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This chapter explores the way teaching music lends itself to the inclusive pedagogical approach in action framework, focusing on four key areas: working outside of ability groups, using what learners can do as their starting point, engaging in learning at their own level whilst contributing to a collaborative outcome and developing the whole creative child rather than just a skillset.

This chapter features our innovative endeavors to inquire into an African-American student's potentially sensitive stories in a methodologically fluid and ethically delicate manner through two generative methods: digital narrative inquiry and musical narrative inquiry. Through a meta-level “inquiry into inquiry” approach, this work explores how we engaged in the digital and musical restorying of the participant's “Wounded Healer” narrative and uncovered its dynamism, cultural richness, and nuances. We subsequently represented the findings in humanizing ways using multimedia and music. Drawing on the insights from exploring these novel methods of digital and musical inquiry, our work illuminates noteworthy elements of narrative research: generativity, transformativity, interpersonal ethics, aesthetic ethics, and communal ethics. Additionally, the potential issue of trustworthiness in fluid narrative inquiries is addressed.

This study is a queer autoethnography which deconstructs assumptions about a queer musical perspective and the associated heteronormative power and privilege. Using the lens of a Heideggerian interpretive phenomenology, it examines the request for and subsequent actualising or unfolding of musical compositions that respond to works of art. The request, being for a ‘queer compositional response’ to artworks occurred as personal; it touched my experience of being occurring as a kind of existential threat. As such, the personal is clearly political, positioning the experience of the request for queer compositions as a cultural experience which I am examining as socially unjust, or discriminatory. Furthermore, examining the intersectionalities of oppressive heteronormative and sexist attitudes and actions as queer in the world is an authentic mode of being in Heidegger's analytic of Dasein.

This chapter investigates how musicians at jazz jam sessions engage in what I term “aggressive emergence.” In so doing, they introduce novelty, unpredictability and creativity in their spontaneous interactions with other musicians. In order to discuss this emergence, a notion of signs in musical communications as indexes, in the Peircean sense, is developed. To produce emergence in the ongoing development of a jam session performance, musicians must produce signs that index new directions that jazz playing can take, such as different rhythmic or harmonic accompaniments, or changes to the volume at which individuals play their instruments.

Purpose – This chapter focuses on the creative and artistic consequences triggered by legal and business decisions related to the form, structure, and operation of the band as a creative entity, as distinct from its members. The chapter highlights the choices often made by professional musical groups in popular music and the consequences of those choices.

Design/methodology of approach – The chapter follows the legal consequences of organizational formation and how those choices impact a band’s relationship with its record label, publisher, and audience as well as the relationship dynamics within the organization itself.

Findings – Lack of planning often results in tensions that undermine bands, particularly in those bands that form incrementally over time. Standard record label agreements and publishing agreements tend to heighten the tension among band members, creating competing economic incentives for various band members.

Originality – The implications to organizational dynamics for musical groups are rarely analyzed in terms of the band's legal and economic structure either as an academic review or as a professional planning methodology. This analysis and the approach provided herein should provide musicians and their counsel an effective method for planning and anticipating the inevitable tensions that will arise in the various stages of the band’s development.

Using a novel measure incorporating stylistic and acoustic data on recorded music from 1967 to 2017, we search for trends in the evolution of musical diversity in 125,340 albums. We find that temporal patterns of diversity differ for stylistic and acoustic data. We also find that the patterns differ dramatically by genre. Some genres, such as blues, jazz, and pop-rock, decrease in diversity over time; most other genres increase in diversity. The causes of these different trends present a puzzle for future research. We also find different patterns for recordings that made the Billboard 200 charts compared to all recordings, suggesting an association between selection processes driven by consumer popularity and diversity. Moreover, associations of diversity and industry structure found in prior research do not hold when we analyze data beyond the smaller sample of the more popular recordings found in Billboard. These findings have implications for many prior studies based exclusively on best-selling recordings

This chapter investigates Yiddish-language heavy metal music as a manifestation of postvernacularity. Yiddish, the traditional language of Ashkenazic Jews, is now endangered with a geographically dispersed speaker base and a low rate of transmission to younger generations outside of strictly Orthodox communities. However, as the heritage language of most Ashkenazic Jews, Yiddish continues to play an important symbolic role in contemporary Jewish life even among those who do not speak or understand it. This phenomenon has been termed ‘postvernacularity’ (Shandler, 2006).

Yiddish is associated with a rich tradition of folk songs, popular songs, and ballads. Recent decades have seen a growing interest among younger generations in Yiddish language and culture, including its musical tradition. In addition to musicians specialising in traditional Yiddish song, there are also currently two bands worldwide who have produced a metal album in Yiddish: Gevolt (Israel) and Dibbukim (Sweden). The repertoire of both bands is comprised largely of classic Yiddish songs interpreted in a metal style but retaining the traditional lyrics and melodies.

The fact that these metal bands often choose to reinterpret traditional staples rather than composing original Yiddish songs can be seen as a reflection of the predominantly postvernacular status of Yiddish. The language plays an iconic role for band members and audiences. Concurrently, the fusion of familiar Yiddish songs with metal style makes a language often associated with traditional Ashkenazic society relevant to the twenty-first century.

When musicians collaborate, a conversation takes place. They may not necessarily come from the same background, or even speak the same language, but when they listen to each other play and musically engage with a mutual respect and openness, a true improvisational and conversational collaborative flow is created. No single person controls how the work develops: the direction of the flow of this musical output is collectively determined through all the participants’ contributions. This creative process sees the participants as sonic explorers navigating and traversing the contours of a cross-cultural landscape, allowing unique moments of sound to be the catalyst for the (re)creation of new fusions and possible future collaborations. Presented as a discussion between composer Dr Jeremy Mayall and renowned taonga puoro practitioner Horomona Horo, this chapter looks at how their collaborative creative practice-based research projects have developed and reveal the sorts of musical interactions that transpire when performer/composers from both Western contemporary and Indigenous music backgrounds are given the opportunity to spend time together and collaborate. In this chapter, Horo and Mayall reflect on the processes that have informed their collaborations since meeting in 2008, and how their ongoing practice has developed through a range of projects that serve as case studies and discussion points throughout. This chapter aims to explore the centrality of relationship building and the impact that this kind of cross-cultural engagement can have on the ways in which musicians from different backgrounds can thrive.

This article reviews the quantitative marketing literature on artificial intelligence (AI) through an economics lens. We apply the framework in Prediction Machines: The Simple Economics of Artificial Intelligence to systematically categorize 96 research papers on AI in marketing academia into five levels of impact, which are prediction, decision, tool, strategy, and society. For each paper, we further identify each individual component of a task, the research question, the AI model used, and the broad decision type. Overall, we find there are fewer marketing papers focusing on strategy and society, and accordingly, we discuss future research opportunities in those areas.