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NZTrio is more than a traditional piano trio that performs music from the classical repertoire: it is a professional chamber ensemble with a difference. The members of the Trio, totalling three musicians and two administrators have a community orientation. Their vision is to forge links into other artistic, educational and business fields and in doing so they create and participate in events that evoke visceral encounters. In this way they confirm Esposito’s view that communitas is disruptive of stasis and that to belong is to change. In community, identity is disrupted and new possibilities of the self can emerge. This becomes possible through provocative performances that implicate the body. For instance, shouting commands through a megaphone in Jack Body’s O Cambodia and the repeated pattern of chords in the third movement of Shostakovich’s Piano Trio No. 2 are emotionally and physically encountered as audiences feel what it is like to be both perpetrators and victims of violence. NZTrio uses music like this as well as works from the standard repertoire to create aesthetic experiences rich in options for communion. Furthermore, through professional development events, business leaders and young people gain the opportunity to understand how the physicality of leadership works in a high performing team.

THESE notes are written at a critical time even in the history of this war, and at a time when the Government has resolved to mobilize the whole resources of the nation in order to save it. We have yet to discover how this may affect libraries, but there is no doubt that when the first preoccupation with the movements of the antagonists has come into some sort of perspective the book will play a quite definite part in the days of all. At present we all go on with our normal tasks as best we may, not being rattled when news is not uniformly good, or is even bad, and always in the faith that the free minds of free men, for which our work has always stood, will in the end survive in a free world.

Although none of the new music reference books of the past year totally replaces the old stand‐bys, some significant works did appear, especially in the areas of contemporary music, opera, and classical music discography.

The purpose of this paper is to understand the classification of musical medium, which is a critical part of music classification. It considers how musical medium is currently classified, provides a theoretical understanding of what is currently problematic, and proposes a model which rethinks the classification of medium and resolves these issues.

The analysis is drawn from existing classification schemes, additionally using musicological and knowledge organization literature where relevant. The paper culminates in the design of a model of musical medium.

The analysis elicits sub-facets, orders and categorizations of medium: there is a strict categorization between vocal and instrumental music, a categorization based on broad size, and important sub-facets for multiples, accompaniment and arrangement. Problematically, there is a mismatch between the definitiveness of library and information science vocal/instrumental categorization and the blurred nature of real musical works; arrangements and accompaniments are limited by other categorizations; multiple voices and groups are not accommodated. So, a model with a radical new structure is proposed which resolves these classification issues.

The results could be used to further understanding of music classification generally, for Western art music and other types of music.

The resulting model could be used to improve and design new classification schemes and to improve understanding of music retrieval.

Deep theoretical analysis of music classification is rare, so this paper’s approach is original. Furthermore, the paper’s value lies in studying a vital area of music classification which is not currently understood, and providing explanations and solutions. The proposed model is novel in structure and concept, and its original structure could be adapted for other knotty subjects.

I can think of no better way of beginning this paper than by defining a Fine Arts Library; and no better definition of a Fine Arts Library than that given by Mr. Wheen in describing the Victoria and Albert Museum Library. It is, he says, a library for the study of the history, philosophy, technique and appreciation of the arts. The arts referred to are of course what are generally known as the Fine Arts, and those, for the purposes of this paper, are in three main classes: Painting, which includes sculpture, drawing and applied fine art; Architecture, which includes town planning; and Music, with which we may include the dance, the drama, and other entertainment arts developing from them.

This paper aims to examine the nature of learning discovered by recent graduates participating in a symphony orchestra‐initiated development program that is designed to nurture them through the transition to becoming professional orchestral musicians.

Using a qualitative case study approach, the authors interviewed developing musicians and professional musician mentors individually and in small groups using a semi‐structured protocol. Interviews were audio‐taped and transcribed. The authors also observed musicians working together in rehearsal and in concert performance and reviewed documents on the development program, the organisation and the Australian performing arts industry.

The findings suggest that learning is better conceptualised as an embodied constructed experience with others in context. What the authors call “guided contextualising” differs from conventional discussions of skill‐based novice learning and mentorship. For musicians, the competency that is being developed is one of learning how to become, forming a sense of identity as broader musical citizens as well as becoming members of more instrumental communities.

The design and structure of the program (and alternatives emerging overseas) suggest possibilities for new collaborations towards “a living curriculum” between higher education and industry.

Rather than “employability”, the concept of “graduateness” for young adults is formative and transformative, a process that involves the seeking of various forms of identity and contextualised learning that transcends self. “Becoming” practitioners together in generative ways enhances fitness for professional practice and develops a commitment to lifelong learning.

“OH, that socialist fellow” would have been the rejoinder of older members of the Bromley establishment up to 1950 to any mention of H. G. Wells. It was not held to be an honour for the town to have been the birthplace of H. G. Wells nor was it felt that he should be honoured by the town. No plaque marked the site of his birthplace and there was no greater stock of his books in the Bromley Library than in any other.