The utilitarian and hedonic outcomes of music information seeking in everyday life

This qualitative study focuses on what contributes to making a music information-seeking experience satisfying in the context of everyday life. Data were collected through in-depth interviews conducted with 15 younger adults (18 to 29 years old). The analysis revealed that satisfaction could depend on both hedonic (i.e., experiencing pleasure) and utilitarian outcomes. It was found that two types of utilitarian outcomes contributed to satisfaction: (1) the acquisition of music, and (2) the acquisition of information about music. Information about music was gathered to (1) enrich the listening experience, (2) increase one's music knowledge, and/or (3) optimize future acquisition. This study contributes to a better understanding of music information-seeking behavior in recreational contexts. It also has implications for music information retrieval systems design: results suggest that these systems should be engaging, include a wealth of extra-musical information, allow users to navigate among music items, and encourage serendipitous encountering of music.

Play it again: did this melody occur more frequently or was it heard more recently? The role of stimulus familiarity in episodic recognition of music

Episodic recognition of novel and familiar melodies was examined by asking participants to make judgments about the recency and frequency of presentation of melodies over the course of two days of testing. For novel melodies, recency judgments were poor and participants often confused the number of presentations of a melody with its day of presentation; melodies heard frequently were judged as have been heard more recently than they actually were. For familiar melodies, recency judgments were much more accurate and the number of presentations of a melody helped rather than hindered performance. Frequency judgments were generally more accurate than recency judgments and did not demonstrate the same interaction with musical familiarity. Overall, these findings suggest that (1) episodic recognition of novel melodies is based more on a generalized feeling of familiarity than on a specific episodic memory, (2) frequency information contributes more strongly to this generalized memory than recency information, and (3) the formation of an episodic memory for a melody depends either on the overall familiarity of the stimulus or the availability of a verbal label. (C) 2004 Elsevier B.V. All rights reserved.

Queensland's music outcomes: building pedagogical bridges

This paper discusses the challenges surrounding the implementation of the Music strand of the new syllabus for secondary teachers within the context of emerging trends in pedagogical reform in Queensland, and identifies several areas where research is needed to inform classroom music teaching practice and to guide teacher training programs. Secondary music teachers (Years 8-10) have not had the same systemic, school-based curriculum guidance that was given to teachers in years 1-7. This has resulted in a plethora of teaching and learning practices in lower secondary classrooms, many of which may be more experiential than developmental in approach and which may have little reference to the types of music programs common in primary classrooms.

Incorporating Water Sensitive Urban Design (WSUD) practices into the planning context:the conceptual case for lot-scale developments

In recent decades, a number of sustainable strategies and polices have been created to protect and preserve our water environments from the impacts of growing communities. The Australian approach, Water Sensitive Urban Design (WSUD), defined as the integration of urban planning and design with the urban water cycle management, has made considerable advances on design guidelines since 2000. WSUD stormwater management systems (e.g. wetlands, bioretentions, porous pavement etc), also known as Best Management Practices (BMPs) or Low Impact Development (LID), are slowly gaining popularity across Australia, the USA and Europe. There have also been significant improvements in how to model the performance of the WSUD technologies (e.g. MUSIC software). However, the implementation issues of these WSUD practices are mainly related to ongoing institutional capacity. Some of the key problems are associated with a limited awareness of urban planners and designers; in general, they have very little knowledge of these systems and their benefits to the urban environments. At the same time, hydrological engineers should have a better understanding of building codes and master plans. The land use regulations are equally as important as the physical site conditions for determining opportunities and constraints for implementing WSUD techniques. There is a need for procedures that can make a better linkage between urban planners and WSUD engineering practices. Thus, this paper aims to present the development of a general framework for incorporating WSUD technologies into the site planning process. The study was applied to lot-scale in the Melbourne region, Australia. Results show the potential space available for fitting WSUD elements, according to building requirements and different types of housing densities. © 2011 WIT Press.

The cultural politics of Jamaican dancehall music in South Florida

For Jamaicans throughout the Diaspora, dancehall music has emerged as their most potent cultural symbol demarcating their place of origin and continued sense of national belonging. Due to its unapologetic nature and tendency to tackle divisive issues such as those involving race, class, and sex, dancehall has been unfairly branded as wholly misogynistic and violent. This dissertation attempts to counter some of these assertions by exploring the cultural politics of dancehall music in South Florida's Jamaican community. Information for this study was obtained using participant observation, formal, and informal interviews. Participant observation was conducted over a 2 year period at several dancehall clubs and events throughout South Florida. A total of 24 formal and 30 informal interviews were conducted with listeners of the music and business owners who are directly and indirectly involved with the promotion, production, and distribution of dancehall in South Florida. ^ Results show that dancehall enacts cultural politics in three primary ways in South Florida. First, the music serves as one of several types of materials used in the construction of a "Jamaican identity." This is achieved through the lyrical content of the music where social, economic and political issues affecting the island are often discussed and debated. Second, dancehall operates as a form of cultural politics through its nurturing of nationalistic sensibilities. Evidence of this is apparent in the controversy involving dancehall's homophobic stance. Third, dancehall affords Jamaicans in South Florida the ability to transplant and perpetuate the uptown versus downtown divide. ^ Far from being wholly misogynistic and violent, therefore, dancehall is an important tool that can be used to address a wide variety of issues within the local Jamaican context and throughout the Jamaican diaspora. ^

Experimental Music for the People: Avant-garde Composition in Post-1959 Cuba , Lecture by Marysol Quevedo

This flyer promotes the event "Experimental Music for the People: Avant-garde Composition in Post-1959 Cuba Lecture by Marysol Quevedo" cosponsored by the Latin American and Caribbean Center and the FlU Libraries.

Living in Transition: The Politics of Popular Music in Contemporary Cuba , Lecture by Nora Gámez Torres

This flyer promotes the event "Living in Transition: The Politics of Popular Music in Contemporary Cuba : Lecture by Nora Gámez Torres".

Using Music to Teach Reading Fluency with Kindergarten Students

Using Music to Teach Reading Fluency with Kindergarten Students

The Euro-African Influence in Hispanic Culture and Cuban Music Illustrated, Lecture by Cecilio E. Tieles Ferrer

This flyer promotes the event "The Euro-African Influence in Hispanic Culture and Cuban Music Illustrated, Lecture by Cecilio E. Tieles Ferrer", cosponsored by the FIU Libraries as part of the Viernes de Musicalia series of the Díaz-Ayala Cuban and Latin American Popular Music Collection.

400 Parts Per Million: An Eco-Political Music Video

400 ppm is an eco-political music video which encapsulates climate crisis and climate justice in three minutes flat. It is an intervention in popular political ecology/economy, aimed at those who are uneasy with the increasingly obvious deterioration of the living systems of which we are an inextricable part.

Women in Cuban Music: An Illustrated Lecture, by Emilio Cueto

The flyer promotes the event "Women in Cuban Music: An Illustrated Lecture, by Emilio Cueto" cosponsored by the FIU Libraries as part of the Viernes de Musicalia series of the Díaz-Ayala Cuban and Latin American Popular Music Collection.

Elementary music and classroom teachers' time-use: a comparison by grade level, time of day, and day of the week

This study investigated time-use of elementary music teachers and elementary classroom teachers to determine: (1) whether there was a relationship between grade level, time of day, and day of the week and teachers' time-use in teaching, monitoring, and non-curricular, and (2) whether ethnicity, training, and years of experience affect teacher time-use. Sixty-nine music teachers and 55 classroom teachers participated. A MANOVA was used to examine the hypothesized relationship. ANOVA results were significant for time spent teaching, monitoring, and non-curricular. An independent t test revealed a significance difference (t (302) = 5.20, p Analyses of the activities subsumed under the major categories indicated significant differences between elementary music teachers and elementary classroom teachers, overall, in subject matter ( p teachers was higher than time-use for those who were Hispanic and white non-Hispanic. Analyses of time-use by grade showed no increase for either group as grade level increased. A statistically significant Wilks Lambda ( F (1,294) = .917 p < .013 ) was found for the independent variable day of the week. ANOVA indicated that elementary classroom teachers monitored more on Thursdays and Fridays: music teachers allocated more time to non-curricular activities on Fridays.

The effect of music listening maps on second grade music students' preference for and understanding of orchestral music

This study investigated the use of music listening maps to help learning and the preferences of second graders for orchestral music. Subjects were a population of four 2nd grade classes, and were randomly divided into two groups. The investigation was a counterbalanced, post-test only design, lasting for three consecutive classes. Two treatments/lessons were presented and a third lesson was a review. In Treatment 1 Group I used listening maps first, while Group II received instruction without listening maps. In Treatment 2, the order was reversed. Two post-tests and a comprehensive test were administered. An affective survey was administered after the treatments, measuring student preference and attitude. When listening maps were presented, scores were significantly higher. It did not matter whether the listening maps were presented first or not. Results of the survey show student preference will increase with music listening maps.

A survey of music educator's understanding and use of advanced audio technology in their instructional methods and strategies

This study examines the correlation between how certified music educators understand audio technology and how they incorporate it in their instructional methods. Participants were classroom music teachers selected from fifty middle schools in Miami- Dade Public Schools. The study adopted a non-experimental research design in which a survey was the primary tool of investigation. The findings reveal that a majority of middle school music teachers in Miami-Dade are not familiar with advanced audiorecording software or any other digital device dedicated to the recording and processing of audio signals. Moreover, they report a lack of opportunities to develop this knowledge. Younger music teachers, however, are more open to developing up-to-date instructional methodologies. Most of the participants agreed that music instruction should be a platform for preparing students for a future in the entertainment industry. A basic knowledge of music business should be delivered to students enrolled in middle-school music courses.