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The Equal Pay Act 1970 (which came into operation on 29 December 1975) provides for an “equality clause” to be written into all contracts of employment. S.1(2) (a) of the 1970 Act (which has been amended by the Sex Discrimination Act 1975) provides:

This chapter explores the potential for musical medievalism within metal, exploring the ways in which metal musicians have sought to include ‘authentic’ medieval musical languages within their music. The medieval repertoire poses many challenges even for early music specialists, and the musical idioms of metal and medieval music rarely overlap, leading many medievalist metal bands to rely instead on normative metal styles with occasional references to specific identifiable melodies. The chapter focusses particularly on the American metal band Obsequiae, who have drawn inspiration particularly from the medieval polyphonic repertoire, which required creating much more oblique musical connections. Obsequiae’s albums feature acoustic guitar and harp arrangements of medieval polyphonic works, but their metal songs likewise adopt some general qualities of medieval polyphony. The obscure nature of the connections is likely beyond many listeners, but paradoxically the lack of obvious musical medievalism can also cultivate the appearance of a deeper connection.

The purpose of this article is to use an extended model of self to understand the consumption of music and similar entertainment products.

In-depth interviews using experts within the music field were used to penetrate the private worlds of musical theatre enthusiasts. Multiple qualitative analytic techniques were used to explore the different aspects of the self underlying music consumption.

Repeated exposure to musical theatre allowed subjects to refine their consumption of specific performances that reflect the preferred aspect of their extended self. It is found higher order consumption needs are an integral part of the extended self, and form an important basis for consumption decisions. Of particular importance is the reflection of the self that assists others in their consumption choices.

Present research widely recognises consumers are seeking more than just “entertainment” when they consume an entertainment product, but struggle to characterise what it is consumers are actually seeking. This research provides this insight through an elaboration of the extended self-model.

Howard Becker’s theory for the sociology of art (including music) revolves around the simple, and often overlooked fact, “All artistic work, like all human activity, involves the joint activity of a number, often a large number, of people.” Among Becker’s writing about music, he presents an idea that I find is still relevant today, namely, that sociological and ethnomusicological work seem to be two hands of a single body that have little idea of what each other are doing. Drawing on the work of scholars such as Becker and Kay Kaufman Shelemay, I propose a model for the construction of the music event that highlights the relationship among the many systems behind the musical experience. I provide a case study of Inuit throat singing to demonstrate the effectiveness of this model in trying to explore the relationships among music, culture, and society.

In the past decade, smartphone adoption has reached almost 100% in industrialized countries, which is predominantly due to advancements in capabilities. Given the increasing number of people who are addicted to the smartphone and the significant growth of people who consume music via the smartphone, the purpose of the study is to explore the underlying mechanisms through which musical consumption affects smartphone addiction.

Based on dual-systems theory, a research model was developed to determine the impact of System 1 (emotion related to music) and System 2 (self-control) on smartphone addiction. A partial-least-squares approach was used to test the model with 294 survey participants.

The empirical data confirmed the research model. Regarding System 1, musical emotion positively influenced smartphone addiction through musical consumption and musical response. Moreover, musical preference significantly affected musical response. Regarding System 2, self-control negatively predicted smartphone addiction.

The study is limited, as the participants were college students who are not representative of all populations.

The study extends the literature on the dark side of information technology use and complements a research agenda by Gefen and Riedl (2018) on consideration of music in information systems (IS) research.

This chapter explores three different Cinema, Memory and Wellbeing pilot projects, two of which were carried out in Liverpool and the other in Petrópolis, a city of comparable size in the state of Rio de Janeiro, Brazil. It begins by discussing our motivations for developing these projects and how we drew on our previous research relating to films and cinema-going. It then presents the three different projects, showing how each was tailored to the care context in question (a residential nursing home and a day-care centre on Merseyside, and a GP practice in Brazil), explaining how they were conducted and discussing the results, with a view to informing and improving future initiatives of this type. We also show how our findings have shaped the creation of the ‘best-practice’ toolkit designed to enable activities coordinators, carers and health professionals to optimize the benefits of using films to stimulate memories and reminiscence and promote an improved sense of wellbeing among older people and those living with dementia. (This toolkit is available to download from the Emerald website in English: https://books.emeraldinsight.com/page/detail/Selfies/?K=9781787437173). We recount in detail our practical experiences of setting up and running screenings in diverse environments, how we set about trying to ‘measure’ or at least gather some tangible evidence of the wellbeing benefits of these events, and provide numerous examples of the reminiscences that they generated, as well as the feedback on the projects that we received from both the people who participated and the people who care for them.

There is evidence that music programmes can have a positive impact on people in contact with the criminal justice system. However, little attention has been paid to the potential role of music programmes as people leave prison and re-enter the community. Providing support for former prisoners “through-the-gate” is important to aid resettlement and reduce the risk of reoffending. This paper aims to present research on a programme called Sounding Out: a two-year, London-based programme providing ex-prisoners with longer-term rehabilitative opportunities upon their release to bridge the gap between life inside and outside of prison.

The study aimed to understand the impact of the Sounding Out programme on ex-prisoners from the perspective of participants, staff and family members. Semi-structured interviews took place with 17 people: ten participants across two Sounding Out projects; six members of staff – three from the Irene Taylor Trust, two musicians and one former prison worker; and one family member of a participant.

The research provides an understanding of the impact of involvement in a carefully designed programme of music creation, skills development and work placements. Thematic analysis of the data resulted in three key themes: personal impact, focus and direction and interpersonal relationships. The findings are consistent with the body of research that demonstrates the impact of music programmes on prisoners.

The current study adds to the relatively limited body of evidence on the role of music programmes in the reintegration of former prisoners into the community.