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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.

For many students, studying history is a boring and irrelevant endeavor. Traditional, teacher-centered teaching strategies contribute to this unfortunate reality. While the lecture method and textbook readings can and should be used in the teaching of history, these methods should not be used to the exclusion of student-centered, engaging strategies. One strategy which has been theorized to motivate and instruct students is the use of popular music in the classroom. The following paper examines the use of popular music in the history classroom and the various ways in which its use can engage, motivate, and instruct students. It is suggested that the use of popular music can serve to capture students’ attention, create a positive classroom atmosphere, introduce and illustrate a time and place, generate interest in history, and enhance students’ knowledge and understanding of history, specifically that of the Vietnam War and the era surrounding it.

This paper seeks to explore the design of popular music performance space, focusing particularly on recent developments that are changing the form and operation of permanent venues and travelling stages. Its objective is to analyse the typology of existing venues but also to chart the emergence of new and distinct building forms in response to changing artist, promoter and audience demands.

The paper investigates the factors that determine the architecture of live performance space, based on the research project's detailed examination of specific examples that range from small music clubs to large and complex stadium‐sized buildings. The paper introduces the research themes that have shaped the author's book Live Architecture: Popular Music Venues, Stages and Arenas, which will be published in 2011.

The paper proposes a new categorisation of buildings as; adopted, adapted and dedicated music performance environments, and explores the significance of mobile facilities as architecture in their own right, but also as a modifier of place and space. It identifies factors that are changing the scale and operation of performance venues and articulates the implications for new venues.

This paper presents a continuing research project that is examining for the first time popular music performance building design as a distinct architectural genre. It proposes for the first time a building typology in order to increase our understanding of how the most successful spaces have been created, and how future ones might safeguard live music's power and immediacy for its audiences.

Using a novel measure incorporating stylistic and acoustic data on recorded music from 1967 to 2017, we search for trends in the evolution of musical diversity in 125,340 albums. We find that temporal patterns of diversity differ for stylistic and acoustic data. We also find that the patterns differ dramatically by genre. Some genres, such as blues, jazz, and pop-rock, decrease in diversity over time; most other genres increase in diversity. The causes of these different trends present a puzzle for future research. We also find different patterns for recordings that made the Billboard 200 charts compared to all recordings, suggesting an association between selection processes driven by consumer popularity and diversity. Moreover, associations of diversity and industry structure found in prior research do not hold when we analyze data beyond the smaller sample of the more popular recordings found in Billboard. These findings have implications for many prior studies based exclusively on best-selling recordings

The key concepts to be explored in this article include the blurring boundary between “indie” and “pop”; the significance of digital media in contemporary music industry and the distinctive socio-political nature of indie music in Hong Kong. To a large extent, it discusses the social functions of music – a subject discussed by Simon Frith (2007), a leading scholar in popular music studies.

In order to expound on some observations of the connections between music cultures and socio-political development in Hong Kong, a selection of musical works by indie musicians will be looked into closely.

A focus of discussion will be given to the difference between mainstream Cantopop and indie music in a way that the latter mentions socio-political matters overtly while the former downplays sensitive political issues, particularly in the post-colonial era after the handover of Hong Kong to mainland China in 1997.

Originality of research can be evidenced by the author's textual analysis of the musical styles and lyrics produced by various local indie artists' musical works through primary sources.

Understanding a prima facie attraction of retro pop-rock by a broad spectrum of people and the role of technology innovation in driving the importance of this genre. A key idea of this paper is that ongoing popularity of retro pop-rock music is associated with a confluence of demand-side and supply-side factors. The demand side is thought to be characterized by a combination of psychological factors contributing to individuals’ desires to enjoy, reflect on, or even “live in” the past. On the supply-side, technology has roles in the production, distribution and consumption of music.

The approach of this paper is to provide an extensive search and synthesis of relevant literature and to present and analyze findings from online surveys.

The literature supports the idea that attraction to retro music is heavily influenced by psychological factors as well as technology innovation. The survey provides supporting evidence. Of particular interest are findings related to correlations between nostalgia and technology.

This study is, to the authors’ knowledge, one of the first to provide a survey-based link between the attraction to retro music to nostalgia and technology.