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This paper aims to discuss the spatial interactions of street music in public spaces. It proposes to clarify why relationship between street music and people in public spaces is important and how street music evokes an external stimulus on people.

The conceptual framework of this paper is based on the triangulation process of Whyte and the qualities of public spaces, forming a relationship between space and people produced from the seminal literature of the paper. Accordingly, a case study based on the qualitative research method was conducted in Istiklal Avenue, where street music performances can be observed for long term. During the field work which spans a period of 12 months, 10 spots of street music performances have been observed and photo–video documentation was collected.

This paper provides empirical insights on how the triangulation process reflects social interactions in public spaces. This also suggests the triangulated position of street music as an external stimulus relating with the people as actors of daily urban flux.

Regarding to the chosen research approach which is based on deeper understanding, this paper interrelates the interactions of street music and people in public space.

This paper includes qualitative research steps of data collection and disaggregates findings with a “Cross Matrix Table” proposed at the end of the study.

The proposed disaggregating “Cross Matrix Table” and case study fulfil an architectural need to research how everyday street art activity can reflect the qualities of public space.

The purpose of this paper is to describe the music performance collection preserved in Eastern Washington University’s institutional repository (IR). This collection of recordings of student music performances is the result of an ongoing collaboration between the university?s library and music department, which serves to provide discoverability, preservation and access to a collection of student creative works, which had heretofore been a hidden collection.

This collection of student creative work was identified as a suitable project for the Eastern Washington University’s IR while it was still in the planning stages because it was identified as an existing need that the new IR could address. Much of the groundwork for the collaboration between the library and music department was completed prior to IR implementation. Thus, the library was ready to begin work on this collection once the IR was operational.

The student music performance collection has been a successful project for the IR, which benefits the music department by making student performances discoverable and accessible, and benefits the library by providing the opportunity to demonstrate that the then-new IR could support the university’s student-centered focus on teaching and learning.

While there is a growing body of literature on IRs emphasizing student work, there is little literature on music or other creative works’ collections in IRs, much less on creative works by students. This paper adds to the limited body of literature on student creative works in the IR by describing the development, implementation and lessons learned from the successful music performances collection.

This paper seeks to explore the design of popular music performance space, focusing particularly on recent developments that are changing the form and operation of permanent venues and travelling stages. Its objective is to analyse the typology of existing venues but also to chart the emergence of new and distinct building forms in response to changing artist, promoter and audience demands.

The paper investigates the factors that determine the architecture of live performance space, based on the research project's detailed examination of specific examples that range from small music clubs to large and complex stadium‐sized buildings. The paper introduces the research themes that have shaped the author's book Live Architecture: Popular Music Venues, Stages and Arenas, which will be published in 2011.

The paper proposes a new categorisation of buildings as; adopted, adapted and dedicated music performance environments, and explores the significance of mobile facilities as architecture in their own right, but also as a modifier of place and space. It identifies factors that are changing the scale and operation of performance venues and articulates the implications for new venues.

This paper presents a continuing research project that is examining for the first time popular music performance building design as a distinct architectural genre. It proposes for the first time a building typology in order to increase our understanding of how the most successful spaces have been created, and how future ones might safeguard live music's power and immediacy for its audiences.

The purpose of this paper is to compare the self‐reported health‐promoting behaviours of music and non‐music performance students in higher education. It also seeks to determine the extent to which perceived health and self‐reported symptoms are associated with lifestyle, emotional affect state, self‐regulation and self‐efficacy.

Music performance students from two conservatoires (n=198) and students of nursing and biomedical science (health students) from two universities (n=65) aged 18‐26 years completed the health‐promoting lifestyle inventory; the positive and negative affect, the self‐efficacy and the self‐regulation scales, as well as reporting their present health and completing an inventory of musculo‐ and non‐musculoskeletal health problems.

Music performance students score lower than health students on health responsibility, physical activity and spiritual growth; also on self‐efficacy and self‐regulation. Music performance students rate their health, generally, worse than do health students, and report a wider variety of symptoms, which they rate as more severe than do health students. Perceived present health is most strongly correlated with reported healthy lifestyle. This in turn is associated with positive affect, self‐efficacy and self‐regulation.

This is a relatively small‐scale investigation of the health‐promoting behaviours and experiences of ill‐health reported by two groups of students following different programmes of study and with different career aspirations. Firm conclusions cannot therefore be drawn.

While nursing and biomedical science students may be atypical in that they are likely to gain a greater awareness of health issues from their studies, it could be argued that music performance students need to adopt healthy lifestyles in order to reach their full potential as musicians, and health promotion should be part of their training.

The interrelationships among lifestyle, physical health and psychological well‐being have been studied in a number of populations. The health‐promoting behaviours of music performance students in comparison with those of other students are of particular interest given the physical and emotional demands of expert music making.

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 elaborate the picture of situational relevance by examining how modes of music information are viewed as situationally relevant at different stages of information-seeking processes among music students.

Empirical data of the present longitudinal study were collected in two phases by utilizing questionnaire and interview methods. Informants comprised of 14 university-level music students representing the fields of music performance, music education and music theory and composition. Modes of music information were approached through the information typology presented by Rousi, Savolainen and Vakkari.

The findings indicate that not only the modes of music information were seen as situationally relevant for different reasons by the three participating music student groups when at the beginning of their tasks, but also that the perceived situational relevance of the information modes underwent changes as their tasks progressed to focus formulation and post-focus stages.

Due to the small number of participants, further research is needed to verify the results concerning the differences in information-seeking processes between diverse music student groups.

The paper showcases that approaching music information through frameworks that classify information sources at diverse levels of abstraction enables an accurate description of information-seeking processes and illuminates context-sensitive development of situational relevance of music information of diverse modes.

The purpose of this research paper is to consider the aesthetic and commercial success of the “early music” or “historically informed performance” (HIP) movement during the 1970s and 1980s in the UK. Particular attention is given to the relationship between HIP performers and “the authenticity business” (i.e. the market‐driven commercial exploitation of this form of musical performance).

Through applying the metaphor of the “false relation” (a musical compositional device characteristic of the renaissance period), the paper explores the contradictory relationship between HIP and the market. The research is based on a detailed literature review relating to the emergence of the early music labour market, and interviews with 40 experts in the field (including HIP music directors, performers, agents, broadcasters, record company directors and instrument makers in the UK).

Far from being a mere backdrop to the ideologically driven practice of HIP, the paper demonstrates the close connection between market‐led entrepreneurial activity of some performers, and the subsequent success of early music performance. Particular attention is brought to the mediating role of authenticity discourse in bridging the art‐commerce divide and marketing early music successfully.

The paper offers a novel perspective from which to understand the artistic and commercial development of this cultural movement. It is suggested that the emphasis on the mediating role of authenticity discourse; and the closeness of the relationship between performance ideology and market‐based practices warrants further research across artistic and cultural movements more broadly.

This research makes a fresh contribution by exploring an understudied aspect of the Tropicália movement: visual performance. After offering a historical overview, we examine the movement’s communicative legacy. We contend that, in addition to song’s lyrics and musical symbols, it is vital to consider a third dimension: visual performance.

The addition of the visual allows for a more fundamental understanding of the many complex meanings that the Tropicalistas constructed in their resistance to political oppression, as well as broader cultural mores and expectations.

Our examination of archival performance videos reveals that Tropicalistas employed modes of dress and a specific, intentional orientation toward their listeners as particularly powerful tools of expression. Revealing these two dimensions of Tropicália performance allows us to better understand the importance of performance as a key element of resistance. The Tropicália movement’s performative reconfigurations of self and other became a vital channel through which the Tropicalistas manage to speak truth to power to challenge the oppressive military regime and question assumptions about Brazilian national identity.

Exploring the role of performance as part of the overall meaning of musical expression opens up new vistas of understanding. While relevant to Tropicália as a pivotal and wholly Brazilian artistic movement, the contributions of this study have implications beyond this particular setting. The analytical approach reveals how artistic movements can serve as both the substance and the expression of national being.

The purpose of this paper is to review the development and current state of music interlending in UK libraries, examining the materials themselves, their management challenges, range of users, cultural value, and scope for impact. It choses to highlight the interlending of performance materials (vocal scores and orchestral sets) as having particular cultural significance, being at the heart of music making in schools and the wider community and providing an element of value in people's lives through performance‐related activity.

From modest beginnings and tentative steps in library cooperation, the paper considers the development of regional and national catalogues culminating in the launch of the “Encore!” database, together with a brief discussion of other relevant topics such as copyright, the role of publishers and the physical constraints of the materials themselves.

In an attempt to quantify the growth and current level of music interlending traffic, the paper concludes that there has been considerable increase and that, if standard calculations are applied, music sets now account for perhaps the largest “volume” element of interlending for UK (public) libraries, contributing the sole area of growth in a largely declining field.

Music set interlending has a direct outcome in cultural fulfilment for thousands, perhaps millions, throughout the UK and is a rare area of growth, encouraging library use. Library managers would be wise to acknowledge this high level of activity, provision and value and give further financial and political support to music services as a vital weapon in the struggle to maintain quality library services in the UK.

The term “Brazilian popular music” refers to a varied repertoire of musical styles with a strong connection to local culture. The initiatives of representation of this domain of interest occur through adaptations of generic models and strategies coming from contexts and musical styles that differ from the essential characteristics of the national music. The purpose of this paper is to present a characterization of Brazilian popular music as a conceptual model which supports the communication and analysis of this domain and serves as a reference ontology for various applications in the field of Information Science and others.

To achieve the purpose, a mapping about Brazilian popular music was done from a literature review and a data collection with expert users, based on domain analysis theory. From this characterization, the conceptual model was built using an Ontology Engineering approach. To facilitate understanding, the results were described using a more user-friendly notation.

The paper presents a conceptual model as a first semantic reference on Brazilian popular music that serves (1) to better understand, communicate and analyze the domain of Brazilian popular music and, (2) to supply some semantic aspects not covered by the adaptations that have been proposed on the literature for musical representation.

The paper adds a new perspective to the understanding of Brazilian popular music and open opportunity to explore other repertoires about popular music.