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The purpose of this work is to analyze the concept of self-regulated learning and applying it to a web-based interface for music teaching.

This work starts from a systematic review about music education and self-regulation during learning processes. Then, the paper identifies those meta-cognitive strategies that music students should adopt during their instrumental practice. The goal is applying such concepts to rethink the structure of a didactic e-book for instrumental music education. Thanks to the adoption of the Institute of Electrical and Electronics Engineers (IEEE) 1599 standard, the paper outlines a model of active e-book able to improve learners’ performances through proper cognitive and multi-modal scaffolds. In the last section, the design principles for an implementation will be proposed.

This work applies theoretical research on self-regulated learning to the design and implementation of a working prototype.

A limitation is the lack of experimentation data, required to test the efficacy and effectiveness of the proposed e-book model and its impact on self-regulated music abilities. A validation strategy – e.g. based on scenarios – will be proposed in our future works, thanks to the support of music learning centres and focus groups composed by young Italian students.

This work has been invited as an extension of the paper presented by the authors at EL2014 International Conference held in Lisbon. The previous work has been awarded as the best paper of the conference. In this extension, the authors provide further details about the proposed framework, highlighting in particular the implementation of scaffolds in the interface.

The purpose of this paper is to explore aural representation of the countryside and English rurality through the contemporary cultural product of folk song.

A textual analysis was undertaken of the sleeve notes and lyrics of Steve Knightley, songwriter and founder member of the folk/roots band Show of Hands.

The concept of the rural idyll is thoroughly debunked in the majority of these lyrics. Many songs make specific reference to place, and these, in the main, focus on the historical and contemporary hardships of living in rural England, in many cases also making explicit reference to the historical or contemporary social issues deemed by the lyricist to be at the root of the problems faced by people living in English rural communities.

This paper analyses data obtained in lyrics of only one songwriter within only one music genre, but the artist is one of the most respected within the contemporary folk genre, and Show of Hands have won a number of prestigious nationally recognised folk awards.

The extant literature contains little concerning aural representations of place identities through song. The contribution this paper makes is therefore in presenting a conceptual framework that shows how folk song, as a contemporary cultural product contributes to the construction and communication of rural place identities.

Information products are analysed in terms of their linguistic, artistic, technological, pragmatic and contextual components and characteristics, and illustrated with examples of how the components are combined in real‐life information products. The conclusion is that the malleability and versatility of the components, and the technological possibilities of combining them provide seemingly unlimited scope for designing and marketing value‐added information products in our increasingly competitive and information technology‐based societies.

This introductory chapter starts off by discussing the differences and interconnections of visual sociology and urban sociology in their quest to understand human settlements. It then moves to argue for expanding the focus to other disciplines that are equally geared toward researching aspects of the city in visual and multimodal ways, since the urban context cannot be studied comprehensively without engaging a multitude of disciplines and trying to make productive connections between them. The chapter continues with a concise overview and discussion of each of the contributions in this first of two volumes of “Visual and Multimodal Urban Sociology” in the “Research in Urban Sociology” series. These twin volumes explore multiple ways in which the city and city life may be approached, studied, and expressed through visual and multimodal means and methods, thereby as much as possible including sensory experiences other than those related to seeing and hearing. It concludes with drawing some contours and challenges of visual and multimodal urban studies and the critical role of technology in advancing this cross-disciplinary field of inquiry.

This paper discusses how mystery was imprinted into the Jesuit Spiritual Exercises, supporting their diffusion across space and time. It shows that the book of the Spiritual Exercises is a practice in itself and fosters a practice or set of practices. The book is more than an object: it is an action, unleashed not by the specification of what actions it dictates but by the mystery the “book-as-practice” carries. The paper contributes to the literature on practice-driven institutionalism, namely by showing how mystery furthers our understanding of the mutual constitution of practices and institutions. The Spiritual Exercises have been practiced for more than four centuries, even though their meaning is not stable and they are never fully understood. Therefore, our paper asks: how do the Jesuits understand what they have to do if the book does not prescribe everything? The authors argue that it is indeed this mystery that distinguishes religious practices, explaining their endurance across time and space and, henceforth, their institutionalization. The authors show that the Spiritual Exercises are to be practiced and it is this practicing that allows them to diffuse and institutionalize a new understanding of how the individual relates to God. “God’s will” is searched through the practicing, without ever being determined by the practice. It is by practicing the book that the mystery of “God’s will” reveals itself. Moreover, “God’s will” is never known or knowable. Instead, it is embodied and felt while practicing the book of the Exercises. Emotions thus reconcile, through mystery, the book and the practicing of it. Our paper contributes to practice-driven institutionalism by showing how mystery can drive institutionalization processes.

Because of its conceptually dense character, social studies can be difficult to learn. Educators often struggle to find ways to teach higher-order thinking and make academic language and concepts comprehensible for English language learners (ELLs). Visuals may be the key to effective social studies instruction for this student population. Images can be located and obtained easily through the Internet, meshing well with the learning styles of today’s adolescents. This article presents some of the most promising approaches—including historical photographs, paintings and illustrations, maps, propaganda posters, and graphic organizers— that can be used with learners at all levels of language proficiency.

The purpose of this paper is to examine the meaning, in both local and international context, of the Kochi-Muziris Biennale (KMB), the first international exhibit of contemporary art in India. Kochi Biennale Foundation (KBF), which administers the KMB, identifies art as a means for transforming society, with a mission to bring global contemporary art to India and to present India’s modern art to the world. The authors further investigate the role of government sponsorship and corporate patronage in funding the KMB, and investigate how resistance through art is key to the KMB’s identity.

This study focuses primarily on published materials relating to the KMB. One of the authors attended the 2016 KMB and interviewed fellow attendees. Additionally, the authors reviewed and assessed social media postings regarding the 2016 KMB.

The authors argue that government sponsorship and corporate patronage are never solely about political or financial power. Rather, a generalized reciprocity among the three entities – corporations, the government and the artists – allows the KMB to flourish. For the artists involved, the KMB, co-founded by activist artists, sustains interest in and awareness of resistance.

Extant literature on biennales is sparse on ways in which these exhibits extend their impact beyond the art world. The authors examine issues such as India expanding its position on the world stage through art, and the implications of political resistance embraced by Indian artists on future directions for the KMB, that have heretofore been unaddressed.

Because the voice-to-technology (V2T) encounter remains under-theorised, the purpose of this paper is to overcome this gap by investigating customers use of the interactive voice response (IVR) system and “the customer journey” through the call centre service system.

From an interpretive study of a UK call centre, the metaphorical aspects of language used to represent the service process are analysed, accompanied by an examination of how the servicescape dimensions of spatial layout and signs are constituted in the call centre service process, and the resulting implications for virtual-aural navigation.

Despite no physical movement, customers represent their experience of navigating “through” the service process in spatial terms. Therefore, understanding precisely how servicescape dimensions are reconfigured within the virtual-aural setting of the call centre is necessary to appreciate customer experience of V2T but also voice-to-voice (V2V) encounters. The call centre servicescape lacks a spatial representation of layout and signs that would conventionally support navigation and purposeful movement.

Despite observing live calls, direct interaction with customers was not possible. The paper was based upon a single case study, and the hermeneutic focus on understanding and meaning meant that the study did not emphasise the quantification of phenomenon. Therefore, further research on virtual navigation is required.

Problematic V2T encounters compromise the quality and efficiency of service provision. A visual representation of the IVR system may possibly support V2T encounters, while encouraging customer service advisors to act as “guides” during V2V encounters may reduce problems emerging from V2T encounters.

First, an original theorisation of the customer experience of the V2T encounter is provided through the theoretical notion of spatialisation metaphors. Second, a preliminary conceptualisation of the call centre servicescape is developed, which shows how spatial layout and signs are reconfigured and represented in this virtual-aural setting.

A need to renew music-related information notions arises from both information-seeking models and literature of musical semiotics. The purpose of this paper is to create a music information typology, which aims at facilitating the examination of music information types at varying levels of abstraction in the context of information seeking.

Literature of musical semiotics and information seeking are juxtaposed to develop a novel approach to music-related information. The grounding concepts are Bruner’s enactive, iconic and symbolic modes of representation. The modes of representation offer a universal scheme of knowledge that is applied to the domain of music by defining their content through Tarasti’s Theory of Musical Semiotics.

This conceptual paper results in a music information typology ranging from the enactive music information representations to the abstract ones as follows. Music making as the first mode of enactive representations; music listening as the second mode of enactive representations; iconic representations of music; technological models of music as the first mode of symbolic representations; and ideological models of music as the second mode of symbolic representations.

The present paper develops a music information typology that encompasses broadly different music information facets by categorizing music information sources according to their level of abstraction. When applied into empirical research, the typology opens a new window into the perceived roles of music information types in the context of information seeking.

The purpose of this paper is to elaborate the picture of situational relevance of music information from a performing musician’s point of view by delving into its diverse layers within the context of Doctor of Music students’ information seeking.

Music-related information is approached through six modes that categorize music information sources based on their levels of abstraction. Situational relevance of the modes of music information is examined in relation to the situational requirements of accomplishing a dissertation on music task consisting of both a series of concerts and a written thesis. The empirical material was collected by interviewing Finnish doctoral students in the field of music performance.

A set of situational relevance types related to each mode of music information were identified. As a whole, the differences between the perceived importance of the modes varied a little.

The goal of the present paper is not to create a generalizable list of situational relevance types suggested by modes of music information, but to show that the modes may suggest diverse situational relevance types of their own when evaluated by performing musicians.

The present paper provides a rare account on performing musicians’ vocational and school-related information seeking. For studies of music information retrieval, the present paper offers new contextual facets explaining why diverse music information could be relevant to musicians. For studies of music-related information seeking, the present study offers new insights on why performing musicians have information needs regarding certain types of music information sources.