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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.

Increasing evidence from high-income countries has revealed the positive impacts of creative entrepreneurship on the local economy, and these have attracted substantial attention in recent years. Creative industries are considered as the seedbeds for innovation; they are highly innovative and productive and are seen as drivers of economic development and social change. Creative industries are distinctive in that they have several transaction networks and income streams. Although creative industries are generating increasing interest in the minds of researchers and policy-makers in developed countries, the institutional and economic settings in Cameroon and other developing nations may not be so conducive to creative industries. The available evidence is insufficient to understand their performance and sustainability, let alone to estimate their contribution to the rest of the economy. This chapter demonstrates how the creative industries could contribute to the economic and social development of a nation. The chapter further explores the current situation of creative industries in Cameroon, with a focus on the artists of popular and folk music, the challenges they are facing, and provides ways forward.

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 chapter dwells on the use of music as a metaphorical tool to help organisations grapple with the intricacies of working within an environment that is unstable and more and more prone to rapid changes and the subsequently induced alteration of company focus and direction. This is not to say that strategic planning or delivery is musical but to provide the reader with a distinct and intriguing cognitive aid. Three types of music are considered (classical orchestral, popular music (pop), and jazz). Each metaphor helps to reveal alternative approaches to leadership but more specifically strategic development. This is, moreover, not offered as a template for success just the building of possibilities by using music as a different lens through which to scrutinise the strategic field. Areas highlighted in this reflective chapter are the role music can play to help understand the role of staff collaboration and learning. In addition, an understanding of the ways in which humans remember and relate to dynamic organisational life and the need for anchor-points to help with memory. Music provides both the possibilities of collaboration and soloing, or, put in another way, leadership, and followership as well as the ways in which listening, unlearning and collaboration aid the development of a more emergent, flexible dynamic organisational strategic development and policy.

This article examines the ways in which the popular music industry markets artists through integrated transmedia marketing campaigns. These campaigns unfold across multiple media and create multiple pathways for audience engagement, particularly fan engagement, across social media platforms. The purpose is to further theorise the relationship between artists, the music industry and audiences.

The study used digital ethnography to scrutinise the activities within a contemporary music transmedia marketing campaign, focusing on the release of Taylor Swift's album Reputation as an illustrative case.

The study demonstrates how strategically curated activities encompass platforms' affordances and industry events by making use of fan engagement across social media platforms and streaming services. Fans shift through platforms, as well as across digital and physical spaces, through defined marketing activities at specific times. This article proposes the concept of choreographed engagement to specifically address the ways in which the temporal and spatial aspects of social media marketing are used at the intersection of platform logic, algorithm economy and fan engagement to reach wider audiences.

By proposing the concept of choreographed engagement, the authors bridge the gap between fan practices and marketing practices, providing insight into how commodification of fan engagement is utilised spatially and temporally within the contemporary platform economy. Choreographed engagement constitutes a significant aspect of strategic communication and marketing. The term expands the vocabulary used in the debate on the commodification of artistic work, and audience engagement in the platform era.

This study is part of a participatory design research project and aims to develop and study pedagogical frameworks and tools for integrating computational thinking (CT) concepts and data science practices into elementary school classrooms.

This paper describes a pedagogical approach that uses a data science framework the research team developed to assist teachers in providing data science instruction to elementary-aged students. Using phenomenological case study methodology, the authors use classroom observations, student focus groups, video recordings and artifacts to detail ways learners engage in data science practices and understand how they perceive their engagement during activities and learning.

Findings suggest student engagement in data science is enhanced when data problems are contextualized and connected to students’ lived experiences; data analysis and data-based decision-making is practiced in multiple ways; and students are given choices to communicate patterns, interpret graphs and tell data stories. The authors note challenges students experienced with data practices including conflict between inconsistencies in data patterns and lived experiences and focusing on data visualization appearances versus relationships between variables.

Data science instruction in elementary schools is an understudied, emerging and important area of data science education. Most elementary schools offer limited data science instruction; few elementary schools offer data science curriculum with embedded CT practices integrated across disciplines. This research assists elementary educators in fostering children's data science engagement and agency while developing their ability to reason, visualize and make decisions with data.

The purpose of this paper is to provide an analysis of the life of the musician Brian Wilson from five different perspectives.

The authors used a mixed method of collaborative autoethnography, psychobiography and digital team ethnography to try and better understand the life and contributions of Brian Wilson.

Each of the five contributors provides different insights into the life and music of Brian Wilson.

While the focus of this paper is on a single individual, a case study, the long and distinguished life of Brian Wilson provides much material for discussion and theorising.

Each individual presenting to mental health services has a complex biography. The five different contributions articulated in this paper could perhaps be taken as similar to the range of professional opinions seen in mental health teams, with each focusing on unique but overlapping aspects of the person’s story.

This account shows the importance of taking a biological-psychological-social-spiritual and cultural perspective on mental illness.

This multi-layered analysis brings a range of perspectives to bear on the life and achievements of Brian Wilson, from developmental, musical, psychological and lived experience standpoints.

This paper aims to explore sonic play in close proximity to a music, literacy and songwriting for social change community-based initiative. The authors leverage ideas about time, space and narrative under the concept of sonic flux to understand youth’s sonic and aural play on digital beatmaking technologies. In doing so, the authors break from a fixation on the written and spoken word and address sound, aurality and Blacktronika creative technologies that are often present but muted in literacies and songwriting scholarship.

The authors’ team consisted of three community-based teaching artists who situated this inquiry around their own practice with youth. The authors conducted this inquiry through a qualitative, participatory and community-engaged research approach. As such, the authors codeveloped and carried out research questions and sense-making protocols that balance the power of interpretation and epistemologies among us.

The findings address how the joy, laughter and play of one young musician, Malik, moved across different conceptions of time while learning to make beats in proximity to peers writing lyrics for songs. Specifically, the authors unpack how Malik’s play with mobile sound-making technologies moved across linear and nonlinear time that characterize sonic space and sound art, not music and lyric writing. In doing so, the loops and durations of his sonic play were sometimes unbound by narrative structures that often code literacy and songwriting initiatives.

The authors’ inquiry speaks into literacy and songwriting initiatives that privilege spoken, written and performed word over sound. The authors ask what kind of participating structures, collaborations, ontologies and youth epistemologies open up if we think of youth in these spaces not only as performers but as programmers tinkering with time in the machine. In addition, the authors ask what literacy and songwriting spaces might look like when the duration, loops and drones of sonic space and not music are the structuring codes over narratives and linearity.

In this chapter, I address the issues in doing a feminist ethnography based on the archives of a lesbian feminist community structured around music. In doing so, I grapple with questions central to archival research with marginalized social movement communities. I pose these questions as moments of interrogation where I draw on personal experience as well as literature on archival research to create a framework aimed at social movement researchers who are considering or doing archival work. These interrogations cover three broad areas and apply to different moments in the research process. First, what are the origin stories of social movement archives? Second, how can researchers construct the stories of marginalized and vulnerable communities? Third, how can we access the voices of community members found in the archives? To answer these questions, I identify how conceptual tools such as identifying community boundaries and documenting types of interaction can aid a scholar in the research process.

The COVID-19 pandemic has prompted the fast growth of online music festivals. This paper explores how festivalgoers' experience affects their satisfaction and drives their loyalty to re-attend online music festivals in China.

Based on an understanding of the music festival experience and the characteristics of live-streamed performances, this paper investigates five factors that affect festivalgoers' satisfaction and loyalty, namely the music experience, ambience experience, separation experience, social experience and novelty experience. The relationships between festivalgoers' experience, satisfaction and loyalty are also explored using structural equation modelling techniques.

The empirical results suggest that four of the above-mentioned five factors of the online music festival experience directly affect festivalgoers' satisfaction and loyalty. The online mode is a rapid adaptation of and preferred alternative to offline music festivals, whilst the creation of the experience, along with satisfaction with and loyalty to the online music festival, are determined by different factors compared to offline modes. Overall festival satisfaction positively enhances the relationship between festivalgoers' experience and loyalty to online music festivals.

This study offers a range of practical and managerial implications for organisers of online music festival, similar activities such as live-streaming concerts and stage performances and hybrid events.

This study explores a phenomenon that has evolved quickly since COVID-19 and will, potentially, have an ongoing and enduring impact on the music festival sector. It differentiates the understanding of festivalgoers' experience in online and offline modes, which is a new addition to the literature. It also enriches the theoretical understanding of the experience of, satisfaction with and loyalty to online music festivals.