Primary music education: the misrepresentation of the ideals of curricula in research

The author starts from a historical viewpoint to suggest that, at primary level, we have tended to perpetuate a nineteenth-century notion of music education. This is evident in the selection and organisation of musical content in curriculum documents, the scope of the teacher-pupil transaction implicit in these and the assumptions about music education which underpin research on practice conducted at official policy level. In light of the introduction of the 1999 Revised Primary School Curriculum, with its change in emphasis, she notes that it is timely to reconsider the situation. Central to this is the need to challenge the notion of music as a set of delineated skills, to explore the relationship between the primary teacher and music, and to move towards a notion of research which acknowledges the richness of multiple interpretations teachers bring to the curriculum.

A new strategy for the blind MMSE equalization

This paper describes a new strategy for the blind equalization so that the blind Constant Module Algorithm (CMA) can be smoothly switched to the decision- directed (DD) equalization. First, we propose a combination approach by running the CMA and DD equalization simultaneously to obtain a smooth switch between them. We then describe an "anchoring process" to eliminate the effect from the CMA at the steady state to achieve low residual noise. The overall equalization can be regarded as the DD equalization being anchored by the combination approach. Numerical simulations are given to verify the proposed strategy.

Nostalgia, music and the television past revisited in American dreams

The 1960s-set NBC family drama American Dreams presents not just the recent American past but its musical television as well. This paper examines how the show’s recreation of and interaction with the music show American Bandstand ties together the divergent experiences of a turbulent decade. American Dreams’ reshooting and appropriation of original broadcast footage is intricately interwoven with dramatic action allowing for new layers of commentary and meaning to be read across the music and image relationship. Through intercutting and juxtaposition, its use of music performance goes beyond the regressive recycling of images of nostalgia, as critiqued by Jameson and other theorists of postmodernity, to engage political and social debates through a complex web of reference, reproduction and commentary, presenting a politicised reading of the 1960s that problematises these charges of nostalgia texts as apolitical and ‘historicist’.

The music instinct: the evolutionary basis of musicality

Why does music pervade our lives and those of all known human beings living today and in the recent past? Why do we feel compelled to engage in musical activity, or at least simply enjoy listening to music even if we choose not to actively participate? I argue that this is because musicality—communication using variations in pitch, rhythm, dynamics and timbre, by a combination of the voice, body (as in dance), and material culture—was essential to the lives of our pre-linguistic hominin ancestors. As a consequence we have inherited a desire to engage with music, even if this has no adaptive benefit for us today as a species whose communication system is dominated by spoken language. In this article I provide a summary of the arguments to support this view.

Terminal: a miracle play with popular music from the end of the world

Terminal: A Miracle Play with Popular Music from the End of the World is a film and live performance project exploring the politics of post-apocalyptic fiction. A theatrical staging of a morality play for end times and future folk music, it recasts eschatology, as a foundational myth for a future society. Post-apocalyptic writing and cinema are grounded in an ethos of survivalism. Invoking Rousseau’s state of nature, or time before government, these fictions propose violent scenarios in which nuclear holocaust, environmental catastrophe and other disasters generate an individualistic politics of pure pragmatism, negating the possibility of democratic deliberation. Terminal narrates this familiar scenario, but at the same time questions its validity. The film, shot on black and white VHS at Kurt Schwitters’ Merzbarn in Cumbria, dramatises a series of conversations between future-historical archetypes about the needs and pressures of the situation in which they find themselves at the end of the world. The performers then gather to play worshipful songs about acid rain, radiation sickness and eating the dog, using a mix of conventional, obscure and makeshift instruments In the tradition of books such as Russell Hoban’s Riddley Walker and Arthur M. Miller Jr.’s A Canticle for Liebowitz, Terminal imagines artistic expression and new folk traditions for a world to come after the apocalypse. If, as Slavoj Žižek would have it, it is easier to imagine the end of the world than to think of the end of capitalism, the project juxtaposes these two endpoints to test out how alternative scenarios might emerge from the collaborative practice of making theatre and music against a setting of social collapse.

Eye candy for the blind: re-introducing Lyotard's Acinema into discourses on excess, motion and spectacle in contemporary Hollywood

Jean-François Lyotard's 1973 essay ‘Acinema’ is explicitly concerned with the cinematic medium, but has received scant critical attention. Lyotard's acinema conceives of an experimental, excessive form of film-making that uses stillness and movement to shift away from the orderly process of meaning-making within mainstream cinema. What motivates this present paper is a striking link between Lyotard's writing and contemporary Hollywood production; both are concerned with a sense of excess, especially within moments of motion. Using Charlie's Angels (McG, 2000) as a case study – a film that has been critically dismissed as ‘eye candy for the blind’ – my methodology brings together two different discourses, high culture theory and mainstream film-making, to test out and propose the value of Lyotard's ideas for the study of contemporary film. Combining close textual analysis and engagement with key scholarship on film spectacle, I reflexively engage with the process of film analysis and re-direct attention to a neglected essay by a major theorist, in order to stimulate further engagement with his work.

Performance analysis of the LMS blind minimum-output-energy CDMA detector

Adaptive filters used in code division multiple access (CDMA) receivers to counter interference have been formulated both with and without the assumption of training symbols being transmitted. They are known as training-based and blind detectors respectively. We show that the convergence behaviour of the blind minimum-output-energy (MOE) detector can be quite easily derived, unlike what was implied by the procedure outlined in a previous paper. The simplification results from the observation that the correlation matrix determining convergence performance can be made symmetric, after which many standard results from the literature on least mean square (LMS) filters apply immediately.

A new blind equalization algorithm based on convex combination

The convex combination is a mathematic approach to keep the advantages of its component algorithms for better performance. In this paper, we employ convex combination in the blind equalization to achieve better blind equalization. By combining the blind constant modulus algorithm (CMA) and decision directed algorithm, the combinative blind equalization (CBE) algorithm can retain the advantages from both. Furthermore, the convergence speed of the CBE algorithm is faster than both of its component equalizers. Simulation results are also given to verify the proposed algorithm.

A semi-blind reception scheme based on ICA for multiuser MIMO-STBC system

When the orthogonal space-time block code (STBC), or the Alamouti code, is applied on a multiple-input multiple-output (MIMO) communications system, the optimum reception can be achieved by a simple signal decoupling at the receiver. The performance, however, deteriorates significantly in presence of co-channel interference (CCI) from other users. In this paper, such CCI problem is overcome by applying the independent component analysis (ICA), a blind source separation algorithm. This is based on the fact that, if the transmission data from every transmit antenna are mutually independent, they can be effectively separated at the receiver with the principle of the blind source separation. Then equivalently, the CCI is suppressed. Although they are not required by the ICA algorithm itself, a small number of training data are necessary to eliminate the phase and order ambiguities at the ICA outputs, leading to a semi-blind approach. Numerical simulation is also shown to verify the proposed ICA approach in the multiuser MIMO system.

Blind equalization of nonminimum phase channels: higher order cumulant based algorithm

Higher order cumulant analysis is applied to the blind equalization of linear time-invariant (LTI) nonminimum-phase channels. The channel model is moving-average based. To identify the moving average parameters of channels, a higher-order cumulant fitting approach is adopted in which a novel relay algorithm is proposed to obtain the global solution. In addition, the technique incorporates model order determination. The transmitted data are considered as independently identically distributed random variables over some discrete finite set (e.g., set {±1, ±3}). A transformation scheme is suggested so that third-order cumulant analysis can be applied to this type of data. Simulation examples verify the feasibility and potential of the algorithm. Performance is compared with that of the noncumulant-based Sato scheme in terms of the steady state MSE and convergence rate.

Constrained surplus energy adaptive blind CDMA detection

The blind minimum output energy (MOE) adaptive detector for code division multiple access (CDMA) signals requires exact knowledge of the received spreading code of the desired user. This requirement can be relaxed by constraining the so-called surplus energy of the adaptive tap-weight vector, but the ideal constraint value is not easily obtained in practice. An algorithm is proposed to adaptively track this value and hence to approach the best possible performance for this class of CDMA detector.