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This study aims to address the question of what coordination mechanism can be used for cultural production and, in particular, for the governance of music culture production. The authors locate their reflection within the specific institutional innovations introduced in Italy in 2017, focusing on the idea of shared administration and the public–private collaboration instituted in Trentino (a province located in northern Italy) in support of its cultural policy.

This study focusses on the Trentino’s music school system. This includes 13 organisations (musicians’ cooperatives as well as associations of musicians and students, plus one municipal school which do not overlap with the public school system). To analyse shared administration features, the authors rely on selected information from 50 interviews with Trentino Music Schools (TMS) teachers and administrators, and on the proceedings of the 1994 music school conference organised by the schools at the time when this novel educational system was created.

To offer an innovative educational service, the public actor (Provincia Autonoma di Trento [PAT]) and the schools (TMS) have developed a strong interdependence at the different levels of decision-making: PAT needs organisations that are sufficiently structured and organised to respect requirements of transparency and accountability, as well as educational standards, whereas TMS need public funding to maintain their service accessible for users, good labour conditions and be financially sustainable. Likewise, the success of TMS in educating thousands of students every year, including additional teaching programmes funded by PAT within general public schools, has contributed to decrease the exclusion from music education, raise interest in young people for music and fed enrolment in TMS as well as in the public schools related to the conservatoire filière. Conclusions emphasise the existence of a polycentric system of music culture production which needs to acknowledge the risk of being trapped in a static disequilibrium, while recognising change and the need to support and promote a culture of cooperation among schools and across layered institutional levels over time.

Further research can observe this system of cultural production over time, to appreciate changes and organisational tranformations, while introducing comparative analysis with other systems in different regions.

The relationship between the public and private sectors to design, organise and manage activities of collective interest (in the social, cultural, sporting and other fields) can increasingly become an effective and efficient alternative to the traditional bureaucratic as well as to the competitive method. For this to happen, however, all actors involved must be aware not only of areas of efficiency but also of inefficiency. To remedy the latter, corrective measures will have to be introduced. For example, fostering and improving “co-programmazione” and “co-progettazione” means giving all stakeholders involved the opportunity to actively participate. Should the number of participants increase, more discussion fora could be set up because one alone may not be sufficient to foster maximum involvement, to enhance different points of view, to allow for intersectoral and multidisciplinary interpretations and responses.

The system governance based on co-programming and co-design has allowed – despite limitations – to pursue educational purposes and thus well-being for the users, as well as for the teachers and the community as a whole. The continuity of this educational and cultural action has been guaranteed by the economic and financial sustainability of the schools, which is highly dependent on the public actor funding personnel costs, and in turn tied to the number of students (demand) attending each school. Actors embedded in the system need to build awareness of industry and cultural changes and knowledge of how to introduce more adaptive capacity. This points towards the need for strengthening networking capacity and collaboration among schools and other relevant stakeholders.

The case presented is a unique system of music culture production in Italy, and its governance has never been addressed by previous studies. It provides an application of shared administration to which public administrations and communities can learn to improve access to music culture and education. For public and private organisations to take advantage of the method of “co-programmazione” and “co-progettazione”, to make the production of a meritorious good more efficient and to favour its maximum accessibility, this study considers the strengths and weaknesses of this approach, or the areas of efficiency and inefficiency, for which new measures will have to be introduced.

Milton Nascimento is one of the most prolific Brazilian singers and songwriters of all time, an artist who has formed friendships and made songs with a host of Brazilian artists, with international stars from Latin America, and with artists abroad. Milton’s repertoire has made its way into the fabric of musical compilations of Brazilian music for international listeners. Perhaps unbeknownst to these international listeners, Milton, as an Afro-Brazilian artist, reflects a complex and paradoxical relationship to “race” in his music – at times openly touching upon racial themes, even during an area when the government forbade open discussion of racial tension in Brazil – but at times signifying race more subtly, either through subtle references to diversity in Brazil or through the very elements of his music.

This paper aims to explore how music festival organisers negotiate diversity and inclusion in marketing and promotion practices through symbolic and social boundaries.

Based on semi-structured interviews with 18 festival organisers in Rotterdam and participant observation with six festival photographers I show that symbolic and social boundaries are employed in three areas: (1) boundaries in festival format (i.e. [partially] free or ticketed), (2) boundaries in distribution partners and technologies and (3) boundaries in promotional content.

Symbolic and social boundaries are intentionally used by festival organisers to build and delineate festival audiences. Implications are drawn on current understandings of the accessibility of music festival spaces, arguing that festival research should move beyond within-space dynamics to grasp the negotiation of diversity and inclusion at festivals more fully.

While music festivals are often marketed as celebratory spaces that are “welcoming to everyone”, few studies have investigated diversity and inclusion nor marketing and promotion practices at music festivals. This study shows how festival audiences are shaped through marketing and promotion practices.

This paper argues that Bruno Latour’s work on translation provides an alternative to dominant anthropocentric, individualistic and managerial approaches in career studies by considering careers as precarious effects of networks instead of the implicit assumption of individual strategic career actors in extant career research paradigms.

The article first compares the three main current approaches to studying careers – structural functionalist, interpretivist and critical – illustrated by three exemplary empirical studies. Subsequently, three concepts from the sociology of translation that are relevant for the study of careers are introduced: career making as translating interests, careers as effects of networks and career action as dislocated and overtaken. Taken together, these three concepts allow us to conceive of careers as practices performed by human and nonhuman actors. Finally, an example from an ethnographic case study in the field of contemporary art illustrates how a Latourian approach can be used.

Latour’s work on translation provides conceptual and methodological tools to investigate career processes and practices in an era of unpredictability.

The paper introduces Bruno Latour’s work on translation to the study of careers.

The study aims to introduce The Compass Project (TCP), designed to determine whether strengthening morality and practicing emotion management can reduce youth antisocial attitudes and behaviours and increase prosocial attitudes and behaviours.The programme activities are informed by the existing evidence base and incorporate theoretical explanations of the mechanisms that link psychological moral and emotional traits and behaviour.

This paper will offer a description of the programme design and content, TCP 2022 pilot study and crucially, discuss the utility of delivering programmes like TCP in wider settings (schools, youth offending teams and other youth organisations). TCP is currently being delivered in UK schools as a multi-site, longitudinal, RCT design.

Participant feedback from TCP 2022 pilot study is used to illustrate the potential impact of TCP for young people in future. The authors identify five challenges faced by researchers conducting youth intervention studies: access, recruitment, continued attendance, nature of participation (enthusiasm, engagement and task-focus) and full participant completion of data measures.

This pioneering study offers a novel methodology to increase law-abiding moral attitudes and behaviours in young people. This paper adopts a forward-thinking and scientific approach to identify practical solutions to key challenges faced when delivering youth interventions and is relevant for youth practitioners and academics worldwide.

TCP seeks to achieve improved youth attitudinal outcomes (such as law-aligned morality, empathy for others, measured decision-making and consideration of the consequences of action) and improved youth behavioural outcomes (such as improved quality of relationships with others, increased helping and prosocial behaviours, reduced antisocial behaviour and delinquency and reduced contact with criminal justice system-related organisations).

To the best of the authors’ knowledge, an evidence-based morality strengthening and emotion programme of this kind, closely aligned with a moral theory of rule-breaking, has not been developed before.

Although studies have shown that electronic media exposure can negatively affect infants’ and young children’s language development, exposure to these forms of media is increasing in North America. To better understand the types of electronic media exposure and their potential effects, we utilized naturalistic daylong recordings collected in the homes of bilingual Spanish–English infants of Latinx descent (n = 37). The present study examines contextual aspects of electronic media exposure, and the effects of electronic media on two types of parent–infant social interactions associated with child language development: parentese (a style of infant-directed speech distinguished by its higher pitch, slower tempo, and exaggerated intonation) and parent–infant turn-taking. Using Language ENvironment Analysis (LENA), two daylong audio recordings were collected from each family. These recordings were manually annotated for electronic media type, directedness, language, parental support, parentese, and turn-taking. Our results showed that the infants in our study experienced exposure to many different forms of electronic media, in both English and Spanish, and that the programming was predominantly adult-directed rather than child-directed. While both parentese and turn-taking were reduced in the presence of electronic media, the strength of these effects was modulated by electronic media sources, demonstrating that various devices differentially affect parental language input. These results provide a glimpse into what types of media young bilingual Spanish–English learning infants are experiencing and can help researchers design language interventions that are inclusive and relevant for families from these populations.