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The need for thesauri to help users in their search for information in online information systems has been discussed for several decades. Many wide‐ranging contributions have been made to solve this problem. Nevertheless, investigation is needed to design a thesaurus structure based on what is relevant for users and generators of information within a specific subject domain. This paper explores the possibility of creating a thesaurus from the cognitive viewpoint. This approach is based on a system (in this case represented by a thesaurus) that organises its representation of knowledge or its classification as closely as possible to the authors‘ and users’ images of the subject domain with the objective of increasing the interaction between users and texts, and thus the communication in a given information retrieval system. From this point of view, the thesaurus structure is considered as the essential foundation on which to base such an interactive thesaurus. Furthermore, this structure is conceived as representing the merging point for both the generators‘ and the users’ models of the subject domain and for their information needs. This paper is dedicated mainly to the generators‘ side involved in this process. It demonstrates how an author’s writings can be used to identify the generators‘ model and perception of the subject domain, and how these can later be inserted in the thesaurus structure. Discourse analysis is used as a main method to identify the categories and its relevance for building such a structure is discussed. It also outlines a general approach for the user side to set up different methods of getting the users’ information needs into the thesaurus structure.

This paper aims to discuss additive manufacturing (AM) in the context of applications for musical instruments. It examines the main AM technologies used in musical instruments, goes through a history of musical applications of AM and raises the questions about the application of AM to create completely new wind instruments that would be impossible to produce with conventional manufacturing.

A literature research is presented which covers a historical application of AM to musical instruments and hypothesizes on some potential new applications.

AM has found extensive application to create conventional musical instruments with unique aesthetics designs. It’s true potential to create entirely new sounds, however, remains largely untapped.

More research is needed to truly assess the potential of additive manufacturing to create entirely new sounds for musical instrument.

The application of AM in music could herald an entirely new class of musical instruments with unique sounds.

This study highlights musical instruments as an unusual application of AM. It highlights the potential of AM to create entirely new sounds, which could create a whole new class of musical instruments.

An analysis of the images in music education textbooks for primary education has shown how the images do not fully reflect the human diversity present in the classroom and, therefore, continue to perpetuate positions that can lead to racism. The purpose of this paper is the analysis of the images to carried out has demonstrated how little progress has been made in the representation of diversity and how, in the 21st century, stereotypes continue to persist in the representation of cultural diversity.

The quantitative and qualitative data collected after analysing more than 2,600 images have shown that despite the considerable increase in the use of images in music textbooks, typical clichés about what instruments are played in the world and how those who play them are represented are still present.

The results also show how the images reflect the migratory flows experienced in each country. All of this has led to important conclusions, among which the importance of human diversity in images for students to normalise cultural diversity from and with musical educational materials should be highlighted.

The analysis of the 2,686 images showed how the use of the human figure has evolved up to the last educational reform. Firstly, the analysis of images focused on the evolution (year) of the presence of diversity (ethnicity) in the musical groupings represented (orchestra, band, choir, soloist or chamber group), as well as the evolution with respect to the type of instrument represented.

With the aim of analysing the evolution in the representation of diversity in music textbooks, the authors searched the most important publishing houses in Spain. To analyse the evolution of the visual depiction of diversity in music education textbooks in light of legislative and social changes related to race, the authors constructed several variables under the category labelled “Ethnicity”.

The images analysed, especially those included under the Organic General Law on the Educational System of 4 October 1990 and the Organic Law 2/2006 on Education of 3 May, tended to pair certain instruments with people with physical characteristics associated with particular ethnic profiles. In terms of musical activities, the main results can be summarised as follows: although the completely homogenous depiction of White Europeans in musical activities has given way to modestly more diverse representation, images of composition are still dominated by this group.

The authors’ analysis has led to the following conclusions, which demonstrate the need to continue the progress seen in the past several decades. The representation of human diversity in music textbooks can be considered a reality, not only in terms of the instruments with which they are represented but also in terms of their representation in other situations depicted in these textbooks. The progressive increase of images in music textbooks reflects the culturally diverse society of the national territory. However, the increase in this representation is not as considerable as might be expected. The typified representation of instruments associated with certain physical characteristics is starting to wane.

The purpose of this paper is to explore the use of an arts-based methodology in conducting a doctoral study on The Nile Project, an East African based musical collective. Despite some evidence that music is an effective tool for qualitative inquiry, there are few studies on its use, especially the use of musicking in the interview process.

The author used a qualitative and arts-based research approach.

Outcomes suggest that music may help to create an “in-between” space challenging researcher positionality and giving voice to the “researched.” Music also acted as a bridging agent encouraging open and honest dialogue and relationship building.

Findings suggest that music may be a useful tool for researchers interested in arts-based and participatory methods in qualitative research particularly when interviewing participants with varied linguistic, cultural, political and musical backgrounds.

There is sparse research on the use of musicking in the interview process of qualitative research.

The purpose of this paper is to address the lack of a theoretical framework for the integration of technology in music teaching and learning, and explores, within the framework of Technological Pedagogical Content Knowledge (TPCK or TPACK), the importance of affect in instructional design.

The authors reviewed relevant literature related to the fields of music education, instructional design, and technology integration. Accordingly, they developed guidelines for designing technology-enhanced learning for the activities of music composition and listening.

The authors propose a set of design principles based on the TPCK framework through the subject matter of music focusing on the affective domain, and identify interrelations among musical content, emotions, and technology. The design guidelines were tested in an empirical investigation and the results showed statistically significant differences between the control and the experimental groups in favor of the experimental group.

Further investigation is necessary to test the effectiveness of the proposed design principles. Including affect in the design process is a complicated and mostly unchartered area, and, thus, further research toward this direction is fully justified.

The research has practical significance, addressing a gap in the field of music education, as it provides teachers with explicit guidance about how to design music lessons with technology while incorporating affect.

The study extends the theoretical framework of TPCK to a design framework and proposes instructional design guidelines that address both the cognitive and the affective domains of learning, a focus that is currently missing from the existing TPCK or TPACK literature as well as the music education literature.

The purpose of this paper is to explore some of the problems of teaching qualitative research methods to large culturally‐mixed groups of postgraduate business school students.

After a consideration of some current relevant pedagogical issues the author presents an autoethnographic account of his own parallel experiences of teaching qualitative research methods and learning to play a musical instrument. Emotional aspects of teaching and learning are highlighted in an analysis of the dynamic interaction between the two activities. This is presented as an example of how the “use of learning stories” can increase sensitivity to the anxieties of students.

Finds that the core of the argument lies in the value of self‐reflexivity to the business school teacher and that looking inward at personal learning experiences is invaluable for informing current and future teaching practice. Recent learning experiences seem to have the most potential and learning something that is found difficult may be the richest source of empathy and insight.

It is argued that reflexive analysis by research‐methods lecturers of their own learning experiences can develop synergies which would not only improve the effectiveness of their teaching but also enrich the learning experience of their students.

The paper is an attempt to generate some original ideas about teaching research methods in business schools via a mix of autoethnography and music. The core of the argument lies in the value of self‐reflexivity to the business school teacher.

The case includes theoretical references to family business, organizational culture, resource-based value and leadership.

The case combines primary and secondary data. There is ample public information about Martin Guitar including histories of the company and its instruments. These were used for background. Primary data were provided by the company in the form of customized data and interviews.. The case writer has served Martin Guitar as a consultant and also plays Martin instruments. The case writer had numerous opportunities to interview Chris and his key lieutenants.

In 2019, C.F. Martin IV (Chris) was in his fourth decade leading one of the America’s oldest family-owned companies, C.F. Martin & Co., Inc. Martin Guitar is a globally known maker of fine guitars that are prized by collectors, working musicians and amateur musicians. Chris was raised in the family business and took on the CEO’s position at the age of 30. The case describes the company’s management practices and the culture that has emerged from them. In 2019, at age 64, Chris confronted issues faced by his predecessors over multiple generations: how to prepare the company for succession, and maintain its strong performance as a family-owned company in a dynamic industry environment.

The case is designed for a management course for upper-level undergraduates.

The scope of this column is being expanded with this issue in response to the dramatic increase in the publication and range of CD‐ROMs. We will include among the reviews CDs of interest which usually have some relationship with music. Also, as the spirit moves us, we will include CD‐ROMs which are not music related, just as the music CDs wandered beyond the strict confines of jazz.