that 78.13% of the respondents assumed that the existing materials provided by the teachers are general, and further 93.75% expect a major-related English listening materials. The materials are developed by adding some musical terms, like music instruments, and topics related to musical field, like popular singer’s profile, as a step to meet the students’ needs. The experts’ validation shows that the materials are appropriate and recommended to be used. Based on the result of the study, conclusion and suggestions are directed to the English teachers in SMK Negeri 11 Medan, especially, and in other music major vocational school, generally, who are expected to provide materials which are related to the students’ major, by doing so the students might have motivation in learning English and to support their knowledge to be a professional musicians. Key words: Research and Development (R&D) method, English listening materials, Music performing art major

The aim of this study was to find out an appropriate English listening materials forthe Grade X students of music performing art vocational school. SekolahMenengah Kejuruan (SMK) or Vocational School is an institution where studentsare prepared to be work-ready after finishing their education in specific major.Music Performing Art is one of the major provided in Indonesia’s vocationalschool. By the fact that listening activities are often ignored by teachers and thatlistening is one of the test in the National Examination, then listening activities areconsidered important in English learning activity. However, the finding ofmaterials that provided for the Grade X students of Music Performing Art major atSMK Negeri 11 Medan shows that the listening materials provided in the textbookare not related to the students’ major, instead the materials are rather general andmore suitable for other major. Therefore, it is needed to develop the Englishlistening materials for the tenth grader of music performing art major. Small-ScaleResearch and Development (R&D) is the suitable method in developing thematerials. Based on the students’ needs analysis obtained from the questionnaireswhich responded by 64 students and interviews which involved 4 students, theresearcher found that 78.13% of the respondents assumed that the existingmaterials provided by the teachers are general, and further 93.75% expect amajor-related English listening materials. The materials are developed by addingsome musical terms, like music instruments, and topics related to musical field,like popular singer’s profile, as a step to meet the students’ needs. The experts’validation shows that the materials are appropriate and recommended to be used.Based on the result of the study, conclusion and suggestions are directed to theEnglish teachers in SMK Negeri 11 Medan, especially, and in other music majorvocational school, generally, who are expected to provide materials which arerelated to the students’ major, by doing so the students might have motivation inlearning English and to support their knowledge to be a professional musicians.

<p>There is growing discussion among education and government authorities on rethinking education in the 21st century. This increasing area of interest has come in response to the evolution of technology and its effect on the future needs and requirements of society. Online applications and social networking capabilities have accelerated in popularity, revealing their potential. The recognised benefits of technology for the use of music education have resulted in collaborative projects and learning and teaching that is not constricted by walls or location. Music education can be accessible to all young people through a combination of social media, blogging and interactive creative musical activities to engage students in all locations, including rural and remote areas. In this 21st century classroom, music education includes online resources, digital learning, in-school workshops, online master classes and live concert streaming where a range of musical styles are explored. This article explores the learning and teaching outcomes of <em>Project Music X</em>, an online music education project designed to fill an important gap in the provision of music education programs in regional and remote schools using a range of web 2.0 technologies. Technology in this context does not only align with the thinking of young people, but also provides a platform for students in remote and rural areas to engage with high quality music education and performance experiences that they would otherwise not have access to.</p>

Learning media always develops the following technological developments. Likewise, the media in learning is listening to Indonesian. The development of learning media is important. Adobe Flash-based media developed to facilitate lecturers and students in learning Indonesian listening skills in the Elementary School Teacher Education Study Program. Media that are designed to be interesting may not only train cognitive knowledge but also practice practical listening skills. Adobe Flash-based media for listening are designed by displaying several menus, namely the home menu, RPS (Semester Learning Plan), materials, practices, games, music, profiles, and references, as well as close menus appearing in accordance with the cross (x) to be used using the application. The hope media developed was able to assist lecturers in delivering learning material, as well as helping students learn well in the classroom and outside the classroom.

AbstractDigital storytelling blends the ancient art of storytelling with a range of contemporary tools to weave stories together with the author's narrative voice, including digital images, graphics, music and sound. Digital storytelling, as both a teaching method and a learning resource, has been applied in many innovative ways at all levels of education. Digital storytelling supports student learning and allows teachers to adopt innovative and improved teaching methods. Storytelling is a proven and popular pedagogy, while digital storytelling is relatively recent and still seldom used in the setting of early childhood education. Using a case study of a storytelling–art–science club in Jakarta, Indonesia, the researcher explored how and why digital storytelling is used in early childhood education. This club is one of the few organizations that use digital storytelling for teaching and learning programs in early childhood. Data were collected qualitatively using in-depth interviews with four teachers, document analysis, and twice-observations of storytelling activities in each session with 35 and 37 children. The collected data were analyzed using analytical memoing methods. The results indicate that teachers in this club used digital storytelling for several important reasons. They claimed that simple digital technology made storytelling more entertaining, captivating, engaging, communicative and theatrical. This study suggests that the ability of teachers to use digital technology should be enhanced; schools' information and communication technology (ICT) devices should be equipped; some funding should also be allocated by the government to modernize school equipment; while the curriculum should be tailored to meet technological developments, and provide opportunities for children to learn how to make good use of technology.

ABSTRAK Penatalaksanaan pembedahan dan komplikasi anestesi selama operasi dapat berupa pemberian farmakologi dan terapi komplementer. Terapi komplementer salah satunya adalah terapi musik alam, dengan terapi musik alam akan berdampak pula terhadap frekuensi denyut jantung. Penelitian ini bertujuan untuk mengetahui pengaruh musik alam terhadap frekuensi denyut jantung pada pasien selama operasi dengan anestesi spinal di RSUD Pandan Arang Boyolali. Penelitian menggunakan pendekatan quasy eksperiment dengan rancangan one group pre and post test design. Sampel sebanyak 48 pasien, dengan teknik purposive sampling. Data dikumpulkan melalui lembar observasi berupa Bed Side Monitor. Alat analisis yang digunakan dengan Paired Simple t-test. Hasil penelitian menunjukkan bahwa responden mayoritas usia di atas 36 tahun (41,7%), berjenis kelamin laki-laki (58,3%), berpendidikan SMA (39,6%) dan bekerja sebagai buruh yaitu sebanyak (39,6%), 2) Hasil pengukuran Frekuensi denyut jantung sebelum dilakukan pemberian terapi musik alam didapatkan data rata-rata sebesar 89,04 x/ menit.; 3) Hasil pengukuran frekuensi denyut jantung sesudah dilakukan pemberian terapi musik alam didapatkan data rata-rata sebesar 74,71 x/menit; dan 4) Ada pengaruh signifikan musik alam terhadap frekuensi denyut jantung pada pasien selama operasi dengan anestesi spinal di RSUD Pandan Arang Boyolali (p-value = 0,000 < 0,05). Kesimpulan dari penelitian adalah ada pengaruh signifikan musik alam terhadap frekuensi denyut jantung pada pasien selama operasi dengan anestesi spinal di RSUD Pandan Arang Boyolali. Penelitian ini disarankan dapat menjadi bahan pertimbangan sebagai dasar pembuatan Standar Operasional Prosedur pemberian terapi musik alam dalam membantu menstabilkan denyut jantung pasien selama operasi dengan anestesi spinal. Kata Kunci: musik alam, denyut jantung, anestesi spinal ABSTRACT The Management of surgery and anesthetic complications during operation can include the administration of pharmacological and complementary therapies. One of the latter is natural music. The natural music may have impacts on heart pulse frequency. The objective of this research is to investigate the effect of natural music therapy on the heart pulse frequency of patients during operation with spinal anesthesia at Pandan Arang Local General Hospital of Boyolali. This research used the quasi experimental method with the one group pre and post test design. Its samples consisted of 48 patients. Purposive sampling technique was used to determine the samples. The data of the research were collected through Bed Side Monitor observation sheet. They were analyzed by using the Paired Simple t-test. The results of the research are as follows: 1) In majority, 41.7% of the patients were aged above 36 years old, 58.3% of the patients were male, 39.6% of of the patients held the latest education of Senior Secondary School, and 39.6% of the patients were laborers. 2) The result of the heart pulse frequency measurement prior to the administration of the natural music therapy shows that the average frequency was 89.04 times/ minute. 3) Following the natural music therapy, the average frequency was 74.71 times /minute. 4) There was a significant effect of the natural music therapy administration on the heart pulse frequency of patients during operation with spinal anesthesia at Pandan Arang Local General Hospital of Boyolali as indicated by the p-value = 0.000 which was less than 0.05. Thus, the results of this research could be considered as a reference for the preparation of standard operating procedure of natural music administration to help stabilize the heart pulse of patients during operation with spinal anesthesia. Keywords: natural music, heart pulse, spinal anesthesia

In 1956, John Cage predicted that “in the future, records will be made from records” (Duffel, 202). Certainly, musical creativity has always involved a certain amount of appropriation and adaptation of previous works. For example, Vivaldi appropriated and adapted the “Cum sancto spiritu” fugue of Ruggieri’s Gloria (Burnett, 4; Forbes, 261). If stuck for a guitar solo on stage, Keith Richards admits that he’ll adapt Buddy Holly for his own purposes (Street, 135). Similarly, Nirvana adapted the opening riff from Killing Jokes’ “Eighties” for their song “Come as You Are”. Musical “quotation” is actively encouraged in jazz, and contemporary hip-hop would not exist if the genre’s pioneers and progenitors had not plundered and adapted existing recorded music. Sampling technologies, however, have taken musical adaptation a step further and realised Cage’s prediction. Hardware and software samplers have developed to the stage where any piece of audio can be appropriated and adapted to suit the creative impulses of the sampling musician (or samplist). The practice of sampling challenges established notions of creativity, with whole albums created with no original musical input as most would understand it—literally “records made from records.” Sample-based music is premised on adapting audio plundered from the cultural environment. This paper explores the ways in which technology is used to adapt previous recordings into new ones, and how musicians themselves have adapted to the potentials of digital technology for exploring alternative approaches to musical creativity. Sampling is frequently defined as “the process of converting an analog signal to a digital format.” While this definition remains true, it does not acknowledge the prevalence of digital media. The “analogue to digital” method of sampling requires a microphone or instrument to be recorded directly into a sampler. Digital media, however, simplifies the process. For example, a samplist can download a video from YouTube and rip the audio track for editing, slicing, and manipulation, all using software within the noiseless digital environment of the computer. Perhaps it is more prudent to describe sampling simply as the process of capturing sound. Regardless of the process, once a sound is loaded into a sampler (hardware or software) it can be replayed using a MIDI keyboard, trigger pad or sequencer. Use of the sampled sound, however, need not be a faithful rendition or clone of the original. At the most basic level of manipulation, the duration and pitch of sounds can be altered. The digital processes that are implemented into the Roland VariOS Phrase Sampler allow samplists to eliminate the pitch or melodic quality of a sampled phrase. The phrase can then be melodically redefined as the samplist sees fit: adapted to a new tempo, key signature, and context or genre. Similarly, software such as Propellerhead’s ReCycle slices drum beats into individual hits for use with a loop sampler such as Reason’s Dr Rex module. Once loaded into Dr Rex, the individual original drum sounds can be used to program a new beat divorced from the syncopation of the original drum beat. Further, the individual slices can be subjected to pitch, envelope (a component that shapes the volume of the sound over time) and filter (a component that emphasises and suppresses certain frequencies) control, thus an existing drum beat can easily be adapted to play a new rhythm at any tempo. For example, this rhythm was created from slicing up and rearranging Clyde Stubblefield’s classic break from James Brown’s “Funky Drummer”. Sonic adaptation of digital information is not necessarily confined to the auditory realm. An audio editor such as Sony’s Sound Forge is able to open any file format as raw audio. For example, a Word document or a Flash file could be opened with the data interpreted as audio. Admittedly, the majority of results obtained are harsh white noise, but there is scope for serendipitous anomalies such as a glitchy beat that can be extracted and further manipulated by audio software. Audiopaint is an additive synthesis application created by Nicolas Fournel for converting digital images into audio. Each pixel position and colour is translated into information designating frequency (pitch), amplitude (volume) and pan position in the stereo image. The user can determine which one of the three RGB channels corresponds to either of the stereo channels. Further, the oscillator for the wave form can be either the default sine wave or an existing audio file such as a drum loop can be used. The oscillator shapes the end result, responding to the dynamics of the sine wave or the audio file. Although Audiopaint labours under the same caveat as with the use of raw audio, the software can produce some interesting results. Both approaches to sound generation present results that challenge distinctions between “musical sound” and “noise”. Sampling is also a cultural practice, a relatively recent form of adaptation extending out of a time honoured creative aesthetic that borrows, quotes and appropriates from existing works to create new ones. Different fields of production, as well as different commentators, variously use terms such as “co-creative media”, “cumulative authorship”, and “derivative works” with regard to creations that to one extent or another utilise existing works in the production of new ones (Coombe; Morris; Woodmansee). The extent of the sampling may range from subtle influence to dominating significance within the new work, but the constant principle remains: an existing work is appropriated and adapted to fit the needs of the secondary creator. Proponents of what may be broadly referred to as the “free culture” movement argue that creativity and innovation inherently relies on the appropriation and adaptation of existing works (for example, see Lessig, Future of Ideas; Lessig, Free Culture; McLeod, Freedom of Expression; Vaidhyanathan). For example, Gwen Stefani’s 2004 release “Rich Girl” is based on Louchie Lou and Michie One’s 1994 single of the same title. Lou and One’s “Rich Girl”, in turn, is a reggae dance hall adaptation of “If I Were a Rich Man” from Fiddler on the Roof. Stefani’s “na na na” vocal riff shares the same melody as the “Ya ha deedle deedle, bubba bubba deedle deedle dum” riff from Fiddler on the Roof. Samantha Mumba adapted David Bowie’s “Ashes to Ashes” for her second single “Body II Body”. Similarly, Richard X adapted Tubeway Army’s “Are ‘Friends’ Electric?’ and Adina Howard’s “Freak Like Me” for a career saving single for Sugababes. Digital technologies enable and even promote the adaptation of existing works (Morris). The ease of appropriating and manipulating digital audio files has given rise to a form of music known variously as mash-up, bootleg, or bastard pop. Mash-ups are the most recent stage in a history of musical appropriation and they epitomise the sampling aesthetic. Typically produced in bedroom computer-based studios, mash-up artists use software such as Acid or Cool Edit Pro to cut up digital music files and reassemble the fragments to create new songs, arbitrarily adding self-composed parts if desired. Comprised almost exclusively from sections of captured music, mash-ups have been referred to as “fictional pop music” because they conjure up scenarios where, for example, Destiny’s Child jams in a Seattle garage with Nirvana or the Spice Girls perform with Nine Inch Nails (Petridis). Once the initial humour of the novelty has passed, the results can be deeply alluring. Mash-ups extract the distinctive characteristics of songs and place them in new, innovative contexts. As Dale Lawrence writes: “the vocals are often taken from largely reviled or ignored sources—cornball acts like Aguilera or Destiny’s Child—and recast in wildly unlikely contexts … where against all odds, they actually work”. Similarly, Crawford argues that “part of the art is to combine the greatest possible aesthetic dissonance with the maximum musical harmony. The pleasure for listeners is in discovering unlikely artistic complementarities and revisiting their musical memories in mutated forms” (36). Sometimes the adaptation works in the favour of the sampled artist: George Clinton claims that because of sampling he is more popular now than in 1976—“the sampling made us big again” (Green). The creative aspect of mash-ups is unlike that usually associated with musical composition and has more in common with DJing. In an effort to further clarify this aspect, we may regard DJ mixes as “mash-ups on the fly.” When Grandmaster Flash recorded his quilt-pop masterpiece, “Adventures of Grandmaster Flash on the Wheels of Steel,” it was recorded while he performed live, demonstrating his precision and skill with turntables. Modern audio editing software facilitates the capture and storage of sound, allowing mash-up artists to manipulate sounds bytes outside of “real-time” and the live performance parameters within which Flash worked. Thus, the creative element is not the traditional arrangement of chords and parts, but rather “audio contexts”. If, as Riley pessimistically suggests, “there are no new chords to be played, there are no new song structures to be developed, there are no new stories to be told, and there are no new themes to explore,” then perhaps it is understandable that artists have searched for new forms of musical creativity. The notes and chords of mash-ups are segments of existing works sequenced together to produce inter-layered contexts rather than purely tonal patterns. The merit of mash-up culture lies in its function of deconstructing the boundaries of genre and providing new musical possibilities. The process of mashing-up genres functions to critique contemporary music culture by “pointing a finger at how stifled and obvious the current musical landscape has become. … Suddenly rap doesn’t have to be set to predictable funk beats, pop/R&B ballads don’t have to come wrapped in cheese, garage melodies don’t have to recycle the Ramones” (Lawrence). According to Theodor Adorno, the Frankfurt School critic, popular music (of his time) was irretrievably simplistic and constructed from easily interchangeable, modular components (McLeod, “Confessions”, 86). A standardised and repetitive approach to musical composition fosters a mode of consumption dubbed by Adorno “quotation listening” and characterised by passive acceptance of, and obsession with, a song’s riffs (44-5). As noted by Em McAvan, Adorno’s analysis elevates the producer over the consumer, portraying a culture industry controlling a passive audience through standardised products (McAvan). The characteristics that Adorno observed in the popular music of his time are classic traits of contemporary popular music. Mash-up artists, however, are not representative of Adorno’s producers for a passive audience, instead opting to wrest creative control from composers and the recording industry and adapt existing songs in pursuit of their own creative impulses. Although mash-up productions may consciously or unconsciously criticise the current state of popular music, they necessarily exist in creative symbiosis with the commercial genres: “if pop songs weren’t simple and formulaic, it would be much harder for mashup bedroom auteurs to do their job” (McLeod, “Confessions”, 86). Arguably, when creating mash-ups, some individuals are expressing their dissatisfaction with the stagnation of the pop industry and are instead working to create music that they as consumers wish to hear. Sample-based music—as an exercise in adaptation—encourages a Foucauldian questioning of the composer’s authority over their musical texts. Recorded music is typically a passive medium in which the consumer receives the music in its original, unaltered form. DJ Dangermouse (Brian Burton) breached this pact to create his Grey Album, which is a mash-up of an a cappella version of Jay-Z’s Black Album and the Beatles’ eponymous album (also known as the White Album). Dangermouse says that “every kick, snare, and chord is taken from the Beatles White Album and is in their original recording somewhere.” In deconstructing the Beatles’ songs, Dangermouse turned the recordings into a palette for creating his own new work, adapting audio fragments to suit his creative impulses. As Joanna Demers writes, “refashioning these sounds and reorganising them into new sonic phrases and sentences, he creates acoustic mosaics that in most instances are still traceable to the Beatles source, yet are unmistakeably distinct from it” (139-40). Dangermouse’s approach is symptomatic of what Schütze refers to as remix culture: an open challenge to a culture predicated on exclusive ownership, authorship, and controlled distribution … . Against ownership it upholds an ethic of creative borrowing and sharing. Against the original it holds out an open process of recombination and creative transformation. It equally calls into question the categories, rifts and borders between high and low cultures, pop and elitist art practices, as well as blurring lines between artistic disciplines. Using just a laptop, an audio editor and a calculator, Gregg Gillis, a.k.a. Girl Talk, created the Night Ripper album using samples from 167 artists (Dombale). Although all the songs on Night Ripper are blatantly sampled-based, Gillis sees his creations as “original things” (Dombale). The adaptation of sampled fragments culled from the Top 40 is part of Gillis’ creative process: “It’s not about who created this source originally, it’s about recontextualising—creating new music. … I’ve always tried to make my own songs” (Dombale). Gillis states that his music has no political message, but is a reflection of his enthusiasm for pop music: “It’s a celebration of everything Top 40, that’s the point” (Dombale). Gillis’ “celebratory” exercises in creativity echo those of various fan-fiction authors who celebrate the characters and worlds that constitute popular culture. Adaptation through sampling is not always centred solely on music. Sydney-based Tom Compagnoni, a.k.a. Wax Audio, adapted a variety of sound bytes from politicians and media personalities including George W. Bush, Alexander Downer, Alan Jones, Ray Hadley, and John Howard in the creation of his Mediacracy E.P.. In one particular instance, Compagnoni used a myriad of samples culled from various media appearances by George W. Bush to recreate the vocals for John Lennon’s Imagine. Created in early 2005, the track, which features speeded-up instrumental samples from a karaoke version of Lennon’s original, is an immediate irony fuelled comment on the invasion of Iraq. The rationale underpinning the song is further emphasised when “Imagine This” reprises into “Let’s Give Peace a Chance” interspersed with short vocal fragments of “Come Together”. Compagnoni justifies his adaptations by presenting appropriated media sound bytes that deliberately set out to demonstrate the way information is manipulated to present any particular point of view. Playing the media like an instrument, Wax Audio juxtaposes found sounds in a way that forces the listener to confront the bias, contradiction and sensationalism inherent in their daily intake of media information. … Oh yeah—and it’s bloody funny hearing George W Bush sing “Imagine”. Notwithstanding the humorous quality of the songs, Mediacracy represents a creative outlet for Compagnoni’s political opinions that is emphasised by the adaptation of Lennon’s song. Through his adaptation, Compagnoni revitalises Lennon’s sentiments about the Vietnam War and superimposes them onto the US policy on Iraq. An interesting aspect of sampled-based music is the re-occurrence of particular samples across various productions, which demonstrates that the same fragment can be adapted for a plethora of musical contexts. For example, Clyde Stubblefield’s “Funky Drummer” break is reputed to be the most sampled break in the world. The break from 1960s soul/funk band the Winstons’ “Amen Brother” (the B-side to their 1969 release “Color Him Father”), however, is another candidate for the title of “most sampled break”. The “Amen break” was revived with the advent of the sampler. Having featured heavily in early hip-hop records such as “Words of Wisdom” by Third Base and “Straight Out of Compton” by NWA, the break “appears quite adaptable to a range of music genres and tastes” (Harrison, 9m 46s). Beginning in the early 1990s, adaptations of this break became a constant of jungle music as sampling technology developed to facilitate more complex operations (Harrison, 5m 52s). The break features on Shy FX’s “Original Nutta”, L Double & Younghead’s “New Style”, Squarepusher’s “Big Acid”, and a cover version of Led Zepplin’s “Whole Lotta Love” by Jane’s Addiction front man Perry Farrell. This is to name but a few tracks that have adapted the break. Wikipedia offers a list of songs employing an adaptation of the “Amen break”. This list, however, falls short of the “hundreds of tracks” argued for by Nate Harrison, who notes that “an entire subculture based on this one drum loop … six seconds from 1969” has developed (8m 45s). The “Amen break” is so ubiquitous that, much like the twelve bar blues structure, it has become a foundational element of an entire genre and has been adapted to satisfy a plethora of creative impulses. The sheer prevalence of the “Amen break” simultaneously illustrates the creative nature of music adaptation as well as the potentials for adaptation stemming from digital technology such as the sampler. The cut-up and rearrangement aspect of creative sampling technology at once suggests the original but also something new and different. Sampling in general, and the phenomenon of the “Amen break” in particular, ensures the longevity of the original sources; sampled-based music exhibits characteristics acquired from the source materials, yet the illegitimate offspring are not their parents. Sampling as a technology for creatively adapting existing forms of audio has encouraged alternative approaches to musical composition. Further, it has given rise to a new breed of musician that has adapted to technologies of adaptation. Mash-up artists and samplists demonstrate that recorded music is not simply a fixed or read-only product but one that can be freed from the composer’s original arrangement to be adapted and reconfigured. Many mash-up artists such as Gregg Gillis are not trained musicians, but their ears are honed from enthusiastic consumption of music. Individuals such as DJ Dangermouse, Gregg Gillis and Tom Compagnoni appropriate, reshape and re-present the surrounding soundscape to suit diverse creative urges, thereby adapting the passive medium of recorded sound into an active production tool. References Adorno, Theodor. “On the Fetish Character in Music and the Regression of Listening.” The Culture Industry: Selected Essays on Mass Culture. Ed. J. Bernstein. London, New York: Routledge, 1991. Burnett, Henry. “Ruggieri and Vivaldi: Two Venetian Gloria Settings.” American Choral Review 30 (1988): 3. Compagnoni, Tom. “Wax Audio: Mediacracy.” Wax Audio. 2005. 2 Apr. 2007 http://www.waxaudio.com.au/downloads/mediacracy>. Coombe, Rosemary. The Cultural Life of Intellectual Properties. Durham, London: Duke University Press, 1998. Demers, Joanna. Steal This Music: How Intellectual Property Law Affects Musical Creativity. Athens, London: University of Georgia Press, 2006. Dombale, Ryan. “Interview: Girl Talk.” Pitchfork. 2006. 9 Jan. 2007 http://www.pitchforkmedia.com/article/feature/37785/Interview_Interview_Girl_Talk>. Duffel, Daniel. Making Music with Samples. San Francisco: Backbeat Books, 2005. Forbes, Anne-Marie. “A Venetian Festal Gloria: Antonio Lotti’s Gloria in D Major.” Music Research: New Directions for a New Century. Eds. M. Ewans, R. Halton, and J. Phillips. London: Cambridge Scholars Press, 2004. Green, Robert. “George Clinton: Ambassador from the Mothership.” Synthesis. Undated. 15 Sep. 2005 http://www.synthesis.net/music/story.php?type=story&id=70>. Harrison, Nate. “Can I Get an Amen?” Nate Harrison. 2004. 8 Jan. 2007 http://www.nkhstudio.com>. Lawrence, Dale. “On Mashups.” Nuvo. 2002. 8 Jan. 2007 http://www.nuvo.net/articles/article_292/>. Lessig, Lawrence. The Future of Ideas. New York: Random House, 2001. ———. Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity. New York: The Penguin Press, 2004. McAvan, Em. “Boulevard of Broken Songs: Mash-Ups as Textual Re-Appropriation of Popular Music Culture.” M/C Journal 9.6 (2006) 3 Apr. 2007 http://journal.media-culture.org.au/0612/02-mcavan.php>. McLeod, Kembrew. “Confessions of an Intellectual (Property): Danger Mouse, Mickey Mouse, Sonny Bono, and My Long and Winding Path as a Copyright Activist-Academic.” Popular Music & Society 28.79. ———. Freedom of Expression: Overzealous Copyright Bozos and Other Enemies of Creativity. United States: Doubleday Books. Morris, Sue. “Co-Creative Media: Online Multiplayer Computer Game Culture.” Scan 1.1 (2004). 8 Jan. 2007 http://scan.net.au/scan/journal/display_article.php?recordID=16>. Petridis, Alexis. “Pop Will Eat Itself.” The Guardian UK. March 2003. 8 Jan. 2007 http://www.guardian.co.uk/arts/critic/feature/0,1169,922797,00.html>. Riley. “Pop Will Eat Itself—Or Will It?”. The Truth Unknown (archived at Archive.org). 2003. 9 Jan. 2007 http://web.archive.org/web/20030624154252 /www.thetruthunknown.com/viewnews.asp?articleid=79>. Schütze, Bernard. “Samples from the Heap: Notes on Recycling the Detritus of a Remixed Culture”. Horizon Zero 2003. 8 Jan. 2007 http://www.horizonzero.ca/textsite/remix.php?tlang=0&is=8&file=5>. Vaidhyanathan, Siva. Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity. New York, London: New York University Press, 2003. Woodmansee, Martha. “On the Author Effect: Recovering Collectivity.” The Construction of Authorship: Textual Appropriation in Law and Literature. Eds. M. Woodmansee, P. Jaszi and P. Durham; London: Duke University Press, 1994. 15. Citation reference for this article MLA Style Collins, Steve. "Amen to That: Sampling and Adapting the Past." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/09-collins.php>. APA Style Collins, S. (May 2007) "Amen to That: Sampling and Adapting the Past," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/09-collins.php>.

"(W)hen you look at the historic angle of what’s going on, DJ culture is the future, everything is a mix. Whether it’s video, electronic shit, studio shit, painting, you name it, the psychology is in place. It’s the DJ." – Paul D. Miller, AKA DJ Spooky, qtd. in Tobin "Turn it up! Bring the noise." – Public Enemy, "Bring the Noise "Turn down that damned noise!!!" Thus began the nightly negotiation with my father during my adolescence — him firmly rooted in his recliner as he stared at the television, me locked in my bedroom, fingers nudging the stereo knobs to experiment with acceptable volumes. It was never, "turn down the music," or "lower that Boogie Down Productions album," it was always, "turn down that damned noise!!!" I hear his words echoed daily in the attitudes of many of the pre-service teachers that I work with as they navigate the tumultuous maelstrom of education in postmodern culture. Perhaps my students merely reveal legacies of their own educational experiences, or perhaps they embody the transitional dissonance of an epochal shift. Regardless of the "origin" of their discomfort, they seem to turn to those of us engaged in preparing them as teachers to sanitise the "mess" they encounter in schools. They desire Skinnerian behaviorist reductionism (if "x" then "y"). They seek to tame the "noise" of the extraordinarily complex endeavor of teaching and learning. I fiddle with the volume knob of my own teaching, crank it up, and offer them hip hop pedagogies.1 By hip hop pedagogies I do not mean simply the inclusion of hip hop culture (e.g., DJing, rapping, graffiti art, dancing) as objects of study in the classroom, although these are indeed worthwhile curricular considerations. Instead of dominant modes of schooling which are informed by a factory model of efficiency and knowledge transmission (Adams et al.), I suggest a fundamental reorientation to pedagogies guided by the aesthetics of hip hop culture, particularly the power of recombinant textuality embodied in hip hop’s "noisy mix." Dick Hebdige locates the origins, as diffuse as they are, of hip hop music in the fundamental nature of the mix, noting that "(r)ap is DJ (disc jockey) and MC (Master of Ceremonies or Microphone Controller) music . . . (I)t relies on pre-recorded sounds. . . . The hip hoppers "stole" music off air and cut it up. Then they broke it down into its component parts and remixed it on tape" (141). Paul Miller identifies the possibilities inherent in such processes: DJ culture – urban youth culture – is all about recombinant potential. It has as a central feature a eugenics of the imagination. Each and every source is fragmented and bereft of prior meaning – kind of like a future without a past. The samples are given meaning only when re-presented in the assemblage of the mix (7) In hip hop, mixing occurs within discursive realities of "noise." Tricia Rose notes that the "sonic power" of hip hop, with its "distinctive bass-heavy, enveloping sound does not rest outside of its musical and social power" (63). She summarizes the significance of this sonic barrage: "Noise" on the one hand and communal countermemory on the other, rap music conjures and razes in one stroke. Rap's rhythms . . . are its most powerful effect. Rap's primary focus is sonic . . . Rap music centers on the quality and nature of rhythm and sound, the lowest, "fattest beats" being the most significant and emotionally charged . . . The arrangement and selection of sounds rap musicians have invented via samples, turntables, tape machines, and sound systems are at once deconstructive (in that they actually take apart recorded musical compositions) and recuperative (because they recontextualise these elements creating new meanings for cultural sounds that have been relegated to commercial wastebins) . . . (64-65 Herein lies one of the most transformative possibilities of hip hop pedagogies – the model it offers as a recombinant text, as a mix. Miller explains: It is in this singularly improvisational role of "recombiner" that the DJ creates what I like to call a "post symbolic mood sculpture," or the mix; a disembodied and transient text . . . The implications of this style of creating art are three fold: 1) by its very nature it critiques the entire idea of intellectual property and copyright law, 2) it reifies a communal art value structure in contrast to most forms of art in late capitalist social contexts, 3) it interfaces communications technology in a manner that anthropomorphisizes it. (12-13 If we were to begin thinking of our classrooms/schools as a mix, as recombinant, fluid texts where the copyrighting privilege of authority in the guise of "teacher" is challenged, where the entire process of teaching and learning becomes communal, and where human/technological cyborgs are valued, we can see how hip hop pedagogies might be transformative. The classroom might become, in my favorite image of postmodern education that William Doll borrows from Milan Kundera and Richard Rorty, a "fascinating imaginative realm where no one owns the truth and everyone has the right to be understood" (151). Such pedagogical orientations toward the mix invite students to reject modernist attempts to channel and control learning – to "school" the body and mind. Instead, as Potter notes, "hip-hop aims for a world made hole, aporic, fracturing the fragmented, graffiti on graffiti" (8, emphasis in original). Instead of the master narratives of modernity, it "offers us a model . . . as it produces knowledge in the active consumption of the everyday materials the world makes available . . . it is a work which instructs in its process, indeed, by its process" (Block 339). Is this not a better way to envision our work in schools, which Pinar et al. see as ultimately an engagement with larger conversations of what it means to prepare the next generation (847)? Such mixing infuses life into pedagogies as meanings are reassembled, and acknowledges a "new paradigm" that does "not necessarily require new data, but rather (is) characterized by clever and substantively different ways of recasting what we already know" (Samples 187). "The previous meanings," Miller concludes, are "corralled into a space where the differences in time, place, and culture, are collapsed to create a recombinant text or autonomous zone of expression" (14). Hip hop pedagogies offer such "zones" of hybrid selves, hybrid cultures, and hybrid conversations that are recombined continually through collisions with cultures, histories, and technologies. So that’s the noisy mix I share with my students as most salient to postmodern education – cacophonous, turbulent, and sure to infuriate my father, even now. Notes 1. I follow Gore in her use of the plural form of pedagogy: "(Pedagogies) use is important to signify the multiple approaches and practices that fall under the pedagogy umbrella" whereas "rely(ing) on the singular form is to imply greater unity and coherence than is warranted" (7). References Adams, Natalie et al. Learning to Teach: A Critical Approach to Field Experiences. Mahwah, N.J.: Lawrence Erlbaum, 1998. Block. Alan. (1998). "Curriculum as Affichiste: Popular Culture and Identity." Curriculum: Toward New Identities. Ed. William F. Pinar. New York: Garland, 325-341. Doll, William E., Jr. A Postmodern Perspective on Curriculum. New York: Teachers College, 1993. Gore, J. The Struggle for Pedagogies: Critical and Feminist Discourses as Regimes of Truth. New York: Routledge, 1993. Hebdige, Dick. Cut-n-Mix: Culture, Identity and Caribbean Music. London: Methuen, 1987. Miller, Paul D. "Flow My Blood the DJ Said." Liner notes from Song of a Dead Dreamer. New York: Asphodel, 1995. Pinar, William F. et al. Understanding Curriculum: An Introduction to the Study of Historical and Contemporary Curriculum Discourses. New York: Peter Lang, 1995. Potter Russell A. Spectacular Vernaculars: Hip-Hop and the Politics of Postmodernism. Albany: SUNY, 1995. Public Enemy. It Takes A Nation Of Millions To Hold Us Back. New York: Def Jam Recordings, 1988. Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Hanover, N.H.: UP of New England, 1994. Samples, Bob. "Learning as Transformation." Education, Information, and Transformation: Essays on Learning and Thinking. Ed. Jeffrey Kane. Upper Saddle River, N.J.: Merrill, 1999. Tobin, Sam. "Permutations: A Conversation with Paul D. Miller, AKA DJ Spooky." Digress Magazine. [12, March 2001].<http://www.digressmagazine.com/1spooky.php>

Cut In 1964, William S. Burroughs' Nova Express is published. Part of the trilogy of books Burroughs wrote in the early 1960s (The Soft Cell and The Ticket That Exploded are the other two), Nova Express explores the problems that technology creates in the information age; and the ways in which language and thought have come under the influence of mass media. The book begins with a broad declaration against consumerism and corporate control: Listen all you boards syndicates and governments of the earth. And you powers behind what filth deals consummated in what lavatory to take what is not yours. To sell the ground from unborn feet forever - "For God's sake don't let that Coca-Cola thing out -" (Nova Express 3) Rather than opt for conventional narrative as a means of uncovering the problems ideology brings with media-driven mass consumption, in the early '60s, Burroughs develops a method of writing he calls "the cut-up". The cut-up method entails taking a page of writing (a newspaper, a poem, a novel, an advertisement, a speech) and cutting it down the middle twice so that four sections remain. One then rearranges the sections in random order to create a new page. Variations of the four section cut are permissible and can lead to further juxtapositions. The purpose of the cut-up is to disclose ideological positions within media, to recontextualise the language of media often taken for granted as natural and not as a socially and economically constructed act. Information has become addictive, Burroughs says, invoking the junkie as a metaphor for mass consumption. Its addictive state leads to hallucinations, distortions of what is real and what is illusion; what do we need to live, and what do we buy for mere consumption. The scanning pattern we accept as "reality" has been imposed by the controlling power on this planet, a power primarily oriented towards total control - In order to retain control they have moved to monopolize and deactivate the hallucinogen drugs by effecting noxious alternations on a molecular level. (Nova Express 53) The cut-up provides a means to combat the "junky" in us all by revealing the powers of technology. In the end, the cut-up leads to a collagist practice of juxtaposition. As Burroughs and collaborator Byron Gysin explained in a later work, The cut-up method brings to writers the collage, which has been used by painters for fifty years. And used by the moving and still camera. In fact all street shots from movie or still cameras are by the unpredictable factors of passersby and juxtaposition cut-ups (Burroughs and Gysin 29). Through its structure, Nova Express is a lesson in making cut-ups, a demonstration of how power might be undermined in the digital age. Paste In 1964, the Center for Contemporary Cultural Studies at Birmingham began. Influenced by Raymond Williams' 1958 Culture and Society, the Birmingham School legitimized the reading of popular culture as a means to uncovering dominant ideologies and power structures within institutional systems. In particular, the center proposed structuring scholasticism so that the study of media texts would allow for the questioning of social and political practices. The Birmingham school advised that curriculae supplement their agendas with the question of class; the complex relationships between power, which is an easier term to establish in the discourses of culture than exploitation, and exploitation; the question of a general theory which could, in a critical way, connect together in a critical reflection different domains of life, politics, and theory, theory and practice, economic, political ideological questions, and so on; the notion of critical knowledge itself and the production of critical knowledge as a practice. (Hall 279) One of the Birmingham School's first works was Stuart Hall and Paddy Whannel's Popular Arts, which searched out ways to teach media. In particular, Hall and Whannel viewed popular culture as a place to teach the power of ideology. There is, in fact, a growing recognition that the media of mass communication play such a significant role in society, and especially in the lives of young people, that the school must embrace the study of their organization, content, and impact. But there is little agreement about how such studies should be carried out. Just what shall be studied? With what precise purpose? In what relationship to the established subjects? Ultimately the answer will depend upon our attitude towards these media, our social thinking about the kind of society in which they wield their influence and, in particular, our response to the things the media offer - individual films, television programmes, popular songs, etc. (Hall and Whannel 21) Today, the Birmingham School is recognised as the beginning of contemporary cultural studies. It answers Hall and Whannel by using texts from popular culture to uncover the semiotic cultural codes that make up popular discourse. These methods shed light on how supposedly naturally constructed messages contain deeper meanings and purposes. Mix In 1964, DJ Alan Freed was convicted of tax evasion as a result of his involvement in the payola record business scandal of 1962. Considered one of the first rock and roll DJs, Freed is often credited for breaking ‘50s racial barriers by playing African-American music on the airwaves and hosting largely attended African-American dances and concerts. Even though Freed didn't invent the phrase "rock and roll," he credited himself with the term's introduction into music vocabulary, a myth-making act with far reaching implications. As critic Nick Tosch writes: "Though he was certainly not the first who had done so; he was only the most influential of those who had - Freed [had] rinsed the Dixie Peach from its image, rendering it more agreeable to the palate of a greater public" (Tosch 9). In the same year of Freed's conviction, another legendary DJ, Murray the K, found fame again by following the Beatles around on their 1964 North American tour. Murray the K had been popular in the late '50s for "his wild stammering of syllables, fragments of words, black slang, and meaningless, rhythmical burbling" to make transitions between songs (Poschardt 75). Mass copying of Murray the K's DJ stylings led to his redundancy. When New Journalist Tom Wolfe rediscovered the DJ tagging along with the Beatles, he became intrigued, describing him as "the original hysterical disk jockey": Murray the K doesn't operate on Aristotelian logic. He operates on symbolic logic. He builds up an atmosphere of breathless jollification, comic hysteria, and turns it up to a pitch so high it can hypnotize kids and keep them frozen. (Wolfe 34) While Freed introduced African-American culture to mainstream music, Murray the K's DJing worked from a symbolic logic of appropriation: sampled sounds, bits and pieces of eccentric outtakes used as vehicles to move from song to song. Both Freed and Murray the K, however, conceived the idea of the DJ as more than a spinner of records. They envisioned the DJ as a form of media, a myth maker, a composer of ideas through sounds and politics. In a sense, they saw their work as disseminating social commentary on '60s racial politics and ideology, working from a fairly new innovation: the rock and roll record. Their DJ work became the model for contemporary hip hop artists. Instead of considering isolated train whistles or glass crashing (the technique of Murray the K) as sources for sampling, contemporary DJs and digital samplers cut and paste fragments from the history of popular music in order to compose new works, compositions which function as vehicles of cultural critique. Groups like Public Enemy and The Roots utilise their record collections to make political statements on drug usage, economic problems within the African-American community, and racism. For Tricia Rose, these artists are the cultural studies writers of the digital age. "Rappers are constantly taking dominant discursive fragments and throwing them into relief, destabilizing hegemonic discourses and attempting to legitimate counterhegemonic interpretations." (Rose 102) Remix The juxtaposition of these three events in 1964 marks an interesting place to consider the potential for new media and cultural studies. Such a juxtaposition answers the calls of Lawrence Grossberg, Cary Nelson, and Paula Treichler in their introduction to Cultural Studies, a collection of essays from the 1970s and 1980s. The editors suggest that cultural studies can be thought of, in some ways, as a collagist practice. The methodology of cultural studies provides an equally uneasy marker, for cultural studies in fact has no distinct methodology, no unique statistical, ethnomethodological, or textual analysis to call its own. Its methodology, ambiguous from the beginning, could best be seen as a bricolage. (2) For these editors, "Cultural studies needs to remain open to unexpected, unimagined, even uninvited possibilities" (3). To consider cultural studies from the perspective of 1964 is to evoke the unexpected, the unimagined, and the uninvited. It is to resituate the demands of cultural study within the context of new media - the legacy of Burroughs' cut-up reborn in the digital sampler. In response to the editors of Cultural Studies, I propose the practice of temporal juxtaposition as a way of critical writing. My initial juxtaposition of 1964 asserts that to teach such a practice, one must teach cutting and mixing. The Break The break, as a DJ method, is "any short captured sound whatsoever" (Eshun 14). The break motivates digital sampling; it provides the points from which samplers appropriate past works into their own: "Break beats are points of rupture in their former contexts, points at which the thematic elements of a musical piece are suspended and the underlying rhythms brought center stage. In the early stages of rap, these break beats formed the core of rap DJs' mixing strategies" (Rose 73-74). Breaks are determined by how DJs produce cuts in previously recorded music. "The cut is a command, a technical and conceptual operation which cuts the lines of association" (Eshun 16). For William Burroughs, cuts create shock in readers; they are tools for destroying ideology. "Once machine lines are cut, the enemy is helpless" (Ticket That Exploded 111). In Nova Express, Burroughs issues the command, "Cut word lines" (62). And in Naked Lunch, the cut provides a set of reading instructions, a way for readers to uncover Burroughs' own ideological positions. You can cut into Naked Lunch at any intersection point . . . I have written many prefaces. . . Naked Lunch is a blueprint, a How-To Book. (Naked Lunch 224 For Roland Barthes, a major influence on the founding of the Birmingham School, the How-To functioned as a place for cultural critique. Barthes felt that semiotic analysis could break ideological positions constructed in popular culture. Barthes used the How-To as one example of what he called mythologies, items of popular culture assumed to be natural but latent with ideological meanings. He treated the how-to tourist guide (how to enjoy yourself on vacation) as one such place for further analysis. The good natured image of "the writer on holiday" is therefore no more than one of these cunning mystifications which the Establishment practices the better to enslave its writers. (Barthes 30) Mythologies has inspired contemporary cultural studies. Dick Hebdige states that through Barthes' work, "It was hoped that the invisible temporary seam between language, experience and reality could be located and prised open through a semiotic analysis" (Hebdige 10). My juxtapositions of 1964, however, tell me that the How-To for cultural studies is cutting and pasting, not hermeneutical or semiotic analysis (i.e. What does this mean? What do these codes reveal?), which have long been cultural studies' focus. 1964 updates cultural studies practices by reinventing its methods of inquiry. 1964 forces academic study to ask: How would a contemporary cultural critic cut into cultural texts and paste selections into a new media work? The Sample Cuts and breaks become samples, authorial chosen selections. My sample comes from Walter Benjamin, an early DJ of media culture who discovered in 19th century Paris a source for a new compositional practice. Benjamin's unfinished Arcades project proposed that the task of the writer in the age of mechanical reproduction is to become a collector. "The collector was the true inhabitant of the interior" (Benjamin 168). Benjamin felt that the "poets find their refuse on the street" (79) preempting William Gibson's now often cited remark, "the street finds its own use for things" (Gibson 186) and modern DJs who build record collections by rummaging bargain street sales. I find in Benjamin's work a place to sample, a break for cutting into Burroughs' nova method. "The basic nova mechanism is very simple: Always create as many insoluble conflicts as possible and always aggravate existing conflict - This is done by dumping life forms with incompatible conditions of existence on the same planet" (Nova Express 53). Like Burroughs, Benjamin expressed interest in the ideological conflicts created through juxtaposition. His collections of the Parisian Arcades led to a cultural history different from that of the Frankfurt School. The Arcades' juxtapositions of consumer goods and artifacts opposed the Frankfurt School's understandings of Marxism and methods of critique. The conflict I create is that of incorporating the concerns of cultural studies into media study as an alternative practice. This practice is a system of sampling, cutting, breaking, and pasting. What might initially seem incompatible to cultural studies, I propose as a method of critique. My initial juxtaposition of 1964 becomes the first step towards doing so: I critique current cultural studies' methods of semiotic and hermeneutical analysis by way of the cut and mix I create. This Benjamin sample is pasted onto the Networked Writing Environment (NWE) at the University of Florida where I teach media classes in one of several computer networked classrooms. Working from a sampled Benjamin and the juxtaposition of the previously described temporal events of 1964, I see a place to rethink new media and cultural studies. The NWE's graphical user interface completes the cut. Our Unix operating system uses X Windows for desktop display. The metaphor of the X, the slash, the cut, becomes a place to rethink what cultural studies admits to be a cut-up, or a non-unified practice (as stated by Grossberg et al). The X also recalls the crossroads, the iconic marker of the place of decision. Standing at the crossroads, I envision the blues song of the same name, which in 1964 was cut from its Robert Johnson origins and remixed as a new recording by the Yardbirds. This decision shifts the focus of media study to cultural collections, their juxtapositions, and the alternative understandings that surface. The tools of technology (like those we use in the NWE: the Web, MOO, and e-mail) cut the structural dominance of critique and encourage us to make new pedagogical decisions, like juxtaposing a William Burroughs novel with the founding of the Birmingham School with the rise of the DJ. Putting these practices into the mix, we redefine cultural critique. 1964, then, is the place where cultural mixing begins. References Barthes, Roland. Mythologies. New York: Hill and Wang, 1957. Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Harry Zohn trans. London: NLB, 1973. Burroughs, William S. Naked Lunch. New York: Grove, 1982 (1959). _________________. Nova Express. New York: Grove, 1992 (1964). _________________. The Ticket That Exploded. New York: Grove, 1987 (1962). Burroughs, William S. and Byron Gysin. The Third Mind. New York: Viking Press, 1978. Eshun, Kodwo. More Brilliant Than the Sun. London: Quartet, 1999. Gibson, William. "Burning Chrome." Burning Chrome. New York: Ace Books, 1981. Grossberg, Lawrence, Cary Nelson, and Paula Treichler, eds. Cultural Studies. London: Routledge, 1992. Hall, Stuart. "Theoretical Legacies." Cultural Studies. Hall, Stuart and Paddy Whannel. The Popular Arts. New York: Pantheon, 1964. Hebdige, Dick. Subculture: The Meaning of Style. London and New York: Routledge, 1979. Poschardt, Ulf. DJ Culture. London: Quartet, 1998. Rose, Tricia. Black Noise: Black Music and Black Culture in Contemporary America.Hanover: Wesleyan University Press, 1994. Tosch, Nick. Unsung Heroes of Rock and Roll. New York: Da Capo Press, 1999. Wolfe, Tom. "The Fifth Beatle." The Kandy Kolored Tangerine Flake Streamlined Baby. New York: Pocket Books, 1965.

If you live through this with me, I swear that I would die for you— Hole, “Asking for It” (1994)The 1990s was a curious decade – post-1980s excess and the Black Monday correction, we limped into the last decade of the 20th century with a whimper, not a bang. The baby boomers were in ascendency, shaking off the detritus of a century of extremes behind closed doors.It’s easy now to think that the disaffection manifesting in Generation X and in particular in the grunge music scene was a put on, an act. But in most big game cultures the emerging generation was caught between old school regimes that refused to recognise very obvious failures and what appeared to be distant, no access futures. This point has been compellingly made by Mark Davis, the author of one of the essays in this 'nineties' issue of M/C Journal.The editors of this issue came of age in 1990s Australia. Or, to paraphrase grunge act Hole, we lived through this. And what a time to be alive! How appropriate to revisit the twentieth century’s swansong as the second decade of the twenty-first century nears its own denouement.When we sat down to work on this issue, one clear question arose: How to explain this 1990s nostalgia? Commentators have proffered a slew of explanations. These have ranged from the “20 year cycles” for nostalgia in popular culture (Tucker) to a desire for an apparently simpler, more trouble-free and, well, less connected time. As Atkinson wryly observes: “While we had the internet in the grunge era, it didn't necessarily dominate your life at that point. Your existence was probably a bunch more focused on IRL than URLs.”Some contributors invoke 1990s nostalgia. Paul Stafford provides a reverential and autoethnographic account of his experiences as a fan of grunge music during that genre’s early 1990s heyday. Renee Middlemost describes the excoriating response from fans to The Simpsons’ episode “That 90s Show”. Middlemost’s essay reminds us of the program’s brilliance prior to “jumping the shark” in the 2000s.Yes, the 1990s hosted transgressive, test of time-standing examples of popular culture. This includes the ‘grunge’ music genre that arose in the US circa the early 1990s, in the work of bands such as Hole, Nirvana, Pearl Jam and Soundgarden (see Stafford’s essay). Grunge music and its associated sub-cultural markers went on to flourish globally in countries such as Poland, as Marek Jezinski and Lukasz Wojtkowski describe in their contribution.The 1990s also saw lesser known, but no less significant, pop cultural phenomena. Julian Novitz revisits the Doctor Who novels published between 1991 and 1997. These novels are particularly significant given that the 1990s have commonly been regarded as the “wilderness years” for that franchise.The 1990s saw an increased feminist visibility in popular culture. This visibility is suggested in Jessica Ford’s essay on Roseanne/Roseanne Barr’s feminism, Claire Knowles’s reading of Agent Scully (of X Files fame) as feminist icon, and Justine Ettler’s reflection on her meeting with US “post-punk-feminist” Kathy Acker. Ettler is the author of the breakout Australian novel The River Ophelia (1995), which was influenced by Acker’s oeuvre, and of which Acker was evidently a fan.Yet, 1990s feminisms had their limitations. They lacked, for example, the focus of intersectionality that was conceptualised by African-American legal scholar Kimberle Crenshaw during the late 1980s, and that is only now (in the 21st century) really starting to take shape, albeit not without a struggle. Ford makes this point when analysing the “whiteness” of Roseanne/Roseanne’s gender politics in the 90s and 2018.In other areas, too, the 90s were not “all good”. There was no such thing as regional arts development funds. There was no reconciliation or Beyond Blue. No #MeToo or #TimesUp. No kombucha or viral campaigns or shops open after five. No royal commissions into child abuse. Australia was yet to have a female prime minister or governor general. Mentioning global warming meant you were a crackpot. Gender reassignment was something your nanna and your neighbour had never heard about.Put simply, then, the 1990s cannot be described in entirely affirmative or negative terms. The 1990s (as with any decade, really) is too complex for such summations.In some ways the 1990s was about what was started (internet insurgence), what was set on fire (Die Yuppy Die), and what came after the ashes drifted. Many of our writers have taken this comparative view, exploring the then(s) and now(s) and the enormous gaps between that don’t just register in years. Mark Davis, for example, argues the Alt Right is far more nightmarish in the new millennium than even he could have imagined.Some contributors have explored the merger of old and new, past and future in creative and idiosyncratic ways. Chris Campanioni theorises “the cover and the glitch, two performative and technological enactments that fomented the collapse between author-reader and user-machine.” Campanioni’s exploration focuses, in particular, on the Y2K bug and David Lynch’s cult series Twin Peaks (1990-91), and the much hyped reboot in 2017.In his feature essay contribution, Mitch Goodwin reminds us that 1999 — and its anticipation of technological dystopia (Y2K anxieties ahoy!) — “could not have happened” without 1995. Goodwin teases out this point via readings of two futuristic thrillers Johnny Mnemonic and Strange Days.As Goodwin puts it:It might seem strange now but tapping into the contents of Keanu Reeve’s brain was a utopian data moment in 1995. This was still the digital frontier when the network was as yet not fully colonised by corporate America. The Lo-Teks effectively delivering a global moment of healing via satellite. These were the dreams we had in the nineties.While no single collection could hope to encapsulate the complexity of the period spanning 1990 to 1999. The contributors to the ‘Nineties’ issue of M/C Journal have given this one helluva go.References Bernstein, Sara. “Why Gen X Isn’t Psyched for the ‘90s Revival.” Vox. 13 Mar. 2018. <https://www.vox.com/2018/3/13/17064842/gen-x-90s-revival>.Crenshaw, Kimberle. “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics.” University of Chicago Legal Forum 1 (1989): 139-167.Davis, Mark. Gangland: Cultural Elites and the New Generationalism. St Leonards, NSW: Allen & Unwin, 1997.Hole. “Asking for It.” Live through This. Georgia, US: City Slang, 1994.