bluuebunny/crossref_metadata_2025 huggingface dataset:
School Music Experiences: How Do They Rate?
Authors: Temmerman Nita
Published: October 2007

How do generalist primary teacher trainees' school music experiences influence their present perceptions towards music and the type of classroom music program they might implement? A survey conducted with first year primary teacher trainees at the commencement of their degree has been used as one means of starting discussion on this important question. In this paper the results of the survey covering a three year period from 1991 to 1993 are presented. The results reveal that school music experiences appear to leave a lasting influence on people's lives but that this influence is most often perceived in unfavourable rather than favourable terms. Lesson content presentation and coverage of certain activities as well as teacher attitude to student's, and knowledge of subject area play an important role in the formation of future adult interest and participation in music. What emerges from the survey is the significance attached to teachers engaging students in practical music activities such as singing and playing in a supportive and democratic teaching/learning environment, in order that school music experiences leave a favourable influence.
Structuralist and Post-structuralist Approaches to Music: Implications for Music Education
Authors: Dunbar-Hall Peter
Published: October 2007

Over the past two decades, structuralism and post-structuralism have become ways respectively of analysing and interpreting music. Through consideration of writings influenced by these critical methods, structuralism, as an analytical strategy for post-tonal music, and post-structuralism, as a way of investigating meaning(s) in popular music, are discussed for their implications for music education.
An Analytical Approach to Music Education Research: A New Trend
Authors: Murao Tadahiro
Published: October 2007

Musical analysis as a form of music education appears in Phelps (1969) A Guide to Research in Music Education. In this text's second edition (1980), analysis is replaced by aesthetics. In this article this replacement is investigated, and an alternative in the form of idio-cognitive structure of music performance is suggested.
Perspectives on Music Education Research
Authors: van Ernst Barbara
Published: October 2007

This paper provides an overview of music education research from an Australian perspective. It is argued that there needs to be a closer link between research and practice, that major areas for research include the music learning process, the cultural context of music programs, artists in schools, teacher education, professional development and performance, plus historical perspectives. Qualitative research is viewed as a legitimate and important means of illuminating the teaching learning process and a distinguishing feature of Australian research as it is now practised.
Teaching Synthesizer Performance
Authors: Brown Andrew R.
Published: October 2007

This paper describes research focusing on the teaching of synthesizer as a musical instrument. The teaching of synthesizer performance in Australian schools is in its infancy but is currently expanding. There is a need to promote excellence and encourage comprehensiveness in this fledgling area. The research reported here used a case study approach to establish initial guidance in the hope that synthesizer performance may grow strongly and contribute constructively to the overall fabric of music education activities in Australia. In particular, it. identifies areas of study which should be included in a synthesizer curriculum and highlights teaching and learning methods which seem to be effective. The paper concludes by addressing the institutional responsibilities, including resource and environment considerations, which support the teaching of synthesizer.
Children's Singing Games: Composition in the Playground?
Authors: Marsh Kathryn
Published: October 2007

This paper reports the findings of an ethnographic study of processes of variation and transmission in Australian children's playground singing games, conducted in a multiethnic inner city primary school in Sydney from 1990 to 1994. The paper focuses on children's processes of innovation or composition in relation to text, music and movement in these games and children's own awareness of these processes. Findings of the study are used to challenge the notion that children's compositional processes fit an invariable model such as that proposed by Swanwick and Tillman (1986). Instead, the author proposes that compositional processes vary according to the context in which they are enacted. Implications for teaching practice are outlined with particular reference to provision of a challenging classroom environment in which the considerable compositional and performance skills of children are acknowledged and the importance of group interaction is recognised.
Transgressing the Official: A Critique of the Affiliations between Musical Representations of Culture and Curriculum
Authors: Roylance Philippa
Published: October 2007

This paper is conceived of as an irruption into the central spaces claimed and inhabited by the orthodoxies of Queensland's music curriculum policies: policies which are embedded in the discourses of western high culture. Such an incursion challenges canonical legitimacy from a social construction perspective, and provides a critique of the assumptions upon which the authority of 'official' music and its discourses rest. Using theoretical tools borrowed principally from the foreign territory of postcolonialism (Said, 1993), and with brief references to feminism (Harding, 1986 and 1991; McClary, 1991), cultural theory (Frith, 1987; Eagleton, 1991; Regan, 1992), gay and lesbian musicology (McClary, 1991; Brett, Wood and Thomas, 1994; Koestenbaum, 1994), it scrutinises musical representations of culture and seeks to problematize them in the context of the Queensland Senior Syllabus in Music (1987).
Designing Sound : Developing Computer Support for Creativity in Music Education
Authors: Ellis Phil
Published: October 2007

Designing Sound is the title of a research and development project, and also of resulting computer music software and curriculum materials. Too often the production of computer software has been driven by commercial pressures, not educational needs. A five year project ran from 1987 involving a number of schools in England in a program of action research. A computer program to support creativity in music education with children from 4 - 19 years of age was developed and published from this project. The software enables all children to become involved in composing as a curriculum activity, whatever their musical ability. Supporting materials provide guidelines for classroom applications and include approaches to the assessment of creative work.

Criteria for evaluating educational software in curriculum music are proposed, and the program has been written in versions which will run on a range of computers. Designing Sound represents a concept in the use of new technology in music. Future developments may enable this philosophy to be incorporated into multimedia computer platforms.
Small Groups in Music Lessons - Creativity or Cacophony?
Authors: Gilbert Ross
Published: October 2007

The purpose of this paper is to examine the value of small group activities in the secondary school music classroom. Small group work has been shown to be of value in general classroom teaching in developing a positive classroom climate, encouraging the development of social skills, and enhancing academic achievement. However, research with music student teachers has demonstrated that the music classroom raises special problems for the use of small groups. These special problems are discussed, the related literature is reviewed and suggestions are made for the effective management of small groups in the music classroom.
Task Design and Experience in Composition
Authors: Burnard Pamela
Published: October 2007

This article describes a study which examines how task designs, the compositional context set by the musical requirements, influence students' experience of composition. A total of forty-four compositions were collected from a class of eleven Year 11 music elective students over one school year. In addition to the analysis of draft and final forms of compositions, data were obtained as self-report documents including 'Composer's Diaries', 'Composer Writes Pages', and questionnaires. Data were presented in two ways involving a larger comparative study and a sampling of several case studies. The findings of this study suggest the conditions set by tasks determine how students relate to composition and the nature of musical outcome. There were indications that students experience task constraints and freedom differently, in part determined by their working style, background, and self-concept as composers. Overall, constraint and freedom were identified as artistically significant in the realisation of a composition. Implications for teaching practice include the suggestion that tasks should differentiate between 'Instructional' tasks for learning and 'Composition' tasks which empower students to participate as makers in the role of artistic creator.
Rote Learning in Bali: Studying the Music of the Wayang Theatre
Authors: Kitley Yvonne
Published: October 2007

This paper examines the physical structure of gender wayang instruments, the nature of the ensemble, and the processes involved in learn ing gender wayang music. A personal viewpoint of learning gender wayang by the traditional Balinese rote method is explored and comments are made on the mental tussles involved, the visual interaction between players, the physical memory when hands keep playing even though concentration is lost, and the long term memory which develops with the rote learning method.
Fundamental or Frill?: Music Education in Australian Schools Since the 1880s
Authors: Weiss Gillian
Published: October 2007

This article argues that the development of music education since the middle of the nineteenth century has not simply been a case of slow growth and gradual improvement, but rather that it entered the curriculum, at worst by default, and at best under a different guise. It provides an overview of curricula and practises in both state and private schools in Australian from the second half of the nineteenth century, and follows their development from then until the recent past. It considers the reasons why music was introduced, the purposes it was intended to fulfil, and identifies some factors, such as class, gender and the creation of public school systems themselves, that have had ongoing effects. It illustrates changes in the ways music was taught and the purposes it was perceived as fulfilling, by looking at three time periods - from 1880 through the 1890s, from 1910 through the 1920s and from 1950 through the 1960s.
A History of Music Education in England 1872-1928: A Reflexive Account of Historical Research
Authors: Cox Gordon
Published: October 2007

Researchers in the history of music education have provided few accounts of methodological procedures. The neatness of these accounts makes such work seem unproblematic. This paper reflects on the experience of researching the teaching of music in schools in England between 1872 and 1928. The main focus of the work was upon a small group of influential musicians each of whom belonged to Her/His Majesty's Inspectorate of Schools (HMI). The paper outlines the main sources of evidence that were encountered: personal papers, public records, the press, biography and autobiography, song books and text books, and personal interviews. It argues that the process of archival research is confrontational and creative. Finally, by considering parallels with the recent development of the National Curriculum, the paper demonstrates that historical research is quite able to deal with questions that contemporary practitioners are concerned about.
Thinking About Think Alouds in Music Education Research
Authors: Richardson Carol P , Whitaker Nancy L
Published: October 2007

Verbal protocol analysis or think alouds have emerged as a useful research methodology for studying a wide variety of human problem-solving skills. Think aloud methodology has only recently been applied to the study of the cognitive processes involved in music listening, composing, performing, and conducting. This article highlights this growing body of music education research studies and provides detailed discussion of the issues involved in data collection and analysis when using think alouds in music education research.
Beyond the Ethics Committee: Representing Others in Qualitative Research
Authors: Bannister Roland
Published: October 2007

While university ethics committees codify ethical standards for 'research with human subjects', qualitative researchers grapple with shifting and elusive problems which remain beyond the ambit of effective legislation. In this article I examine some of these problems in the light of my own experience in conducting a participant observation study of soldier-musicians in an Australian army band. While there is a considerable literature on the ethical conundrums met in fieldwork, there is less about the problems of writing about other people. Yet, in their writing, qualitative researchers have a considerable responsibility for what they say about their subjects. Hence, representing others in qualitative research is my focus. I conclude that just as in human social life, where rules for ethical behaviour reside in the conscience of individuals, so too ethical problems in qualitative research can be addressed only in the context of our personal moral codes.
Beyond the Lone Ranger Researcher: Team Work in Qualitative Research
Authors: Bresler Liora , Wasser Judy Davidson , Hertzog Nancy B. , Lemons Mary
Published: October 2007

Even though much research is collaboratively conducted by groups of researchers, methodological literature is based upon the model of single researcher design. This is true even though much research is conducted by groups of researchers, whether it is graduate students working under a research director or collaboration among colleagues. Based on one case of a music and arts education project in which we participated, we explore in this paper the selected issues that arise in the conduct of qualitative teamwork, considering the unique aspects of team, as opposed to individual research. These include the formation and organisation of the qualitative research team, conduct of the group, and the relationship of these concerns to the interpretation of meaning. It illustrates how collaborative work can lead to a more complex understanding of school music 'genres', as well as school and community dynamics regarding music education.
The Use of Structural Equation Modelling in the Study of Ability in Music
Authors: Pettit Raymond
Published: October 2007

Recent advances in structural equation modeling (SEM) are enabling researchers to study the effects of latent variables on constructs used and developed in the behavioural sciences. This study examined the construct validity of The Primary Measures of Music Audiation with a kindergarten sample of 191 children. A 3- factor model of music aptitude was tested using the EQS/Windows program. The results of the SEM analysis suggest that three factors, general, orienting, and structuring, underlie the ability to audiate short tonal music patterns. Sample goodness-of-fit indices showed an excellent fit (GFI = .973, AGFI =.926). Comparative fit indices were not as high (BBNFI = .855, BBNNFI = .840, CFI =.926). Gordon's (1987) theory of developmental music aptitude suggests that music aptitude fluctuates until around age 9, when it stabilises. The initial step in testing this hypothesis lends support for the 3- factor model and suggests that model fit will improve as children mature.
A Comparison of Two Composer-Guided Large Group Composition Projects
Authors: Kaschub Michele
Published: October 2007

This paper describes the processes used in two composition projects, one with six sections of sixth grade general music, and one with a high school choir of 85 members. In each project a professional composer was partnered with students to assist them in creating music that reflected their musical thoughts without limiting them to their prior musical skills and knowledge. While the students did learn to generate musical ideas and compositional techniques for treating those ideas in a larger context, the primary step in the compositional process that most differed from individual processes was that of revision. Throughout the revision process in group composition students challenge each other's musical ideas and often new musical concepts emerge as students defend their original ideas or seek to reach compromise.
Creative Thinking and Music Listening
Authors: Dunn Robert E.
Published: October 2007

Can listening to music be considered an act involving creative thinking? This paper explores the notion of creative thinking and music listening by (1) sampling conceptual writings on the subject of creativity and listening to music, (2) articulating ten generalities regarding creative listening, (3) examining empirical research in this area, and (4) describing a preliminary study that presented subjects with a problem-solving listening task requiring them to visually represent (`map') what they heard in a musical excerpt, then examined their visual representations and their verbal responses to the task to see if this approach held promise for future indepth research regarding creative listening. The results of the preliminary study were promising and appeared to confirm certain of the generalities articulated about creative listening.
Effect of a Sound Exploration Program on Children's Creative Thinking in Music
Authors: Fung C. Victor
Published: October 2007

The purpose of this study was to examine the effect of a sound exploration program on children's creative thinking in music. A random sample of 66 students was selected from 12 urban elementary schools in Minneapolis and Saint Paul, Minnesota, where a sound exploration program was introduced. Subjects were first grade participants, second grade participants, and second grade non-participants. Webster's Measure of Creative Thinking in Music was used in this posttest-only study. Results showed significant differences for the three groups in Musical Flexibility, Musical Originality, and Musical Syntax, but not in Musical Extensiveness. First and second grade participants received higher mean scores in these three musical creativity factors than second grade non-participants. Results of this study suggest that first and second graders may become more ready to fulfil the potential for music creativity after participating in a non-traditional sound exploration program.
Finding a Personal Musical 'Voice': The Place of Improvisation in Music Education
Authors: McMillan Ros
Published: October 2007

The use of improvisation in music education is becoming more widespread as teachers discover its value in the learning of musical concepts and skills. Research studies suggest that much useful investigation could be undertaken into the processes and products of improvisation, particularly empirical studies involving musicians at work. A study, which sought to enlarge the understanding of a personal 'voice' in improvisation, was conducted at the Victorian College of the Arts. Ten students in the Improvisation stream were 'followed' through the three years of their degree of Bachelor of Music (Performance). The results provided a large amount of material on issues ranging from the influence of members of staff on students' artistic outcomes, to stylistic preferences and relationships between performing musicians. This paper examines some of the findings of the study.
Musical Creativity in Childhood- A Research Project in Retrospect
Authors: Sundin Bertil
Published: October 2007

This paper provides the first English language report on a research project undertaken from 1960 to 1963 in three kindergartens in Stockholm, Sweden, with children from 3.6 to 6.6 years of age. The purpose was to learn more about young children's own musical culture and especially their invented songs. The study combined ethnographic and quasi-experimental approaches. The first consisted of naturalistic observations of the spontaneous musical life of the children, while the second asked children individually to sing known tunes and to invent their own songs. Parents and teachers were interviewed and rating scales were used to compare the children's musical life in different contexts. The songs were transcribed and categorized. The results imply that musical creativity is relatively independent of both singing ability, intelligence and parents' musical interest and is more an expression of a general creative attitude. The results, which were pioneering for the time, are discussed and compared with more recent research in the area.
Singing Teachers and Voice Science - An Evaluation of Voice Teaching in Australian Tertiary Institutions
Authors: Callaghan Jean
Published: October 2007

The article documents a qualitative research project which evaluated the voice pedagogy of singing teachers in Australian tertiary institutions, particularly in relation to their use of recent voice science findings. The literature of voice science relevant to singing was surveyed and extended interviews were conducted with 50 singing teachers. Using the methodology of grounded theory, the interview data were analysed in categories identified as common to both voice science and practitioner understandings. It was clear from the results of the study that most singing pedagogy in Australian tertiary institutions is practised with incomplete knowledge of vocal physiology and acoustics, and/or misinformation with respect to some aspects of vocal functioning.

Since the results of physiological, acoustic and other scientific research conducted in recent decades constitute a valuable addition to the body of knowledge traditionally used in singing pedagogy, the study has implications for the professional education of singing teachers for the 21st century.
Musical Aptitude Testing: From James McKeen Cattell to Carl Emil Seashore
Authors: Humphreys Jere T.
Published: October 2007

The purpose of this article is to describe the links between late nineteenth-century psychological research and the early musical aptitude research of Carl Emil Seashore (1866-1949). The primary link was the music-related research of the leader of the mental testing movement during the 1890s, Columbia University psychologist James McKeen Cattell (1860-1944). German psychologist Wilhelm Wundt instructed Cattell in the German scientific tradition, and English researcher Francis Galton encouraged Cattell's research on individual differences and introduced him to statistical methods. During the 1890s, Cattell conducted a longitudinal study, the hypothesis for which was that tests of sensory discrimination ability, including musical discrimination, would correlate with undergraduates' academic grades. After his study failed to produce the expected results, the mental testing movement followed Alfred Binet and Victor Henri of France, and Cattell turned to other activities. However, in the meantime, Cattell influenced many other important psychologists, including Edward W. Scripture, Carl Seashore's doctoral mentor at Yale University, and eventually Seashore himself. Despite the mental testing movement's shift to Binet and Henri's cognitive-type testing, Seashore continued his conservative, sensory approach to the testing of musical aptitude.
The Musical Cultures of Children
Authors: Campbell Patricia Shehan
Published: October 2007

Children's engagement in music beyond school is explored, including the manner by which the various folkways, technologies, and institutional settings help them to perpetuate and preserve particular musical expressions and experiences. Discussion of music in children's play. the use and function of music in their lives, and the means by which they are musically enculturated will lead to a consideration of music's place in their schooling.
Young Children and Music Technology
Authors: Webster Peter R.
Published: October 2007

This article begins with an overview of music technology today, its history and current status. The development of MIDI, digital sound synthesis, and CD audio are mentioned. Developments in music software designed assisted instruction are placed in six categories: drill-and-practice, flexible practice, guided instruction, games, exploratory, and creative. The article continues by offering examples of commercial software from these categories that are appropriate for young children. Screen shots of each program are offered, together with comments about how each title works. Research on the young child and music technology is included, with references to work done in and outside of music education. The article ends with the notion that teachers are always the key to quality instruction in music and music technology is only a tool in the process.
An Information Processing Account of Audiational Abilities
Authors: Geake John G.
Published: October 2007

Relationships between individual differences in audiation as measured by Gordon's Music Aptitude Profile (MAP) and generic information processing abilities as proposed by Luria were investigated with a sample of primary school children, some of whom were musically gifted. Scores on all three audiational dimensions of tone, rhythm and sensitivity were significantly correlated with successive synthesis, which may indicate a strong dependence of the MAP on short-term memory. Success on the MAP was not as dependent on simultaneous and executive syntheses. Musically gifted subjects were superior on the tests for tone and rhythm, but not generally on tests for musical sensitivity, consistent with the independence of musical sensitivity as a separate construct from conventional musical aptitude. The musical experience of members of the musically gifted group did not contribute to the variance of their MAP results.
The Development of Musical Pattern Perception in School-Aged Children
Authors: Gromko Joyce Eastlund , Walters Karen
Published: October 2007

The purpose of this study was to investigate whether children's development of musical pattern perception is a function of their audiation ability, as measured by the Intermediate Measures of Music Audiation (IMMA). The IMMA is a test of children's ability to compare short tonal and rhythmic musical patterns (Gordon, 1982). All elementary children (N = 48) at a private elementary school participated in musical activity from January 1998 through May 1998. Children sang songs; played songs on recorder and hand drum; performed in an Orff Schulwerk orchestra; read selected rhythmic patterns using syllables from the French conservatory system; and sang and signed selected melodic patterns using solfege syllables and Curwen hand signs, one hour weekly from January through May, 1998. A univariate repeated measures analysis of covariance (ANCOVA), with tonal pretest and posttest as dependent variables, audiation group as factor and age as covariate, showed a significant main effect for audiation group, F (1, 45) = 24.93, p< .001. A univariate repeated measures analysis of covariance (ANCOVA), with rhythm pretest and posttest as dependent variables, audiation group as factor and age as covariate, showed a significant interaction between gain from pretest to posttest and audiation group. High audiation children, with an adjusted rhythm posttest mean of 33.84 (SE = 0.48), gained +1.52; low audiation children, with an adjusted rhythm posttest mean of 29.96 (SE = 0.53), showed a net loss of -1.57. These results show that children with differing levels of audiation ability respond to musical sound differently. Whereas children may have positive musical experiences, they may not necessarily use visual, tactile, kinesthetic, or spatial information to organize their perception of musical sound into patterned mental images.
Self and Desire: A Preliminary Exploration of Why Students Start and Continue with Music Learning
Authors: Davidson Jane W.
Published: October 2007

This paper investigates theories concerned with why students start and continue with their music learning. In particular, rather than focusing on the conventional nature versus nurture debate which has heavily dominated much of the writing on music learning in recent years, the current paper explores the social constructionist approach to consider the role of the student's sense of self in building a musical identity. Working within this framework, it becomes evident that data which has previously been regarded as only demonstrating the role of others in the development of musical skills has been interpreted too simplistically. The data collected for this study demonstrates that what many young learners do in their social relationships with others, and with their engagement in music-making itself, is to develop the self in such a manner that music becomes an essential construct for their personal identities: they are musicians, and as such they see the 'self' in relation to music. Thus, it is believed that the current paper presents an important departure, and lays down a challenge to music educators, psychologists and other researchers to explore how self and personal desire interact in the development of musical skills.
Music Education as Investment in Cultural Capital
Authors: Brändström Sture
Published: October 2007

The purpose of this article was to investigate how Swedish 12-13- year-olds use music in their daily lives and engage in optional music education as offered by municipal music schools. The main issue concerns how the sociocultural and musical background of parents relates to their childrens' musical activities? Interviews were used as the data collection method. The participants were divided into three main groups: those studying at the municipal music school (n=90), those who had previously studied but had dropped out (n=147), and those who had never studied music (n=132). The questions concerned: parents' musical interest, music activities of siblings, pupils' career aspirations, pupils' likes and dislikes of music, pupils choice of instruments, and other recreational activities outside of music. Results show that the way children use music and music education depends on both sociocultural and musical background. Pierre Bourdieu's cultural capital theory was applied to the study in order to interpret and explain the results.
New Musicians in an Old Tradition: Music Education as Vocational Education at the Defence Force School of Music
Authors: Bannister Roland , Cartledge Damon
Published: October 2007

The Defence Force School of Music (DFSM) has been responsible for the education of Australian Defence Force (ADF) musicians since its inception in 1984. Previously the preparation of soldier-musicians had been the responsibility of the Army School of the Army School of Music, which was part of the Army Apprentices' School. Preparation of sailor-musicians had been the province of the Royal Australian Navy School of Music. Thus, with its roots in a tradition of training for music as work, the DFSM has been well-positioned to adopt the principles and practices of Vocational Education and Training (VET). This paper reviews the principles of VET, describes the DFSM and its work, and addresses the questions: "How has the DFSM's philosophy and practice of Music-Education-as-VET been shaped by its history?" and "What is the nature of the experience of students at the DFSM?"
From T.I.1 to Tasmania: Australian Indigenous Popular Music in the Curriculum
Authors: Wemyss Kathryn L.
Published: October 2007

This article promotes Australian Indigenous popular music not only as a valid and useful educational repertoire but as an essential component of Australian music curricula. It examines some of the fundamental issues raised when utilising Indigenous art forms within the Western post-colonial structure on which Australian government educational policy and methodologies are based. It explores the intrinsic nature of the 'contemporisation' of Australian Indigenous music with particular reference to the idea of fusion with Western popular music styles. Through case studies of Torres Strait Island and popular music cultures, it proposes that teaching and learning strategies be developed organically from characteristics inherent within specific musical and cultural structures.
Analysis and Popular Music: a Challenge for Music Education
Authors: Dunbar-Hall Peter
Published: October 2007

Over the past few decades popular music has become accepted as a viable topic for music education. However, ways of studying and teaching popular music are still developing. One of the main problem areas in this developmental field is analysis; musical analysis of popular music is rare, and methods used are not always appropriate to popular music's character. Through a number of analytical approaches to the guitar solo from 'Whiplash' by Metallica, solutions to this aspect of the relationship between popular music and music education are investigated, and challenges to the further development of popular music studies are examined.
Jazz Analysis as Cultural lmperative (and other urban myths): a Critical Overview of Jazz Analysis and its Relationship to Pedagogy
Authors: Kenny Barry
Published: October 2007

Little critical attention has traditionally been paid to jazz analysis, a relatively recent addition to the larger discipline of jazz musicology. In a similar evolutionary development to its Western Art music counterpart, jazz analysis has so far succeeded in establishing a unique identity apart from other related musicological fields such as jazz history, criticism and, most significantly, jazz pedagogy. While many of its methodologies have greatly assisted in clarifying the fundamental and often hidden structures underpinning improvisation, they have, however, often demonstrated scant regard for the performance or perceptual experience of jazz. That these same monolithic models have provided the basis for popular jazz pedagogic methods poses a further problem for a tradition which has evolved with little recourse to such theoretical models. It is the purpose of this article to provide a critical overview of jazz analysis, its major methodologies, its often uneasy relationship with performance pedagogy and theoretical issues concerned with representing and analysing jazz.
Pregnant Bodies
Authors: Børve Hege Eggen
Published: October 2007

This article examines the impact that the interplay between workplace, the welfare state and global working life has on female workers when they become pregnant. By focusing on two highly educated Norwegian female workers, it explores how this change process takes place in two companies operating in the global market located in different countries: Norway and the US. Pregnancy contributes to transforming the neutralized bodiless female worker into an embodied worker with gender. The female workers' experiences and negotiations represent forms of global action on local stages. This is illustrated by four processes: `married to work', `pregnant and still married to work', `negotiating separation from work' and `excluding mothering'. The findings indicate the significance of taking welfare state and workplace policy approaches into consideration in studies of global effects on employees.
Who Helps the Degraded Housewife?
Authors: Rotkirch Anna , Temkina Anna , Zdravomyslova Elena
Published: October 2007

This article analyses the new demographic programme that was announced by the Russian president, Vladimir Putin, in 2006. The main goal of this programme is to encourage fertility, especially the birth of a second child. New benefits should elevate the status of wome taking maternity leave, who might otherwise suffer from discrimination in the family. The housewife is considered to be dependent and `degraded'. We argue that this demographic politics recalls continuity with soviet gender politics centred on the support of wage-earning working mothers. The programme provokes different critiques. Liberal critics argue that the programme is a populist one and it may have undesired economic and social consequences. Conservative critics want to encourage more traditional `woman' and `family' roles in society. Feminist critics argue that this politcs would reinforce both the inferior position of women on the labour market and gender imbalances on the symbolic level.
Leopold Ordenstein: on paralysis agitans and multiple sclerosis
Authors: Lehmann H.C. , Hartung H.-P. , Kieseier B.C.
Published: October 2007

In 1868 the German Leopold Ordenstein (1835—1902) published in Paris a doctoral thesis in French language under the patronage of Jean-Martin Charcot (1825—1893). For the first time, multiple sclerosis and Parkinson's disease were clearly recognized as different clinical entities, based on clinical and pathological data. Ordenstein's work represents today a fundamental and often credited, yet still widely unknown, contribution to the history of these two diseases. The present paper delivers a synopsis of this key document. In addition, the life and work of Leopold Ordenstein will be reviewed. Multiple Sclerosis 2007; 13: 1195—1199. http://msj.sagepub.com
Fulminant central nervous system demyelination associated with interferon-α therapy and hepatitis C virus infection
Authors: Höftberger R. , Garzuly F. , Dienes H.P. , Grubits J. , Rohonyi B. , Fischer G. , Hanzely Z. , Lassmann H. , Budka H.
Published: October 2007

Hepatitis C virus (HCV) infection is common in the general population and may coincide with disease in the central and peripheral nervous system. Interferon-α (IFN-α) is used as treatment for HCV infection. The therapeutic benefit is assumed to result from activation of natural killer cells and CD8+ T cells. Despite its beneficial effects, it has been associated with a number of autoimmune disorders, such as chronic inflammatory demyelinating polyneuropathy and multiple sclerosis. Several clinical reports including magnetic resonance imaging exist, but neuropathological confirmation of MS associated with IFN-α therapy and HCV infection is lacking. We report a case of a female patient with chronic HCV infection who developed `acute MS'-like demyelinating disease after IFN-α administration, with extensive lesions throughout brain and thoracic spinal cord. The patient died after a disease duration of 6 months. Brain autopsy revealed Baló-like demyelinating plaques with positive HCV sequences within florid lesions. The development of fulminant demyelinating disease after administration of IFN-α suggests that autoimmune mechanisms such as T cell mediated tissue damage might be initiated or aggravated by IFN-α therapy. Additionally, the presence of HCV RNA within the demyelinated lesion indicates a possible role in triggering or propagating disease. Multiple Sclerosis 2007; 13: 1100—1106. http://msj.sagepub.com
Deferiprone, an orally deliverable iron chelator, ameliorates experimental autoimmune encephalomyelitis
Authors: Mitchell K.M. , Dotson A.L. , Cool K.M. , Chakrabarty A. , Benedict S.H. , LeVine S.M.
Published: October 2007

The iron chelator, Desferal, suppressed disease activity of experimental autoimmune encephalomyelitis (EAE), an animal model of multiple sclerosis (MS), and it has been tested in pilot trials for MS. The administration regimen of Desferal is cumbersome and prone to complications. Orally-deliverable, iron chelators have been developed that circumvent these difficulties, and the objective of this study was to test an oral chelator in EAE. SJL mice with active EAE were randomly assigned to receive deferiprone (150 mg/kg) or vehicle (water) 2×/day via gavage. EAE mice given deferiprone had significantly less disease activity and lower levels of inflammatory cell infiltrates (revealed by H&E staining) than EAE mice administered vehicle. T-cell infiltration, assessed by anti-CD3 immunohistochemical staining, also was reduced, although not significantly. Splenocytes cultured from naïve SJL mice were stimulated with anti-CD3 and anti-CD28 with or without 250 μM deferiprone. While ~39% of costimulated splenocytes without deferiprone underwent division, only ~2.8% of costimulated splenocytes with deferiprone divided and the latter cells were only 53% as viable as the former. Deferiprone had no effect on proliferation or viability of cells that were not costimulated. In summary, deferiprone effectively suppressed active EAE disease and it inhibited T-cell function. Multiple Sclerosis 2007; 13: 1118—1126. http://msj.sagepub.com
Comparison of injection site pain and injection site reactions in relapsing-remitting multiple sclerosis patients treated with interferon beta-1a or 1b
Authors: Baum K. , O'Leary C. , Coret Ferrer F. , Klimova E. , Prochazkova L. , Bugge J. ,   for the BRIGHT Study Group
Published: October 2007

This prospective, multicentre, international, observational, cohort study compared injection site pain (ISP) and injection site reactions (ISRS) between interferon beta-1b (IFNB-1b; Betaferon ®) 250 μg subcutaneously every other day and interferon beta-1a (IFNB-1a; Rebif®) 44 μg subcutaneously three times weekly in patients with relapsing-remitting MS. Patients started treatment within 3 months before recruitment and were on full dose of therapy at inclusion. Patients self-injected IFNB and self-assessed ISP for 15 consecutive injections immediately, 30 and 60 min after injection, using a visual analogue scale diary. Study staff assessed ISRS. Of 445 patients (valid cases), ~90% used autoinjectors. More patients were pain-free at all timepoints with IFNB-1b than with IFNB-1a (eg, 30 min: 42.6% versus 19.7%; P< 0.0001). The mean proportion of pain-free injections was greater for IFNB-1b (eg, 30 min: 79.0%) than for IFNB-1a (53.3%; P < 0.0001). The proportion of patients without ISRS was greater for IFNB-1b (second visit 51.8% versus 33.8%; P < 0.0001). Compared with IFNB-1a, more IFNB-1b patients either had no pain or their ISP had no influence on treatment satisfaction (76.9% versus 64.1%; P = 0.006). The impact on tolerability and patient acceptability of any new IFNB product formulations would, however, have to be evaluated in comparative studies. Multiple Sclerosis 2007; 13 : 1153—1160. http://msj.sagepub.com
The Self-Reflexive Funhouse of Silent Hill
Authors: Kirkland Ewan
Published: October 2007

/ This paper explores Konami's horror videogame franchise Silent Hill according to recent discussions of immersion, alienation and critical simulation. Silent Hill constitutes an extremely selfreflexive series, frequently acknowledging its videogame status and interrogating the medium as experience and text. This, paradoxically, produces an experience of simultaneous critical distance and intensified engagement. Clumsy controls, grotesque imagery and deterministic gameplay disrupt player immersion. The digital emulation of analogue media and its distortion denies technological transparency. Silent Hill invites comparisons to Brechtian theatre and filmmaking through its estranged protagonists, multiple `alternative' spaces, and pervasive `unpleasure'. Yet while encouraging critical engagement with the videogame process, these aspects also contribute to the games' horror affect. Anti-immersive elements rely upon repellent audiovisuals. Analogue disintegration is employed to signify evil, corruption and contamination. Contradicting assumptions that emphasizing construction and enunciation disrupts identification, immersion and illusion, such aspects are fundamental to Silent Hill's operation as horror text.
Dionysiac Machines
Authors: Giddings Seth
Published: October 2007

/ This article rethinks concepts of the simulational and the simulacral for popular digital culture. It plays concepts of the modern world as hyperreal against the more modest, pragmatic, but vital, insights of game studies into the literally simulational nature of computer media and videogames. Through a reading of Deleuze's essay Platonism and the Simulacrum, taking the GameBoy Advance game Advance Wars 2 as a case study, and proposing the significance of automata, it suggests ways of thinking about the artificial and simulacral character of contemporary technoculture and its devices, not as the implosion of reality, but of its production.
Three Spheres of Performance Governance
Authors: Uusikylä Petri , Valovirta Ville
Published: October 2007

This article argues that one of the reasons for unsatisfactory performance is the single-sighted and narrow scope of performance management models applied in most of the OECD countries. Performance targets are normally set from a single organization's perspective, which is not sufficient given the complex nature of societal problems that public agencies deal with. In the worst case, single-unit performance targeting and maximization of an organization's self-interest produces suboptimal results rather than positive impacts for society as a whole. After a critical assessment of existing performance management models, we suggest a more comprehensive approach. In our extended framework, the overall performance has been broken down into three fields of performance. The first field covers the enabling performance factors such as learning, process development and resources. The second field consists of a single organization's performance targets, i.e. measurable outputs delivered to customers and immediate results generated by these activities. The third field of our framework is called the multi-organizational sphere of effectiveness where positive results can only be created by multi-actor performance clusters. We conclude by discussing the potential strengths and weaknesses of the framework.
The Evaluator as a Critical Interpreter
Authors: Määttä Mirja , Rantala Kati
Published: October 2007

Evaluation research mixes administrative objectives with social scientific aims.This article distinguishes between three types of evaluation research based on the role of the evaluator. First, social engineers seek mechanisms that have objectively measurable outcomes. Second, programme promoters act as counselling resources for community developers or other stakeholders. Instead of these two traditional roles, this article considers a third type of evaluation which is based on the role of the evaluator as a critical interpreter, embodied in the sociological intervention approach. The role of the critical interpreter is illustrated by two cases where evaluation has focused on the policy of devolved responsibility combined with community-based prevention.The interventions took place in very different settings: a large-scale, long-lasting evaluation of a large and expensive policy-testing programme and an independent, voluntary and brief evaluation of small-scale, local groups. The comparison of these demonstrates that the context of evaluation determines the more specific type of a critical interpretation.
Developing Robust Approaches to Evaluating Social Programmes
Authors: Sampson Alice
Published: October 2007

Using `evidence' to falsify rather than verify patterns in data and searching for alternative explanations enables a better understanding of the circumstances that explain why and how a social programme works or does not work. An analysis of the extent to which a programme is meeting its aims and objectives to find out if it provides a solution to the policy problem, is more rigorous.The roles researchers adopt influence the quality of an evaluation; facilitating a better understanding of the theories embodied in programmes enhances an evaluation while being a `broker of compromise' can limit access to information. Researchers have a valuable role in promoting learning. A robust evaluation framework integrates strategies for generalizing at the outset and identifying mechanisms of change or causal mechanism is a way forward. Examples are taken from recent evaluations conducted by the author and colleagues to illustrate the arguments.