query: one type of music that might be especially relevant to ethnomusicology is

pos: Ethnomusicology many genres influenced each other and elements from foreign music became more prevalent in mainstream popular music. Diaspora populations such as the Punjab population in England were studied due to the characteristics of their music showing signs of the effects of global media. Their music, like many other music of displaced cultures, was made up of elements from the folk music of their culture along with the popular music of their location. Through this process the idea of transnationalism in music occurred. Additionally, postcolonial thought remained a focus of ethnomusicological literature. One example comes from Ghanaian ethnomusicologist Kofi Agawu; in

pos: Ethnomusicology ideas are transferable to any musical culture around the world. In his book, Music, Race, and Nation, Peter Wade discusses the “community of anonymity,” or the “identification of the citizen with other unknown compatriots in a common allegiance to the nation itself”. Music allows for people within a nation to connect when they would not be able to otherwise. Two people from villages or cities hundreds or thousands of miles away may have different traditions or customs, but they also might know the same folk music from their nation, and can connect that way. Music is largely responsible for national

pos: Society for Ethnomusicology subject matter." Rhodes found that Frank Gillis’ 1962 supplement (Ethnomusicology 6: 191-214) written for Alan Merriam’s 1960 “Annotated Bibliography of Theses and Dissertations in Ethnomusicology and Folk Music Accepted at American Universities” ("Ethnomusicology" 4: 21-35) showed an increase from 180 to 197 titles nationwide. The Society is governed by a Constitution, Board of Directors, Council Members, and stands by its strict Bylaws. There are several standing committees that members can participate, ranging in size from 4-15 members. Some of these committees organize national events, such as the annual conference, while others operate local events, nominations, awarding of prizes, publications, and

neg: Ethnomusicology styles and techniques in detail — even ‘schools’ within one style — and individual variations in execution from dancer to dancer.” In the seventies and eighties, like with ethnomusicology, ethnochoreolology had a focus on a very specific communicative type of “folklore music” performed by small groups and the context and performance aspects of dance were studied and emphasized to be a part of a whole “folkloric dance” that needed to be preserved. This was influenced by the same human centered “thick description” way of study that had moved into ethnomusicology. However, at this time, the sound and dance aspects of

neg: Ethnomusicology for the most part, consider the field to apply to western music as well as non-western. However, ethnomusicology, especially in the earlier years of the field, was still primarily focused on non-western cultures; it is only in recent years that ethnomusicological scholarship has begun to allow more diversity with respect to both the cultures being studied and the methods by which these cultures may be studied. Despite the increased acceptance of ethnomusicological examinations of western music, modern ethnomusicologists still focus overwhelmingly on non-western music. One of the few major examinations of western music from an ethnomusicological focus, as well as

neg: Ethnomusicology a given geographical area. However, even as early as the 1960s some ethnomusicologists were proposing that ethnomusicological methods should also be used to examine western music. For instance, Alan Merriam, in a 1960 article, defines ethnomusicology not as the study of non-European music, but as the study of music in culture. In doing so he discards some of the 'external' focus proposed by the earlier (and contemporary) ethnomusicologists, who regarded non-European music as more relevant to the attention of scholars. Moreover, he expands the definition from being centered on music to including the study of culture as well. Modern ethnomusicologists,

neg: Musicology the study of the history of any type or genre of music, "e.g.", the history of Indian music or the history of rock. In practice, these research topics are more often considered within ethnomusicology (see below) and "historical musicology" is typically assumed to imply Western Art music of the European tradition. The methods of historical musicology include source studies (especially manuscript studies), paleography, philology (especially textual criticism), style criticism, historiography (the choice of historical method), musical analysis (analysis of music to find "inner coherence"), and iconography. The application of musical analysis to further these goals is often a part of

neg: Alan P. Merriam therefore argues for the sake of an anthropology of music. Studying just the music as an object, Merriam argues, is counterintuitive to the goals of ethnomusicology, excluding a very important aspect of ethnomusicology, which is music’s intrinsic ties to the ways humans act. Articulating this relationship, Merriam states, Ethnomusicology, Merriam posits, “has most often been made in terms of what [musicology] encompasses,” being that the realms of musicology and ethnomusicology are exclusive to one another, and ethnomusicology has simply been relayed as being what musicology is not. Moving towards a clearer definition of ethnomusicology, Merriam writes that ethnomusicology “makes its

neg: Ethnomusicology worldview, priority systems, and cognitive patterns, and thought that their interpretation was truth. This type of research contributed to a larger phenomenon called Orientalism." It was also during that time that Clifford Geertz’s concept of thick description spread from anthropology to ethnomusicology. In particular, ethnomusicologist Timothy Rice called for a more human-focused study of ethnomusicology, putting emphasis on the processes that bind music and society together in musical creation and performance. His model follows Alan Merriam’s identification of the field as "the study of music in culture." Rice puts more focus on historical change as well as the role of

neg: Ethnomusicology as a humanity rather than science, Nattiez suggested that subjecting music to linguistic models and methods might prove more effective than employing the scientific method. He proposed that the inclusion of linguistic methods in ethnomusicology would increase the field's interdependence, reducing the need to borrow resources and research procedures from exclusively other sciences. John Blacking was another ethnomusicologist who sought to create an ethnomusicological parallel to linguistic models of analysis. In his work on Venda music, he writes, “The problem of musical description is not unlike that in linguistic analysis: a particular grammar should account for the processes by which

neg: Ethnomusicology copyright law is inherently conducive to exploitation of non-Westerners by Western musicologists for a variety of reasons some of which he quotes from other esteemed ethnomusicologists: some non-Western pieces are uncopyrightable because they are orally passed down, some “sacred songs are issued forth by ancient spirits or gods” giving them no other to obtain copyright, and the concept of copyright may only be relevant in “commercially oriented societies”. Furthermore, the very notion of originality (in the West especially) is a quagmire in and of itself. Scherzinger also brought several issues to the forefront that also arise with metaphysical interpretations of

neg: Ethnomusicology thus practices, as a discipline being changed. The Fall/Winter 2016 issue of the Society of Ethnomusicology's Student News contains a survey about decolonizing ethnomusicology to see their readers’ views on what decolonizing ethnomusicology entailed. The different themes were: i) decentering ethnomusicology from the United States and Europe, ii) expanding/transforming the discipline, iii) recognizing privilege and power, and iv) constructing spaces to actually talk about decolonizing ethnomusicology among peers and colleagues. One of the issues proposed by Brendan Kibbee for “decolonizing” ethnomusicology is how scholars might reorganize the disciplinary practices to broaden the base of ideas and thinkers. One idea posed

neg: Alan P. Merriam could accomplish the egalitarian purpose of ethnomusicology in spreading world musics and preserving them. In contrast, Merriam’s priorities lay in proposing a theoretical framework (as he does in The Anthropology of Music) for studying musical data and using that analysis for application towards solving musical problems. Merriam’s contribution to ethnomusicology was felt past his death but especially in the works of Tim Rice of UCLA in the 1980s as he himself was trying to propose a more composed and exact model for conducting work in ethnomusicology. He deconstructed Merriam’s method as stated in The Anthropology of Music and described it

neg: Ethnomusicology challenges of the field. Some approaches reference "musical areas" like "musical synthesis in Ghana" while others emphasize "a study of culture through the avenue of music, to study music as social behavior." The multifaceted and dynamic approaches to ethnomusicology allude to how the field has evolved. The primary element that distinguishes ethnomusicology from musicology is the expectation that ethnomusicologists engage in sustained, diachronic fieldwork as their primary source of data. There are many individuals and groups who can be connected to ethnomusicology. According to Merriam, some of these groups are "players of ethnic music," "music educators," "those who see ethnic

neg: Ethnomusicology acted as one of the first centers for ethnomusicology. Comparative musicology and early ethnomusicology tended to focus on non-Western music, but in more recent years, the field has expanded to embrace the study of Western music from an ethnographic standpoint. The International Council for Traditional Music (founded 1947) and the Society for Ethnomusicology (founded 1955) are the primary international academic organizations for advancing the discipline of ethnomusicology. Ethnomusicologists have offered varying definitions of the field. More specifically, scholars debate what constitutes ethnomusicology. Bruno Nettl distinguishes between discipline and field, believing ethnomusicology is the latter. There are multiple approaches to and

neg: Music archaeology to many other relevant sites. Music archaeology Music archaeology is an interdisciplinary study field that combines musicology and archaeology. As it includes music from numerous cultures, it is often seen as being a part of ethnomusicology, and indeed a study group looking into music archaeology first emerged from ethnomusicological group the ICTM, not from within archaeology. "In its broadest sense, music archaeology is the study of the phenomenon of past musical behaviours and sounds", as music archaeologist Adje Both connects several definitions. Music archaeologists use methods of both musicology and archaeology. A theoretical and methodological basic work is still missing

neg: Ethnomusicology one of the earliest, is Henry Kingsbury's book "Music, Talent, and Performance". In his book, Kingsbury studies a conservatory in the north-eastern United States. His examination of the conservatory uses many of the traditional fieldwork methods of ethnomusicology. Ethics is vital in the Ethnomusicology field because the product that comes out of fieldwork can be the result of the interaction between two cultures. Applying ethics to this field will confirm that each party is comfortable with the elements in the product and ensure that each party is compensated fairly for their contribution. To learn more about the monetary effects after

neg: Extension method which then requires the generic subclass to perform boxing and/or casts whenever the type used is one of the type arguments. A note should be placed on preferring extension methods over other means of achieving reuse and proper object oriented design. Extension methods might 'clutter' the automatic completion features of code editors, such as Visual Studio's IntelliSense, hence they should either be in their own namespace to allow the developer to selectively import them or they should be defined on a type that is specific enough for the method to appear in IntelliSense only when really relevant and given the

neg: Music Wizard the nationally recognized Ethnomusicology program at UCLA, win a two-year Organization of American States Fellowship to study abroad in Brazil to do his Master's thesis research, and then returned to get his Master’s in Musicology from UCLA in 1990. His insights on his thesis into the role visual cues have on teaching rhythm and guitar in Brazil led him to think about how that might facilitate learning to play other instruments like piano. Years before, Salter took classes to learn how to type, and failed pretty miserably at it, finding it boring and tedious. With the early Apple computers he

neg: Society for Ethnomusicology national, chapter, and sectional levels. These awards are designed to recognize the work of individuals in the field of ethnomusicology. Awards vary in purpose, financial prize (if any), eligibility, where and how often the prize is awarded, and application deadline. For a full list of awards and their descriptions, click here. Society for Ethnomusicology The Society for Ethnomusicology is, with the International Council for Traditional Music and the British Forum for Ethnomusicology, one of three major international associations for ethnomusicology. Its mission is "to promote the research, study, and performance of music in all historical periods and cultural contexts." Officially

neg: Ultimogeniture on the system, elder children might have received a share of land and moveable property at a younger age, for example when marrying and founding their own family. Ultimogeniture might also be considered appropriate for the estates of elderly rulers and property-owners, whose children were likely to be mature adults. There are several disadvantages for realms and families that adopt ultimogeniture. One such drawback is the fact that elder siblings, especially the first born of the relevant gender, will be heavily incentivized to sidestep the tradition, even more so if primogeniture inheritance is a familiar concept. And since the elder

neg: Alan P. Merriam unique contribution in welding together aspects of the social sciences and aspects of the humanities in such a way that each complements the other and leads to a fuller understanding of both. Neither should be considered as an end in itself; the two must be joined into a wider understanding. This definition of ethnomusicology comes in response to a number of other important ethnomusicology authors, such as Jaap Kunst, who defined ethnomusicology via the types of music studied in the field, Merriam’s own definition of ethnomusicology concerns a more general idea set with which the field of ethnomusicology is concerned

neg: Alan P. Merriam as a field ethnomusicology should aim to study “music in culture.” Merriam emphasizes that to further his argument that ethnomusicology must continue its transition into the study of broader issues by removing focus from the study of musical objects. He continued his efforts to arrive at a more accurate definition of ethnomusicology by later suggesting that music was the study of “music as culture.” The distinction between these two approaches to define ethnomusicology lie in how culture is treated relative to the study of music. The approach of studying “music in culture” assumes that culture is a complex quality inherent

neg: Society for Ethnomusicology Society for Ethnomusicology The Society for Ethnomusicology is, with the International Council for Traditional Music and the British Forum for Ethnomusicology, one of three major international associations for ethnomusicology. Its mission is "to promote the research, study, and performance of music in all historical periods and cultural contexts." Officially founded in 1955, its origins extend back to November, 1953 at the annual meeting of the American Anthropological Association in Philadelphia with an informal agreement between Willard Rhodes, David McAllester, and Alan P. Merriam. These three traveled together to the annual meeting of the American Musicological Society in New Haven to

neg: Alan P. Merriam data gathered in the field to solving relevant musical problems and how such application is motivated by the approach and goal of the researcher. Further, he claims the indispensable link between the data gathered in the field and the conclusions drawn from it by proposing his opinion on “armchair ethnomusicologists”: Merriam is characterized by a drive to solve relevant problems using data gathered in the field hands-on. An individual that stood as a foil to him was his fellow ethnomusicologist, Mantle Hood. A member of the musicology school of ethnomusicology, Hood was known for initiating an important ethnomusicology graduate program

neg: Ethnomusicology Turino proposes the use of the term "cosmopolitanism" rather than "globalization" to refer to contact between world musical cultures, since this term suggests a more equitable sharing of music traditions and acknowledges that multiple cultures can productively share influence and ownership of particular musical styles. Another relevant concept is glocalization, and a typology for how this phenomenon impacts music (called “Glocal BAG model”) is proposed in the book "Music Glocalization". The issue of appropriation has come to the forefront in discussions of music's globalization, since many Western European and North American artists have participated in “revitalization through appropriation,” claiming sounds

neg: Ethnomusicology deeply personal internal organization of their own music. Some cared about genre, others organized the music important to themselves by artist. Some considered music deeply important to them, some did not care about music at all. Early in the history of the field of ethnomusicology, there was debate as to whether ethnomusicological work could be done on the music of western society, or whether its focus was exclusively toward non-western music. Some early scholars, such as Mantle Hood, argued that ethnomusicology had two potential focuses: the study of all non-European art music, and the study of the music found in

neg: Reference class problem legal applications involve valuation. For example, houses might be valued using the data in a database of house sales of "similar" houses. To decide on which houses are similar to a given one, one needs to know which features of a house are relevant to price. Number of bathrooms might be relevant, but not the eye color of the owner. It has been argued that such reference class problems can be solved by finding which features are relevant: a feature is relevant to house price if house price covaries with it (it affects the likelihood that the house has a

neg: Patricia Shehan Campbell Music Program, and musical exchanges of university music majors with students of the Yakama Nation Tribal School. She was recipient of the Taiji Traditional Music Award in its inaugural year (2013), the Gunstream Award in Music for Community Engagement (2009), and the MENC Senior Researcher Award (2002). Prof. Campbell has enjoyed involvement in professional organizations (and their boards, especially the Society for Ethnomusicology, the International Society for Music Education, and The College Music Society). Campbell has served terms as President of the College Music Society, Vice President of the Society for Ethnomusicology and Chair of the Board of Smithsonian Folkways.

neg: Ethnomusicology ethnomusicology is having is to push for the broadening of the copyright laws in the United States. To broaden is equivalent to changing who can be cited as the original author of a piece of work to include the values that specific societies have. In order for this to be done, ethnomusicologists have to find a common ground amongst the copyright issues that they have encountered collectively. The origins of music and its connections to identity have been debated throughout the history of ethnomusicology. Thomas Turino defines “self,” “identity,” and “culture” as patterns of habits, such that tendencies to respond

neg: UCLA Herb Alpert School of Music Ensemble, Mariachi de Uclatàn, Music of Bali, Music of China, Music of India, and many others. Institute Of Ethnomusicology Founded in 1960, the Institute of Ethnomusicology was established under the supervision of Dr. Mantle Hood by UCLA Chancellor Gene D. Block. Mantle Hood brought to the program a belief that “ethnomusicology includes the musical practice, and "instrument" is interpreted in its literal meaning. Performance, under experienced leadership, is an integral part of the program at U.C.L.A.” The ethnomusicology student is taught practical training in the performance of various types of non-Western music. Since its founding the institute has hosted a

neg: Vested interest (communication theory) and van der Pligt, which involves students from a University in Amsterdam where the teaching faculty proposed the use of English to teach the curriculum instead of Dutch. Vested interest, in this case, suggests that students would be opposed to the use of English rather than Dutch simply based on the potential impact lectures conducted in English might have on their grades. A key factor to consider with vested interest is the level or type of involvement the individual has with a particular attitude object. This can be broken up into three main involvement components: Value-relevant, Impression-relevant, and Outcome-relevant. Value-relevant

neg: Ethnomusicology ("mousike", "music"), It is often defined as the anthropology or ethnography of music, or as musical anthropology. During its early development from comparative musicology in the 1950s, ethnomusicology was primarily oriented toward non-Western music, but for several decades it has included the study of all and any musics of the world (including Western art music and popular music) from anthropological, sociological and intercultural perspectives. Bruno Nettl once characterized ethnomusicology as a product of Western thinking, proclaiming that "ethnomusicology as western culture knows it is actually a western phenomenon"; in 1992, Jeff Todd Titon described it as the study of "people

neg: Ethnomusicology that doesn’t belong to them. Historically, ethnomusicological research was tainted with a strong bias from Westerners in thinking that their music was superior to the musics they researched. From this bias grew an apprehension of cultures to allow ethnomusicologists to study them, thinking that their music would be exploited or appropriated. There are benefits to ethnomusicological research, i.e. the promotion of international understanding, but the fear of this “musical colonialism” represents the opposition to an outsider ethnomusicologist in conducting his or her research on a community of insiders. In "The Study of Ethnomusicology: Thirty-One Issues and Concepts", Nettl discusses personal

neg: Job interview type of coaching is designed to focus interviewees on the content specifically relevant to describing one's qualifications for the job, in order to help improve their answers to interview questions. This coaching, therefore, focuses on improving the interviewee's understanding of the skills, abilities, and traits the interviewer is attempting to assess, and responding with relevant experience that demonstrates these skills. For example, this type of coaching might teach an interviewee to use the STAR approach for answering behavioral interview questions. A coaching program might include several sections focusing on various aspects of the interview. It could include a section designed

neg: Vida Chenoweth the world. She then developed a program in ethnomusicology for the Wheaton College Conservatory of Music based on her own theory of analyzing the music of unwritten music traditions. She has since retired as International Consultant for Wycliffe and as Professor of Ethnomusicology at Wheaton College and has archived her nearly 1000 field tapes of world music in the Library of Congress. In 1974 she earned a Ph.D. in ethnomusicology at the University of Auckland, New Zealand. She is included in seven different Who’s Who lists and is named as one of the two thousand outstanding musicians of the twentieth

neg: Ethnomusicology ethnomusicology, often stressing that his students must learn how to play the music they studied. Further, prompted by a college student's personal letter, he recommended that potential students of ethnomusicology undertake substantial musical training in the field, a competency that he described as "bimusicality." This, he explained, is a measure intended to combat ethnocentrism and transcend problematic Western analytical conventions. Seeger also sought to transcend comparative practices by focusing on the music and how it impacted those in contact with it. Similar to Hood, Seeger valued the performance component of ethnomusicology. Ethnomusicologists following the anthropological approach include scholars such as

neg: Ethnomusicology to become ethnomusicology, but still remains today a field focused primarily on comparative studies in music. Ethnomusicology has evolved both in terminology and ideology since its formal inception in the late 19th century. Although practices paralleling ethnomusicological work have been noted throughout colonial history, an Armenian priest known as Komitas Vardapet is considered one of the pioneers to ethnomusicology's rise to prominence in 1896. While studying in Berlin at Frederick William University and attending the International Music Society, Vardapet transcribed over 3000 pieces of music. In his notes, he emphasized cultural and religious elements as well as social aspects of

neg: Society for Ethnomusicology that the “actual performance of an exotic music is essential to the full understand of its structure and purpose." UCLA was also praised for sending its graduate students abroad to be immersed in a culture and its music. The University of Hawaii was well known for its ability to harmonize the relationship between the anthropology and music departments, drawing from both to create well-rounded ethnomusicology courses. Alan Merriam had made significant headway at Indiana University, having been made a Professor of Anthropology in 1962, equipped with skills in African music, music analysis, and Indian music. He worked closely with music

neg: Ethnomusicology Katherine Hagedorn's 2001 Book "Divine Utterances: The Performance of Afro-Cuban Santería" is an example of experiential ethnomusicology, which “...incorporates the author’s voice, interpretations, and reactions into the ethnography, musical and cultural analysis, and historical context.” The book received the Society for Ethnomusicology's prestigious Alan P. Merriam prize in 2002, marking a broad acceptance of this new method in the institutions of ethnomusicology. Music forms a large part of national sentiment, or patriotism. National musical styles may include songs and genres used for reification of traditional culture, or more explicitly political purposes. One example of this phenomenon can be observed in

neg: Alan P. Merriam with. In his own words, he defines it simply as “the study of music in culture” (cite Merriam’s 1960 work here). This definition embodies the purpose of the entirety of The Anthropology of Music, being that ethnomusicology is not weighed further in favor of the ethnological or musicological, but instead an inseparable amalgamation of the two. Another aspect of ethnomusicology which Merriam sought to make clear in The Anthropology of Music is the overarching goal of the field of ethnomusicology. Merriam claims, “There is no denial of the basic aim, which is to understand music; but neither is there an

neg: Model transformation is read-only. The relevant notion of consistency is then very simple: the input model is consistent with the model that the transformation would produce as output, only. For a bidirectional model transformation, the same type of model can sometimes be input and other times be output. Bidirectional transformations are necessary in situations where people are working on more than one model and the models must be kept consistent. Then a change to either model might necessitate a change to the other, in order to maintain consistency between the models. Because each model can incorporate information which is not reflected in

neg: Ethnomusicology the music of interest. Thus, ethnomusicological studies do not rely on printed or manuscript sources as the primary source of epistemic authority. While the traditional subject of musicology has been the history and literature of Western art music, "ethnomusicology" was developed as the study of all music as a human social and cultural phenomenon. Oskar Kolberg is regarded as one of the earliest European ethnomusicologists as he first began collecting Polish folk songs in 1839. Comparative musicology, the primary precursor to ethnomusicology, emerged in the late 19th century and early 20th century. The International Musical Society in Berlin in 1899

neg: Theory of planned behavior elicitation interviews is one of the most crucial steps in applying the TPB. Elicitation interviews help to identify relevant behavioral outcomes, referents, cultural factors, facilitators, and barriers for each particular behavior and target population under investigation. The following are sample questions that may be used during an elicitation interview: However, the action, target, context and time construct shows little applicability when one engages in consuming luxury or fashion goods, especially as one's need is not present. For example, the goal might be to "buy three pairs of luxury high heels in the forthcoming month". In this statement, "buying" is the

neg: Music history Music history Music history, sometimes called historical musicology, is the highly diverse subfield of the broader discipline of musicology that studies music from a historical viewpoint. In theory, "music history" could refer to the study of the history of any type or genre of music (e.g., the history of Indian music or the history of rock). In practice, these research topics are often categorized as part of ethnomusicology or cultural studies, whether or not they are ethnographically based. The terms "music history" and "historical musicology" usually refer to the history of the notated music of Western elites, sometimes called "art

neg: Ethnomusicology same culture there is variation. To do this, he would play Western classical music with descriptive titles for Africans and ask them to identify the title. He found that no one could subsume that a song like Sinding's "Rustles of Spring" could possible be about spring. Dane Harwood suggests that while there can be no cultural universals in music there exist universal modes of cognitively understanding that we all undergo when we listen to music. Harwood also highlighted several inherent issues with the notion of universality in music. The first of these is structure vs. function in music. He notes

neg: Ethnomusicology Ethnomusicology Ethnomusicology is the study of music from the cultural and social aspects of the people who make it. It encompasses distinct theoretical and methodical approaches that emphasize cultural, social, material, cognitive, biological, and other dimensions or contexts of musical behavior, instead of only its isolated sound component. Folklorists, who began preserving and studying folklore music in Europe and the US in the 19th century, are considered the precursors of the field prior to the Second World War. The term "ethnomusicology" is said to have been first coined by Jaap Kunst from the Greek words ἔθνος ("ethnos", "nation") and μουσική

neg: False equivalence factors that are not relevant to the animals' suitability as pets). (the comparison is between things differing by many orders of magnitude: Deepwater Horizon spilled of oil, your neighbor might spill perhaps a pint (0.5 l).) False equivalence False equivalence is a logical fallacy in which two completely opposing arguments appear to be logically equivalent when in fact they are not. This fallacy is categorized as a fallacy of inconsistency. A common way for this fallacy to be perpetuated is one shared trait between two subjects is assumed to show equivalence, especially in order of magnitude, when equivalence is not

neg: Jeff Todd Titon on reciprocity and friendship, for helping to establish an applied ethnomusicology based in social responsibility, for proposing that music cultures can be understood as ecosystems, for introducing the concepts of musical and cultural sustainability, and for his appeal for a sound commons for all living creatures and his ecomusicological project of a sound ecology. His definition of ethnomusicology as "the study of people making music"--making the sounds they call music, and making music as a cultural domain--is widely accepted within the field. Jeff Todd Titon Jeff Todd Titon (born 1943) is a professor emeritus of music at Brown University. He

neg: Fence (criminal) of an item's value. Higher prices, sometimes as high as 50% of an item's value in a legal market, can be commanded by a professional thief, especially one who concentrates on valuable items. At the same time, fences will often take advantage of thieves by deceiving them about the value of an individual item and the relevant market conditions. For example, a fence may falsely tell a petty thief that the market for the type of good which the thief is selling is flooded with this type of merchandise, to justify paying out a lower price. Research on fences shows

neg: Shyness and is currently the subject of studies on the "novelty seeking" trait. A 1996 study of anxiety-related traits (shyness being one of these) remarked that, "Although twin studies have indicated that individual variation in measures of anxiety-related personality traits is 40-60% heritable, none of the relevant genes has yet been identified", and that "10 to 15 genes might be predicted to be involved" in the anxiety trait. Progress has been made since then, especially in identifying other potential genes involved in personality traits, but there has been little progress made towards confirming these relationships. The long version of the 5-HTT

neg: Ethnomusicology making music". Stated broadly, ethnomusicology may be described as a holistic investigation of music in its cultural contexts. Combining aspects of folklore, psychology, cultural anthropology, linguistics, comparative musicology, music theory, and history, ethnomusicology has adopted perspectives from a multitude of disciplines. This disciplinary variety has given rise to many definitions of the field, and attitudes and foci of ethnomusicologists have evolved since initial studies in the area of comparative musicology in the early 1900s. When the field first came into existence, it was largely limited to the study of non-Western music—in contrast to the study of Western art music, which

neg: I Made Bandem classic and contemporary. With this organization, Bandem has managed to raise and popularize ethnomusicology as a major discipline in art universities in Indonesia. In 1986, Bandem initiated The First International Gamelan Festival; an evaluation on the advancement of gamelan in the global milieu that was conducted in conjunction with the 1986 Vancouver Expo in Canada. During the festival, more than 250 delegates participated and represented gamelan (traditional Indonesian music orchestra) and ethnic music groups from all over the world. The festival is evidence that Indonesian music especially its various sorts of gamelan are integral part of the world music setting.

neg: Ethnomusicology the individual in music-making. In particular, Rice's model asks "how do people historically construct, socially maintain and individually create and experience music?" In addition to presenting new models of thought, Rice's ideas were also meant to unify the field of ethnomusicology into a more organized, cohesive field by providing an organized series of questions to address in the course of research. Another concern that came to the forefront in the 1980s is known as reflexivity. The ethnomusicologist and his or her culture of study have a bidirectional, reflexive influence on one another in that it is possible not only for

neg: Department of Home Affairs (South Africa) has unsuccessfully tried to attain an identity document for four years There have also been reports of the incompetency of the officers themselves. For instance some of them do not even know the relevant documents that need to be submitted for a particular visa application. In some scenarios, 2 identical applicants submitting the exact documents for the exact visa might not get the same response. One might be refused while the other one might be approved. Some applicants might have their applications rejected several times, either because they are only being informed of the relevant documents to be submitted each

neg: Ethnomusicology what we have, rather, are the views of a group of scholars operating within a field of discourse, an intellectual space defined by Euro-American traditions of ordering knowledge". Currently, scholarship that may have historically been identified as ethnomusicology is now classified as sound studies. Ethnomusicology is not limited to the study of music from non-Western cultures. It is discipline that encompasses various approaches to the study of the many musics around the world that emphasize their particular dimensions (cultural, social, material, cognitive, biological, etc.) and contexts beyond their isolated sound components. Western music and its influences are thus also subject

neg: Alan P. Merriam to any society and music exists as a component of that quality. Treating “music as culture” conceives culture not as an object with comments but as a fluid construct and that methods of understanding it can be applied to understanding music. Merriam’s idea of how ethnomusicology should be defined drew from his idea of what an ethnomusicologist should accomplish. Merriam had, like all ethnomusicologists, completed fieldwork in his area of interest, but he was characterized by his peers in ethnomusicology as being more scientific and focusing on drawing conclusion from data. In his own writings, he emphasizes the application of

neg: Ethnomusicology for wider exploration and reflection for those who are interested in primitive studies. This approach emphasizes the cultural impact of music and how music can be utilized to further understand humanity. The two approaches to ethnomusicology bring unique perspectives to the field, providing knowledge about both the effects culture as on music and the impact music has on culture. The great diversity of musics found across the world has necessitated an interdisciplinary approach to ethnomusicological study. Analytical and research methods have changed over time, as ethnomusicology has continued solidifying its disciplinary identity, and as scholars have become increasingly aware of

neg: Ethnomusicology center fieldwork over the traditional "armchair" work. In 1960, Mantle Hood established the Institute of Ethnomusicology at the University of California at Los Angeles, largely legitimizing the field and solidifying its position as an academic discipline. In the 1970s, ethnomusicology was becoming more well known outside of the small circle of scholars who had founded and fostered the early development of the field. The influence of ethnomusicology spread to composers, music therapists, music educators, anthropologists, musicologists, and even popular culture. Ethnomusicology and its academic rigor lent newfound legitimacy, as well as useful theoretical and methodological frameworks, to projects that attempted

neg: Society for Ethnomusicology P. McAllester, Alan P. Merriam, and Willard Rhodes attended the 52nd Annual Meeting of the American Anthropological Association taking place in the city of Philadelphia. The three found they shared a common interest, particularly in North American Indian music, but also had productive conversation about, "the problems of ethnomusicology, historical, theoretical and methodological, and above all, a need for association and communication with persons with similar interests." The scholars believed that the ever-evolving field of ethnomusicology would be better navigated if the scholars, musicologist, anthropologists, and anyone with passion for ethnomusicology formed a society. The three agreed that producing a

neg: Ethnomusicology amateur, professional, sacred, art, and mediated. These worlds are primarily defined by the act and function of the musical act, and each is a type of marked activity that influences how the musical act is perceived and the social norms and restrictions to which it is subject. Punjabi popular music falls into the mediated world due to globalization and the dissemination of commercial music separating performance from its immediate context. Thus, Punjabi popular music eventually "evolved to neatly represent certain dualities that are considered to characterize Punjabi identity: East/West, guardians of tradition/embracers of new technology, local/diaspora." Another example of globalization

neg: Ethnomusicology other symbolic dualisms”, including such culture-specific, gender-based dualisms as private/public, feelings/actions, and sordid (provocative)/holy. In some cultures, music comes to reflect those divisions in such a way that women's music and instrumentation is viewed as “non-music” as opposed to men's “music”. These and other dualities of musical behavior can help demonstrate societal views of gender, whether the musical behavior support or subvert gender roles. Women contributed extensively to ethnomusicological fieldwork from the 1950s onward, but women's and gender studies in ethnomusicology took off in the 1970s. Ellen Koskoff articulates three stages in women's studies within ethnomusicology: first, a corrective approach

neg: Durham University Department of Music Durham University Department of Music Department of Music is the music school of Durham University. Durham is one of the leading university music departments in the UK. The Department of Music offers innovative undergraduate and postgraduate courses, but also carries out world-leading research in musicology, analysis, music technology, music psychology, ethnomusicology, composition and performance. Department of Music offers a three-year undergraduate degree. The curriculum covers all key areas of music with particular strengths in music analysis, music history, ethnomusicology, music and science and performance and composition. Department of Music has been ranked as the best music department in the UK

neg: Musicology Musicology Musicology () is the scholarly analysis and research-based study of music. Musicology departments traditionally belong to the humanities, although music research is often more scientific in focus (psychological, sociological, acoustical, neurological, computational). A scholar who participates in musical research is a musicologist. Traditionally, historical musicology (commonly termed "music history") has been the most prominent sub-discipline of musicology. In the 2010s, historical musicology is one of several large musicology sub-disciplines. Historical musicology, ethnomusicology, and systematic musicology are approximately equal in size. Ethnomusicology is the study of music in its cultural context. Systematic musicology includes music acoustics, the science and technology

neg: Type (biology) that, an image of an individual of that taxon has sometimes been designated as a type. Describing species and appointing type specimens is part of scientific nomenclature and alpha taxonomy. When identifying material, a scientist attempts to apply a taxon name to a specimen or group of specimens based on his or her understanding of the relevant taxa, based on (at least) having read the type description(s), preferably based on an examination of all the type material of all of the relevant taxa. If there is more than one named type that all appear to be the same taxon, then

neg: Society for Ethnomusicology professor and ethnomusicologist, Walter Kaufmann. At Columbia University, Willard Rhodes had already been teaching some ethnomusicology course since he was made full Professor in 1954. He helped develop the ethnomusicology depart alongside Nicholas England, but later traveled to Africa and Asia to conduct and bring back research. Bruno Nettl and Richard Waterman were able to bridge the gap between the anthropology and music departments by teaching across both departments, bringing up Wayne State University as one of the countries strongest ethnomusicology institutions. Of course, Wesleyan University had already proven its great strength and devotion to ethnomusicology by printing the Newsletter,

neg: Ethnomusicology a necessary for giving ethnomusicology a distinct identity. He felt that ethnomusicology was just a “meeting ground” for anthropology of music and the study of music in different cultures, and lacked a distinguishing characteristic in scholarship. He urged others in the field to become more aware and inclusive of the non-musical processes that occur in the making of music, as well as the cultural foundation for certain properties of the music in any given culture, in the vein of Alan Merriam’s work. Some musical languages have been identified as more suited to linguistically focused analysis than others. Indian music, for

neg: Suitte d'un Goût Étranger different keys . In addition to this formal and structural iconoclasm, the suite is filled with music that is supremely virtuosic, descriptive, and adventurous—both melodically and harmonically . One might expect that, in an effort to 'fill in' Livre IV, Marais inserted some especially difficult or highly favored pieces that he had been saving, and put them all into their own suite. It might also be postulated that Marais was responding to the French penchant for highly descriptive and idiomatic orchestral music—a tradition upheld by the likes of Jean-Philippe Rameau and Jean-Féry Rebel—with virtuosic chamber music, as opposed to his

neg: Pit bull United States, pit bull-type dogs were identified in approximately one-third of dog bite-related fatalities in the United States between 1981 and 1992. However, the review notes that studies on dog bite-related fatalities which collect information by surveying news reports are subject to potential errors, as some fatal attacks may not have been reported, a study might not find all relevant news reports, and the dog breed might be misidentified. The AVMA has also noted fundamental problems with tracking breed in dog bite-related fatalities. In a 2013 study of 256 fatalities in the United States from 2000 to 2009, the AVMA

neg: Google Ads 2015, allowing for the use of standard GA remarketing lists to plan traditional text search ads. A more advanced subtype of remarketing is dynamic remarketing through which advertisers can show past visitors the specific products or services they viewed to further customize the ad experience. This subtype is especially used by e-commerce websites that foster a diverse range of products and services and need to have their remarketing messages relevant to users. While remarketing is a mainstream practice, it remains to be perceived as an intrusive one to many users as they might feel annoyingly stalked all over the internet.

neg: Music Quadrivium of the seven Liberal Arts and considered vital to higher learning. Within the quantitative Quadrivium, music, or more accurately harmonics, was the study of rational proportions. Musicology, the academic study of the subject of music, is studied in universities and music conservatories. The earliest definitions from the 19th century defined three sub-disciplines of musicology: systematic musicology, historical musicology, and comparative musicology or ethnomusicology. In 2010-era scholarship, one is more likely to encounter a division of the discipline into music theory, music history, and ethnomusicology. Research in musicology has often been enriched by cross-disciplinary work, for example in the field

neg: Performance attribution return, the type of analysis described here is meant to evaluate the effect of each (type of) controllable decision on the active return, and ‘interaction’ is not a clearly defined controllable decision. Decision attribution also needs to address the combined effect of multiple periods over which weights vary and returns compound. In addition, more structured investment processes normally need to be addressed in order for the analysis to be relevant to actual fund construction. Such sophisticated investment processes might include ones that nest sectors within asset classes and/or industries within sectors, requiring the evaluation of the effects of deciding the

neg: Shadow price much they would pay for it, and collect relevant demographic data of these respondents. Some common types of these survey questions include: open-ended, referendum-type, payment-card type, and double-bounded referendum-type. The advantage of contingent valuation is that it is sometimes the only feasible method for valuing a public good. This is especially the case when there is no obvious market price that one can use to determine the value. On the contrary, there are also many disadvantages of this method. For instance, how the survey is structured and how the questions are framed can lead to widely varying results and can

neg: Alan P. Merriam as consisting of three analytical levels. This simplified model was used by Rice as a foil to the method he was proposing, consistently referencing how his model furthered things accomplished by the Merriam model. The purpose of this book is to create a better understanding of the anthropological aspects of music, defining ethnomusicology as not the study of the music of non-western cultures, but instead as the study of the relationship which music bears to society. Merriam claims the goals of ethnomusicology cannot be realized by considering music to be an object separate from the humans which make it, and

neg: Mantle Hood through research, teaching, and other forms of dissemination, is one of the greatest gifts Mantle Hood has given to ethnomusicology." Mantle Hood Mantle Hood (June 24, 1918 – July 31, 2005) was an American ethnomusicologist. Among other areas, he specialized in studying gamelan music from Indonesia. Hood pioneered, in the 1950s and 1960s, a new approach to the study of music, and the creation of the first American university program devoted to ethnomusicology, at the University of California, Los Angeles (UCLA). He was known for a suggestion, somewhat novel at the time, that his students actually learn to play the

neg: Alberto Hemsi Alberto Hemsi Alberto Hemsi (27 June 1898 – 8 October 1975) was a composer of the 20th Century Classical era. His work in the field of ethnomusicology and integration of Sephardic melodies has been noted as parallel to Béla Bartók's collection of traditional Hungarian music and consequent integration to his music. Hemsi was born in 1898 in Turgutlu in the Ottoman Empire, Alberto Hemsi's family roots can be traced back to the Sephardic Jews of the Iberian peninsula. From an early age, Alberto's parents detected a keen sensitivity and interest in music, especially during prayers sung in synagogue, and decided

neg: Gerard Béhague cultures that produce it). He ultimately started a program there in Latin American ethnomusicology which is currently maintained by one of his protégés, former UT Austin student Robin Moore. Béhague joined the School of Music faculty at the University of Texas at Austin in 1974, his permanent academic position, where he was instrumental in establishing the graduate program in ethnomusicology. At UT Austin, he served as chairman of the Department of Music (1980–89), as Frank C. Erwin, Jr. Endowed Professor in Music (1985–2005) and as Virginia L. Murchison Endowed Regents Professor of Fine Arts (1995–2005). He died of lung cancer

neg: Luca Francesconi weight of tradition, especially that generated by serialism and its worshipers. After extensive research into tempo, into tempi, one might say, into sonoric texture, the composer here explores a type of language that favours narration. "Music is closer than any other form of expression to that nucleus of "existential energy" that lives deep within us." 2000 was also the year of Cobalt, Scarlet: Two Colors of Dawn. "A single movement of twenty three minutes for large orchestra divided into parallel - at times counterpoised – groups begins with a pianissimo of metallic gleams that emanate alternately from the two sides

neg: I Made Bandem artist and as a visiting scholar, Bandem has taught and performed Balinese dance throughout the world. Bandem’s accomplishment and contribution to arts and culture can be group into four major domains including achievements in ethnomusicology, , arts and culture management, and political career. Bandem is the first Indonesian to accomplish the Ph.D title in ethnomusicology from Wesleyan University, Middletown, Connecticut (1980). As a scholar in the field of world music, Bandem fathoms and advances a school of thought popularly termed as the “bi-musicality” that was initially promoted by Prof. Dr. Mantle Hood. Bandem refers bi-musicality as a conception that music

neg: Ethnomusicology from values of Western culture.” Slobin remarks that a more accurate statement might acknowledge that ethics vary across nations and cultures, and that the ethics from the cultures of both researcher and informant are in play in fieldwork settings. Some case scenarios for ethically ambiguous situations that Slobin discusses include the following: Slobin's discussion of ethical issues in ethnomusicology was surprising in that he highlights the ethnomusicology community's apathy towards the public discussion of ethical issues, as evidenced by the lackluster response of scholars at a large 1970 SEM meeting. Slobin also points out a facet of ethical thinking among

neg: Doubly stochastic model a doubly stochastic model is the following. The observed values in a point process might be modelled as a Poisson process in which the rate (the relevant underlying parameter) is treated as being the exponential of a Gaussian process. Doubly stochastic model In statistics, a doubly stochastic model is a type of model that can arise in many contexts, but in particular in modelling time-series and stochastic processes. The basic idea for a doubly stochastic model is that an observed random variable is modelled in two stages. In one stage, the distribution of the observed outcome is represented in a

neg: ISM band The allocation might be primary, secondary, exclusive, and shared. Type A (footnote 5.138) = frequency bands are designated for "ISM applications". The use of these frequency bands for ISM applications shall be subject to special authorization by the administration concerned, in agreement with other administrations whose radiocommunication services might be affected. In applying this provision, administrations shall have due regard to the latest relevant ITU-R Recommendations. Type B (footnote 5.150) = frequency bands are also designated for ISM applications. Radiocommunication services operating within these bands must accept harmful interference which may be caused by these applications. ITU RR, Footnote 5.280

neg: Confirmation bias have found repeatedly that people tend to test hypotheses in a one-sided way, by searching for evidence consistent with their current hypothesis. Rather than searching through all the relevant evidence, they phrase questions to receive an affirmative answer that supports their theory. They look for the consequences that they would expect if their hypothesis were true, rather than what would happen if they were false. For example, someone using yes/no questions to find a number they suspect to be the number 3 might ask, "Is it an odd number?" People prefer this type of question, called a "positive test", even

neg: Ethnomusicology performance give insight into perception of a music's structure, but these studies are restricted to Western score-reading tradition thus far. Currently there are several theories to explain the evolution of music. One of theories, expanded on by Ian Cross, is the idea that music piggy-backed on the ability to produce language and evolved to enable and promote social interaction. Cross bases his account on the fact that music is a humanly ancient art seen throughout nearly every example of human culture. Since opinions vary on what precisely can be defined as "music", Cross defines it as "complexly structured, affectively significant,

neg: Ethnomusicology African Music. Similar work has been dedicated towards film and field video. Benjamin Koen, Gregory Barz, and Kenneth Brunnel-Smith characterize medical ethnomusicology as “a new field of integrative research and applied practice that explores holistically the roles of music and sound phenomena and related praxes in any cultural and clinical context of health and healing”. Medical ethnomusicology often focuses specifically on music and its effect on the biological, psychological, social, emotional, and spiritual realms of health. In this regard, medical ethnomusicologists have found applications of music to combat a broad range of health issues; music has found usage in the

neg: Tradition and in chimpanzees, transfer of traditional behavior from one group to another (not just within a group) has been observed. Such behavioral traditions may have evolutionary significance, allowing adaptation at a faster rate than genetic change. In the field of musicology and ethnomusicology tradition refers to the belief systems, repertoire, techniques, style and culture that is passed down through subsequent generations. Tradition in music suggests a historical context with which one can perceive distinguishable patterns. Along with a sense of history, traditions have a fluidity that cause them to evolve and adapt over time. While both musicology and ethnomusicology are

neg: Ethnomusicology by the researcher's audience, it can, and does, take on a variety of different meanings. The 1980s can be classified by the emergence of awareness of cultural bias, the reliability of different sources, and a general skepticism as regards the validity of the researcher's point of view and of the object of research itself. By the late 1980s, the field of ethnomusicology had begun examining popular music and the effect of media on musics around the world. Several definitions of popular music exist but most agree that it is characterized by having widespread appeal. Peter Manuel adds to this definition

neg: Shan-Hua Chien Shan-Hua Chien Shan-Hua Chien (錢善華) is a Taiwanese musicologist. He is currently a professor at the Graduate Institute of Ethnomusicology and the Department of Music at National Taiwan Normal University. He has also been the dean of the College of Music and the director of the Graduate Institute of Ethnomusicology at National Taiwan Normal University. His fields of interests include composition, musical theory, the history of western music, choral conducting, world music, Asian music, Austronesian music, the music of Taiwanese aboriginals, and ethnomusicology. Chien began his undergraduate studies in the Department of Music at National Taiwan Normal University in 1972.

neg: Society for Ethnomusicology “Ethnomusicology: The Field and the Society” article, he quoted Winkelman’s finding that about 30 institutions offered anywhere from one to fourteen courses related to ethnomusicology. This is an incredible number when compared to the findings of Bruno Nettl, who had been charged to construct a survey of the institutions that offered courses in ethnomusicology in 1954, which showed that only fourteen institutions made the list. Winkelman found that the number had doubled in about ten years. Among these institutions, a few stood out as academic leaders in ethnomusicology in 1963. UCLA offered one of the largest graduate program, which believed

neg: Ethnomusicology ethnomusicologists in that many of the ethical rules deal with Westerners studying in non-Western, third world countries. Any non-Western ethnomusicologists are immediately excluded from these rules, as are Westerner's studying Western music. He also highlights several prevalent issues in ethnomusicology by using hypothetical cases from an American Anthropological Association newsletter and framing them in terms of ethnomusicology. For example: “You bring a local musician, one of your informants, to the West on tour. He wants to perform pieces you feel inappropriately represent his tradition to Westerns, as the genre reinforces Western stereotypes about the musician’s homeland… do you have the

neg: Ethnomusicology doing something that he calls music but nobody else would give it that name. That one exception would be enough to eliminate the possibility of a real universal.” As a result of this gamesmanship of ethnomusicologists to poke holes in universals, focus shifted from trying to find a universal to trying to find near-universals, or qualities that may unite the majority of the world's musics. McAllester was a believer in near universals, he wrote, "I will be satisfied if nearly everybody does it,” which is why he postulated that nearly all music has a tonal center, has a tendency to

neg: Ethnomusicology surrounding such superstars, subcultures continued to arise, such as the rock and punk movements, only perpetuated by the corporate machine that also shaped the musical aspect of popular music. Musical interaction through globalization played a huge role in ethnomusicology in the 1990s. Musical change was increasingly discussed. Ethnomusicologists began looking into a 'global village', straying away from a specialized look at music within a specific culture. There are two sides to this globalization of music: on one hand it would bring more cultural exchange globally, but on the other hand it could facilitate the appropriation and assimilation of musics. Ethnomusicologists

neg: Doctor of Musical Arts The Ph.D. is the standard doctorate in music theory, musicology, music therapy, and ethnomusicology. A related program is the Doctor of Sacred Music (D.S.M.), also "Sacrae Musica Doctor" (S.M.D.), which tends to be awarded by seminaries or university music schools that focus on church music, choral conducting and organ performance. In the past, some seminaries titled the degree Doctor of Church Music (D.C.M.). Only one U.S. institution, Claremont Graduate University still offers the D.C.M. degree, in addition to the more typical D.M.A. The vast majority of U.S. seminaries have closed their music doctorate programs, but some still offer a Master

neg: Anne Rasmussen Behague, and Scott Marcus. Rasmussen has written articles appearing in many journals, including "Ethnomusicology", "Asian Music", "Popular Music", "American Music", "The World of Music", "The Garland Encyclopaedia of World Music", and the "Harvard Dictionary of Music". She produced four CD recordings documenting immigrant and community music in the United States. She is a former Fulbright senior scholar and served as the First Vice President of the Society for Ethnomusicology. Rasmussen has been teaching courses in ethnomusicology at The College of William & Mary since 1993, where she also directs with Middle Eastern Music Ensemble. Rasmussen accompanied Indonesian Qur'an reciter Maria

neg: Poul Rovsing Olsen Greenland and the Persian Gulf and taught at the universities of Lund (1967-9) and Copenhagen (from 1969). His output includes opera, orchestral and chamber music, piano pieces and songs. His opera "Belisa" is based on The Love of Don Perlimplín and Belisa in the Garden by Federico García Lorca. Piano: Orchestral: Operas: His major contributions to ethnomusicology included his pioneering work in the music of the Persian Gulf, especially Bahrain. Also his concern with "authors' rights", being a jurist himself, besides the fact that he also was a pianist and a composer. He considered traditional music as a heritage connected

neg: Robert E. Brown doctoral studies at UCLA as a piano major in 1953. After Mantle Hood began teaching at UCLA the following year, Brown switched to ethnomusicology and became Hood's first teaching assistant. Brown received his doctorate in ethnomusicology from UCLA. His dissertation was titled "The Mrdanga: A Study of Drumming in South India" (1965). He studied and played the "mridangam". Brown began teaching at Wesleyan University in 1961. He founded the world music/ethnomusicology program at Wesleyan. It was here that Brown first used the term "world music" to describe the ethnomusicology program. Bob Brown followed the philosophy advocated by Mantle Hood, who

neg: Noam Chomsky provides a basis for understanding the relationship between grammars (devices that enumerate the valid sentences within languages). In order of increasing expressive power it includes regular (or Type-3) grammars, context-free (or Type-2) grammars, context-sensitive (or Type-1) grammars, and recursively enumerable (or Type-0) grammars. Each class is a strict subset of the class above it, i.e., each successive class can generate a broader set of formal languages (infinite sets of strings composed from finite sets of symbols, or alphabets) than the one below. The Chomsky hierarchy is also relevant in theoretical computer science, especially programming language theory, compiler construction, and automata

neg: Ethnomusicology dynamics within musical collaboration can contribute to cultural exploitation. When talking about ethics in ethnomusicology it is imperative that I remain specific about who it applies to. An ethnomusicologist must consider ethics if he comes from a culture that is different from the culture that he wants to conduct his research on. However, an ethnomusicologist that conducts research on a culture that is how own does not have to weigh ethics. For example, music scholar, Kofi Agawu writes about African music and all of its significant aspects. He mentions the dynamics of music among the generations, the significance of the

neg: Clinical decision support system two main types of CDSS: as detailed below. An example of how a clinical decision support system might be used by a clinician is a specific type of CDSS, a DDSS (diagnosis decision support systems). A DDSS requests some of the patients data and in response, proposes a set of appropriate diagnoses. The doctor then takes the output of the DDSS and determines which diagnoses might be relevant and which are not, and if necessary orders further tests to narrow down the diagnosis. Another example of a CDSS would be a case-based reasoning (CBR) system. A CBR system might use

neg: Rob Bowman (music writer) "Love Shines". Rob Bowman (music writer) Rob Bowman (born 1957) is a Canadian Grammy-award-winning professor of ethnomusicology and a music writer. Formerly the director of York University's Graduate Program in Ethnomusicology & Musicology in Toronto, he has written many liner notes, studies and books on popular music. Specializing in the Stax Records story, his liner notes on the different boxed sets of "The Complete Stax/Volt Soul Singles" have been celebrated. His book, "Soulsville, U.S.A. - The Story of Stax Records", is considered to be the definitive history of the legendary Memphis-based record label. Bowman won the 1996 Best Album Notes

neg: Rob Bowman (music writer) Rob Bowman (music writer) Rob Bowman (born 1957) is a Canadian Grammy-award-winning professor of ethnomusicology and a music writer. Formerly the director of York University's Graduate Program in Ethnomusicology & Musicology in Toronto, he has written many liner notes, studies and books on popular music. Specializing in the Stax Records story, his liner notes on the different boxed sets of "The Complete Stax/Volt Soul Singles" have been celebrated. His book, "Soulsville, U.S.A. - The Story of Stax Records", is considered to be the definitive history of the legendary Memphis-based record label. Bowman won the 1996 Best Album Notes Grammy for