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The purpose of this paper is to present the design and implementation of music courseware that features a music search system that uses impression keywords. The paper applies the courseware to Kansei (sensibility) development for elementary and junior high school students. The objectives of this courseware are to cultivate children's sensitivity to the mood of a music selection; an understanding of the effects of tonality on the mood of the music; and) an ability to appreciate and express music through activities such as searching, selecting, and listening while also utilizing information about musical impression. The courseware is also designed to support teachers who do not specialize in music education.

Music courseware is designed containing the following three components: a semantic associative search engine that enables the retrieval of media data related to impression keywords selected by users; interfaces and tools for music retrieval and learning, which support users as they study the mood of the music in an easy‐to‐understand format using basic music teaching scenarios; and basic music teaching scenarios that are designed and created by elementary school teachers to encourage student understandings of the tonality and mood of the music in a practical manner.

The results of several qualitative and quantitative experiments show that this courseware assists children in independently learning musical elements by feeling, understanding, and expressing music impressions using words from the courseware that are extracted automatically from musical elements, such as key, rhythm, tempo, pitch, melody, and harmony.

Additional applications in various elementary and junior high school settings are needed to address a variety of practical, real‐life teaching scenarios.

This courseware have the potential to support enrichment programs not only in ordinary schools but also in a wide range of non‐educational settings, such as welfare care, disability care, and cross‐cultural communication.

The main feature of this courseware is its multimedia database technology, which applies Kansei to music education, thereby enabling students to understand the mood and structure of music based on their own subjective impressions using an objective framework.

Purpose – This chapter focuses on how teacher candidates engage in a process of body mapping to narratively inquire into how their daily informal and formal music experiences inform elementary music teaching practices.

Methodology and findings – In a primary/junior music education course at Brock University, teacher candidates utilize a course assignment to create a visual narrative (body map), along with oral and written narratives that outline their music experiences. Through this narrative inquiry, teacher candidates become aware of how their personal lived experiences influence their perceptions about elementary music teaching. This chapter offers conceptualizations of five threads that emerged from the narratives: process of body mapping and musical experience, music everywhere, school influences, family, and fear.

Value – This inquiry deepens understandings of curriculum making possibilities in elementary music teacher education as teacher candidates begin to form their music teacher identity based on their lived experiences. Such visual, oral, and written narratives contribute to increased narrative understandings by demonstrating the power teacher candidates' personal music experiences have in shaping teacher identity and, in turn, teaching practice.

In this paper, knowledge concerning the meaning of knowing the object of learning is developed using learning study as a research approach. The purpose of this paper is to show how the object of learning, in this case, playing with groove in rhythmic sequences, can be analysed and recognised using phenomenography.

The paper reports on a learning study conducted in three different fifth grade elementary school classes. Seven music teachers were involved in preparing the pre-test, designing three research lessons and analysing the material.

The findings show that several aspects of the object of learning must be discerned by the learner in order to experience the chosen object of learning and develop in the learning situation. The phenomenographic analysis contributed to refining the meaning of the object of learning.

In a learning study, knowledge concerning the meaning of the object of learning is generated. The development and specification of this knowledge will be empirically revealed through the analysis process. This paper will contribute to the discussion concerning what must be known in order to develop a specific capability in music education, namely, the capability to feel the groove.

Music education and music therapy offer many positive benefits for students with disabilities. This chapter highlights some of the most recent research in both fields and in neuroscience that offers strategies for special educators to use to increase inclusion in music classes and ensembles.

The purpose of this paper is to evaluate the connections between art and marketing in order to develop enhanced insight into how visual art and the art world can inform marketing theory and practice.

An indepth analysis of a range of relevant literatures is carried out in order to heighten understanding of art as a way of knowing within the marketing discipline. A range of meanings of art and marketing are considered and an analysis of their intersections is carried out.

A number of useful concepts are developed, including that of the marketing manager as an artist. Viewing marketing through visual art is seen as an avant garde response to addressing the continuing theory/practice gap.

Following an art‐based way of knowing in marketing has the potential to challenge more mainstream paths of thinking by opening up the ways in which we visualise marketing theory and practice. Thinking about marketing through art should not be seen as a general panacea for addressing current inadequacies of marketing theory, but should instead be viewed as an alternative mechanism in which contemporary marketing theory and practice can be enriched by the transference and juxtapositioning of art‐based thought with long established ways of thinking about marketing.

Artistic creativity is seen as a key factor in stimulating marketing decisions. Viewing the marketer as artist also mirrors the actual behaviour of the marketing manager by providing insight into intuitive thought processes and visualisation techniques.

Arts marketing research in general is making progress in terms of its theoretical and practical contributions to the wider marketing discipline. It is believed that papers such as this will contribute to the ongoing research agenda by stimulating much needed critical debate.

The purpose of this chapter is to map out the role of arts and the transfer values of the case of intensified music education as a governance tool for cultural sustainability. It takes the form of a literature review, which reveals that the role of arts in terms of governance of cultural sustainability includes the arts as issues of cultural heritage; symbolic translations of cultural values; transferring learning about emotions and life-quality, cooperation and linguistic-logical skills and potential transmitters of socio-economic enhancement of individuals performing it. The negative outcome is that the arts are predominated by the elite and wealthy, and that the potential of the role of the arts in the public education curriculum has not been utilised nor preferred in many countries as a result of low government expenditure. Other projects may exist in non-academic public media that may confirm or reject the findings. The chapter suggests academia and practitioners study, impact and initiate better ways of including the arts in the governance of cultural sustainability through public education. The inclusion of the arts in public education can improve the livelihood of children in all socio-economic areas. It connects two different literatures – that of cultural sustainability and that of traditional art studies in education, and raises questions about current governance practices underestimating the value of including cultural sustainability in governance and the role of the arts herein.

WITH this issue we are commencing the twenty‐seventh year of our career as an independent Library Journal and trust that we shall carry on the tradition of our illustrious founder and continue to criticise or praise without fear or favour. During the past twelve months our editorial staff has successfully produced special numbers dealing with Bookbinding, Book Selection, Children's Departments, Classification, and Colonial Libraries. Judging by the correspondence we have received, our efforts have been greatly appreciated by the majority of our readers. Naturally we have not pleased everybody and we have even been dubbed the “little contemporary” in some quarters. However, we can point to an unbroken record of twenty‐six years' endeavour to serve the library profession and we ourselves are justly proud of the contemptible “little contemporary” that did not cease to appear even during the darkest hours of the dread war period.

Music could be a challenger for mathematics and a potential candidate for the title “The Universal Language.” This paper aims to discuss the primary objectives of engaging with music, including the therapeutic benefits. Similarities, between mathematics and music and how studying one might enhance one’s abilities of the other are pointed out.

A formal definition for a universal language is given. A qualitative approach, supplemented with rigorous reasoning, is adopted. The narrative relies on the author’s experiences, teaching mathematical concepts and musical interactions, with students from several countries. A vast amount of literature is reviewed and the corresponding findings are connected toward the arguments made.

The paper demonstrates that one day, once we understand both mathematics and music better, we might see both of them as the same language. Until then, it is essential to supplement mathematics with music. The educational implications, for all fields, are to ensure that the future creators of knowledge are equally adept at both music and mathematics. The wider policy connotations are to create a blueprint for a society with a vibrant musical and artistic environment.

This study illuminates new ways of thinking about music and mathematics. The possibility that many seemingly complex entities (including our universe, virtual computer worlds, mathematical operations, etc.), are made up of combinations of much simpler building blocks is hinted at. Familiarity with any intricate element of life, without getting flustered, is bound to produce remarkable results in other such endeavors.

John Churchley is the Assistant Superintendent-Human Resources for the Kamloops/Thompson School District in British Columbia, Canada. He has a background in both arts education and educational leadership. These two fields are reflected in his work as a practitioner and leader and in his academic research. He has taught music at elementary, secondary, and university levels and has worked as a fine arts curriculum consultant and as a school principal and district administrator. John holds a Doctor of Education degree from the University of Nottingham and keeps connected academically through an appointment as Adjunct Professor at Thompson Rivers University and through his involvement in the Arts, Aesthetics, Creativity, and Organization Research Network. His research interests include: the aesthetic experience; integrated arts/aesthetic education; leadership development and its intersection with aesthetic education; and public education issues in human resources management, labor law, and labor relations. E-mail: jchurchley@sd73.bc.ca

Judith Barak is the former head of the ACE program, is currently head of the graduate school of education at Kaye Academic College of Education in Beer Sheva, Israel. Her work focuses on educational innovations and creating collaborative relations. Her research aims at a deeper understanding of learning environments and their interrelations to professional development processes. She is involved mostly in collaborative self-study stemming from her lived experiences. Recent publications include “From the inside out: Learning to understand and appreciate multiple voices through telling identities” (2009), “‘Without stones there is no arch’: A study of professional development of teacher educators as a team” (2010), and “Conversations in a collaborative space: From stories to concepts to dimensions” (2010).