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Thematische Bibliographien / Music, 21st century, Australia / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Music, 21st century, Australia“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 20. Februar 2023

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Joseph, Dawn, und Bradley Merrick. „Australian music teacher’ reflections and concerns during the pandemic: Resetting the use of technologies in 21st century classroom practice“. Teachers' Work 18, Nr. 2 (10.12.2021): 109–26. http://dx.doi.org/10.24135/teacherswork.v18i2.325.

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Classroom practice around the globe has changed considerably due to the global pandemic. Although ICT (information and communication technology) is at the heart of 21st century teaching and learning, many teachers and students had to make significant adjustments shifting from face-to-face to remote (online) delivery in response to lockdowns and government restrictions since March 2020. This paper focuses on one focal question: ‘What were some of the concerns using ICT during Covid-19 pandemic?’ which was part of a wider Australian study ‘Re-imaging the future: music teaching and learning, and ICT in blended environments in Australia’. The authors seek to understand how music teachers look to employ technology in ways that connect teaching frameworks to 21st century classroom practice. As part of the ongoing study, they present preliminary survey data gathered between March–June 2021 from a range of music teachers around the country. Using thematic analysis, they discuss advantages, disadvantages, opportunities, and challenges in relation to responses that thematically relate three key elements: pedagogy, social interaction, and technology. They identify concerns and call on music educators to reset what, how, and why they teach when using technology to develop 21st century competencies, as the future of schooling continues to change its landscape due to the pandemic.

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Temmerman, Nita. „Equipping future arts educators for primary schools of the 21st century: an Australian point of view“. International Journal of Music Education 24, Nr. 3 (Dezember 2006): 271–82. http://dx.doi.org/10.1177/0255761406069663.

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3

Safitri, Ragil, und Sugirin Sugirin. „Senior high school students’ attitudes towards intercultural insertion into the ELT: Yogyakarta context“. EduLite: Journal of English Education, Literature and Culture 4, Nr. 2 (04.09.2019): 261. http://dx.doi.org/10.30659/e.4.2.261-274.

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Experts in English Language Teaching often consider culture as the fifth skill in foreign language learning as cultural literacy is a must in 21st-century learning. Thus, this study is to investigate students’ interest in the insertion of Big ‘C’ and little ‘c’ themes from different countries into the English classroom. In this study, the researcher distributed a questionnaire to 58 students in a senior high school in Yogyakarta. The study indicated that the respondents’ preferences were mostly about local culture (Yogyakarta and Indonesian culture), followed by target culture (culture of English-speaking countries) and international culture. In accordance with the cultural themes, they showed a relatively higher preference toward Big ‘C’ over the little ‘c’ culture. Concerning Indonesian culture, the students were excited in learning about art/literature, history, and food while for Yogyakarta culture includes history, foods, and lifestyles. Meanwhile, for target culture (Britain, America, and Australia), the students were eager to learn about lifestyles and foods. The last, for international culture, the cultural themes of lifestyles and music/sports were preferred by the students.

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SPRUCE, GARY. „Musicianship in the 21st Century: Issues, Trends and Possibilities edited by Sam Leong. Sydney: Australian Music Centre, 2003. 336 pp, no price given, paperback“. British Journal of Music Education 21, Nr. 3 (November 2004): 347–49. http://dx.doi.org/10.1017/s0265051704215923.

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5

Powell, Sarah, und Margaret Somerville. „Drumming in excess and chaos: Music, literacy and sustainability in early years learning“. Journal of Early Childhood Literacy 20, Nr. 4 (13.08.2018): 839–61. http://dx.doi.org/10.1177/1468798418792603.

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For children born in the 21st century, the enmeshing of natural and human forces in the survival of the planet requires conceptual and practical innovation. This paper comes from a project funded by the Australian Research Council investigating the integration of literacy and sustainability in early years learning. The methodology employed was ‘deep hanging out’, the purpose of which is to observe without bias or assumption. This paper focuses on a video from a preschool depicting children playing drums and percussion instruments outside, in the playground. We consider the nature of literacy differently, conceptualizing literacy+sustainability within the context of the more-than-human, intra-active world. In our example, the drumming ebbs and flows in intensity, children come and go, rhythms merge then diverge; a chaos of sound and vibration, a refrain of rhythm, movement and bodies, driven by the excess of the earth’s energy and musical force. We see children communicate a sense of the world – with drums, each other, earth – sustained by the vitality of place, the materiality of drums and sound, the energy of earth and the movement of bodies. In this example, we extend the conversation around what literacy and sustainability might look like, offering possibilities for producing new knowledge about literacy and new understandings of sustainability.

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BURKE, PETER. „Introduction“. European Review 14, Nr. 1 (03.01.2006): 99–103. http://dx.doi.org/10.1017/s1062798706000081.

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A preoccupation with hybridity is natural in a period like ours marked by increasingly frequent and intense cultural encounters. Globalization encourages hybridization. However we react to it, the globalizing trend is impossible to miss, from curry and chips – recently voted the favourite dish in Britain – to Thai saunas, Zen Judaism, Nigerian Kung Fu or ‘Bollywood’ films. The process is particularly obvious in the domain of music, in the case of such hybrid forms and genres as jazz, reggae, salsa or, more recently, Afro-Celtic rock. New technology (including, appropriately enough, the ‘mixer’), has obviously facilitated this kind of hybridization.It is no wonder then that a group of theorists of hybridity have made their appearance, themselves often of double or mixed cultural identity. Homi Bhabha for instance, is an Indian who has taught in England and is now in the USA. Stuart Hall, who was born in Jamaica of mixed parentage, has lived most of his life in England and describes himself as ‘a mongrel culturally, the absolute cultural hybrid’. Ien Ang describes herself as ‘an ethnic Chinese, Indonesian-born and European-educated academic who now lives and works in Australia’. The late Edward Said was a Palestinian who grew up in Egypt, taught in the USA and described himself as ‘out of place’ wherever he was located.The work of these and other theorists has attracted growing interest in a number of disciplines, from anthropology to literature, from geography to art history, and from musicology to religious studies. In this issue, the contributions discuss Africa, Japan and the Americas as well as Europe and range from the 16th century to the 21st, from religion to architecture and from clothing to the cinema.

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Stokes, Jennifer, und John Pike. „Future ready? Engaging learners and building transferable skills through authentic assessment and digital literacy“. Pacific Journal of Technology Enhanced Learning 4, Nr. 1 (13.02.2022): 46–47. http://dx.doi.org/10.24135/pjtel.v4i1.139.

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Students are excited by the possibilities presented through digital technologies and their applicability across a broad range of industries. Digital literacy has been identified as a foundational 21st Century skill by the Australian Government (2020, p. 4), which is ‘essential for individuals to participate effectively in today’s society’. The need for strong transferable skills has accelerated during the pandemic as many industries have migrated to digital contexts. Digital literacy is a transferable skill sought after by employers, alongside other emerging transferable skills required for 21st Century success, including critical thinking, creativity and problem-solving (FYA 2017, p. 8). In this paper, we will provide a case study of authentic assessment in an innovative digital literacy course at an Australian university, designed to support students from underrepresented backgrounds to build transferable skills for degree study and future careers. Authentic assessment provides opportunities for meaningful learning as students complete assessments aligned with their aspirations and career interests: ‘Authenticity automatically gives relevance to the learning journey; relevance encourages engagement and enthusiasm, which should bring about meaningful learning’ (ACEL 2016). The scaffolded course design focuses on embedding professional practice through authentic assessment. Recent student projects include: an infographic of wellbeing techniques for children designed for educational contexts, an informative website to support refugees, a share-economy inspired app for deep cleaning, an infographic on sustainable architecture, a blog on brand development, and a review of robot programming for IT students. We will provide strategies for authentic assessment through technology-enhanced learning, which will offer insight and inspiration for educators interested in adopting these approaches. Choice is a key element of course design, allowing students to demonstrate key concepts through the creation of unique and meaningful projects. First, students demonstrate threshold concepts, then they follow industry practice to pitch and produce an individual digital project. Course design is grounded in Universal Design for Learning (UDL) and enabling pedagogy (Stokes 2017). UDL techniques, including multiple modes of representation, action and expression, and engagement, support the learning of all students (CAST 2011). Enabling pedagogical approaches work to support the development of confidence, capability and agency, while valuing the strengths individual students bring (Stokes 2021). Students aiming for diverse fields have followed their interests to create digital projects aligned with their career aspirations, from game development to health apps, business sites to educational modules, critical digital reviews to music videos, animations to augmented and virtual reality content. Production work is negotiated with tutors, who provide guidance and mentorship, following a production company ethos. Students adhere to industry standards for copyright and ethical practice in assessments, while building their professional portfolio and skills for future success. The combination of digital literacy and authentic assessments motivates students to follow their passions and create digital products they care about. This approach has resulted in outstanding student evaluations and learning outcomes, above average retention, and institutional recognition through a Digital Learning citation. Importantly, this approach supports students to build professional skills and knowledge for emerging industries and future career opportunities. References ACEL. (2016). Authentic learning: what, why and how? e-Teaching, 10. http://www.acel.org.au/acel/ACEL_docs/Publications/e-Teaching/2016/e-Teaching_2016_10.pdf Australian Government. (2020). Foundation Skills for Your Future Program: Digital Literacy Skills Framework, Canberra: Commonwealth of Australia. Australian Technology Network. (2020). ATN joint statement on authentic assessment, Australian Technology Network. https://www.atn.edu.au/news-and-events/latest-news/atn-joint-statement-on-authentic-assessment CAST. (2011). Universal Design for Learning Guidelines Version 2.0. Massachusetts: Wakefield. Foundation for Young Australians (2017). The new work smarts. https://www.fya.org.au/report/the-new-work-smarts Stokes, J. (2017). Inclusion and engagement by design: Creating a digital literacy course to inspire diverse learners in an Australian university enabling program. International Studies in Widening Participation, 4(2), 65–78. https://novaojs.newcastle.edu.au/ceehe/index.php/iswp/article/download/85/103 Stokes, J. (2021). Those skills to take on the world: developing capitals through university enabling programs. The International Journal of Learning in Higher Education, 28 (2), 133-146. DOI: 10.18848/2327-7955/CGP/v28i02/133-146

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RUSSELL, JOAN. „Cultural Diversity in Music Education: Directions and Challenges for the 21st Century by Patricia Shehan Campbell, John Drummond, Peter Dunbar-Hall, Keith Howard, Huib Schippers & Trevor Wiggins (Eds). Brisbane: Australian Academic Press, 2005. 206 pp, no price given, paperback. ISBN 1875378596“. British Journal of Music Education 24, Nr. 1 (09.02.2007): 128–30. http://dx.doi.org/10.1017/s0265051706257310.

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Martynova, V. I. „Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, Nr. 54 (10.12.2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.

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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.

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Амблард, Жак. „Visual temptation in 21st century music“. Contemporary Art, Nr. 15 (05.12.2019): 23–26. http://dx.doi.org/10.31500/2309-8813.15.2019.185916.

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Whittall, Arnold. „Wagner and 21st-Century Opera“. Musical Times 149, Nr. 1903 (01.07.2008): 5. http://dx.doi.org/10.2307/25434535.

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Waldron, Janice. „Questioning 20th Century Assumptions About 21st Century Music Practices“. Action, Criticism, and Theory for Music Education 17, Nr. 1 (April 2018): 97–113. http://dx.doi.org/10.22176/act17.1.97.

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Thornton, Linda. „The 21st Century Is Calling“. Journal of Music Teacher Education 28, Nr. 3 (24.05.2019): 3–6. http://dx.doi.org/10.1177/1057083719835389.

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Davidova, Jelena. „Music Teacher’s Competences in the 21st Century“. Pedagogika 134, Nr. 2 (18.10.2019): 99–108. http://dx.doi.org/10.15823/p.2019.134.6.

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Rethinking education of music teachers for new learners’ generation is as crucial as identifying the new competencies that today’s music teachers need to develop. According to analyses of EU documents and scientists’ conceptions concerning music teacher’s competences, the author characterizes tendencies and priorities for improving music teachers’ competences in the 21st century. The basic task of music education is promoting the formation of learners’ personal attitude to the world, to self and others, to provide the opportunity for learners to learn music as a new form of communication. In this context music teacher has to demonstrate knowledge and understanding not only in music subject, but in a) communication and positive relationship-building; b) collaboration with parents, colleagues, musicians, composers and specialists in other spheres; c) development of creative and social skills of learners based on three pedagogical principles – personalization, participation and productivity, as well as through and in the arts/culture approaches in music education process.

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Rodriguez, Carlos Xavier. „Popular Music in a 21st Century Education“. Teachers College Record: The Voice of Scholarship in Education 114, Nr. 13 (April 2012): 133–45. http://dx.doi.org/10.1177/016146811211401308.

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Oteri, Frank J. „21st Century Schizoid Music: Not a Manifesto“. World Literature Today 80, Nr. 2 (2006): 13. http://dx.doi.org/10.2307/40158864.

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Phillips, Kenneth H. „Preserving Music Education in the 21st Century“. Bulletin of the Council for Research in Music Education, Nr. 185 (01.07.2010): 87–93. http://dx.doi.org/10.2307/41110368.

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Cliff, Tom. „21st Century China: Views from Australia. Mary Farquhar“. China Journal 65 (Januar 2011): 219–20. http://dx.doi.org/10.1086/tcj.65.25790571.

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Burton, R. C. „Cancer Control in Australia: Into the 21st Century“. Japanese Journal of Clinical Oncology 32, suppl 1 (01.02.2002): S3—S9. http://dx.doi.org/10.1093/jjco/hye121.

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Vallen, Sam. „REVIEW | Song Interpretation in 21st Century Pop Music.“ IASPM@Journal 6, Nr. 1 (07.11.2016): 147–49. http://dx.doi.org/10.5429/2079-3871(2016)v6i1.10en.

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Novoseletska, I. „Children of the 21st Century: Development by Music“. Science and Education a New Dimension VIII(220), Nr. 88 (22.02.2020): 35–37. http://dx.doi.org/10.31174/send-pp2020-220viii88-09.

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22

London, Justin. „Rhythm and meter in 21st century music theory“. Journal of the Acoustical Society of America 132, Nr. 3 (September 2012): 2043. http://dx.doi.org/10.1121/1.4755514.

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23

Chan, S. „Іnnovative teaching practices in 21st-century music pedagogy“. Art and education, Nr. 3 (2019): 2–7. http://dx.doi.org/10.32405/2308-8885-2019-3-2-7.

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Hallam, Susan. „21st century conceptions of musical ability“. Psychology of Music 38, Nr. 3 (11.06.2010): 308–30. http://dx.doi.org/10.1177/0305735609351922.

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Grebenar, Alex. „Lost in music: mapping the 21st century house music event experience“. Journal of Policy Research in Tourism, Leisure and Events 12, Nr. 3 (14.02.2020): 363–81. http://dx.doi.org/10.1080/19407963.2020.1727604.

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Vasil, Martina, Lindsay Weiss und Bryan Powell. „Popular Music Pedagogies: An Approach to Teaching 21st-Century Skills“. Journal of Music Teacher Education 28, Nr. 3 (12.12.2018): 85–95. http://dx.doi.org/10.1177/1057083718814454.

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Changes in the world economy and U.S. educational policy present music educators with the challenge of reassessing traditional pedagogy to ensure they are instructing and assessing in ways that contribute to students’ development of 21st-century knowledge and skill sets. Educators are responding by incorporating pedagogical approaches that challenge students to think critically, problem solve collaboratively, and use technology and media efficiently. Popular Music Pedagogies (PMPs) invite students, music teachers, and music teacher educators to take risks, learn alongside one another, and address 21st-century knowledge and skills through engaging with the music that students choose and create. In this article, we define PMPs and discuss how music teacher educators can incorporate PMPs into music teacher education programs to better prepare preservice and inservice music teachers to function within a Partnership for 21st Century Learning framework.

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Wear, Rae. „Making Modern Australia: The Whitlam Government’s 21st Century Agenda“. Australian Journal of Politics & History 64, Nr. 3 (September 2018): 505–6. http://dx.doi.org/10.1111/ajph.12492.

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Simpson, Jane, und Gillian Wigglesworth. „Language diversity in Indigenous Australia in the 21st century“. Current Issues in Language Planning 20, Nr. 1 (15.08.2018): 67–80. http://dx.doi.org/10.1080/14664208.2018.1503389.

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West, J. G. „Floristics and biodiversity research in Australia: the 21st century“. Australian Systematic Botany 11, Nr. 2 (1998): 161. http://dx.doi.org/10.1071/sb97044.

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Australian botany has reached the point where the vascular flora of this country is relatively well documented; we have sound basic information on what species are present, and where they occur (geographically and ecologically). The real challenge facing plant systematists now is to grasp the inspiring opportunities that exist in the areas of floristics and biodiversity research. The time has come to capitalise on the enormous existing knowledge base. This includes ‘mobilising’ the data we have and promoting potential usage by making clients aware of the quality and nature of the information. Australia has the international-level expertise and the institutional mechanisms to make this happen. We need to build political goodwill within State and Commonwealth agencies to develop strong national linkages. This would enhance the accessibility and applicability of existing baseline datasets, e.g. specimen and taxon databases should be transparently interchangeable and readily available to all potential clients. Although our basic floristic knowledge is good, our understanding of phylogenetic, evolutionary and biogeographic patterns of major Australian plant groups is lacking. Such analyses will ensure accurate predictions and advice on conservation and exploitation of elements of the flora. Future research should concentrate on understanding the processes operating at the genetic and species level in order to answer critical questions about ecosystem functioning. Modern technology will be utilised, particularly in information systems and molecular techniques. Systematists have a clear obligation under the National Biodiversity Strategy to contribute information essential to conservation of biodiversity and to land-use decision making.

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Payne, Trish. „Making Modern Australia the Whitlam Government’s 21st Century Agenda“. Journal of Australian Studies 42, Nr. 2 (03.04.2018): 259–61. http://dx.doi.org/10.1080/14443058.2018.1463812.

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Horne, Ralph. „Housing in 21st-Century Australia: People, Practices and Policies“. Housing, Theory and Society 34, Nr. 1 (07.09.2016): 121–22. http://dx.doi.org/10.1080/14036096.2016.1231481.

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Piirto, Jane. „Organic Creativity for 21st Century Skills“. Education Sciences 11, Nr. 11 (25.10.2021): 680. http://dx.doi.org/10.3390/educsci11110680.

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This article contains 15 “takeaways” about how to teach organic creativity, from actual teachers with several hundred total years of experience. Teachers of English, physics, Advanced Placement Calculus, science, theater, the visual arts, dance, school administration, school counseling, educational psychology professing, world languages, mathematics, the education of the gifted and talented, social studies, music, and elementary education describe their strategies for teaching for intuition, imagination, insight, imagery, risk-taking, openness to experience, feeding back, improvisation, and other aspects of creativity that arise from the subject matter.

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Vasil, Martina. „Using Popular Music Pedagogies to Foster 21st-Century Skills and Knowledge“. General Music Today 33, Nr. 3 (05.02.2020): 46–51. http://dx.doi.org/10.1177/1048371320902752.

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Recent changes in educational policy have placed 21st-century skills at the forefront of arts education, presenting arts educators with an opportunity to reassess instructional practices. Popular music pedagogies are approaches to learning and practicing popular music that may be useful for addressing 21st-century skills and knowledge in arts classrooms. In this article, the author describes how art and music teachers infused music, art, and technology in two related arts projects for Grades 3 to 5 that explored the artwork of Jean-Michel Basquiat, jazz music, the work of DJ Kool Herc, and a deejay application on electronic tablets. Through the use of popular music pedagogies, teachers addressed many aspects of 21st-century skills and knowledge. Furthermore, the artwork of Jean-Michel Basquiat and the music of DJ Kool Herc resonated with students due to their historical significance and the everlasting artistic themes found within their work—individuality, innovation, communication, expression, and authenticity.

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34

Whittall, Arnold. „Resistance and Reflection: Richard Barrett in the 21st Century“. Musical Times 146, Nr. 1892 (01.10.2005): 57. http://dx.doi.org/10.2307/30044106.

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35

Hope, H. „The sound of medieval song in the 21st century“. Early Music 41, Nr. 1 (01.02.2013): 165–68. http://dx.doi.org/10.1093/em/cas168.

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36

Desler, Anne. „Singing to the heart of the 21st-century audience“. Early Music 46, Nr. 3 (August 2018): 538–41. http://dx.doi.org/10.1093/em/cay054.

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37

MacInnis, John. „Augustine’s De Musica in the 21st Century Music Classroom“. Religions 6, Nr. 1 (12.03.2015): 211–20. http://dx.doi.org/10.3390/rel6010211.

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38

Cho, Hyunree. „21st-Century Ethics and Music Theory: System and Analysis“. Journal of Music and Theory 37 (15.12.2021): 163–96. http://dx.doi.org/10.36364/jmt.37.6.

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39

Garrett, Matthew L. „The LGBTQ Component of 21st-Century Music Teacher Training“. Update: Applications of Research in Music Education 31, Nr. 1 (17.09.2012): 55–62. http://dx.doi.org/10.1177/8755123312458294.

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40

Arnold, Donna M. „Evolving, Not Extinct: Music Reference in the 21st Century“. Reference Librarian 56, Nr. 2 (03.04.2015): 146–50. http://dx.doi.org/10.1080/02763877.2014.994162.

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41

Pellegrino, Anthony M., Christopher Dean Lee, Benjamin J. Luongo und Osama A. Y. Zakaria. „Music as a Tool for 21st-Century Civic Education“. Action in Teacher Education 32, Nr. 4 (Dezember 2010): 83–95. http://dx.doi.org/10.1080/01626620.2010.549739.

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42

Lewis, Ralph. „21st Century Piano Composition Competition Concert.“ Computer Music Journal 43, Nr. 2-3 (Juni 2020): 158–59. http://dx.doi.org/10.1162/comj_r_00527.

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43

Szilágyi, Zsolt. „Lingering nomad ideology in 21st century Mongolia“. Acta Ethnographica Hungarica 61, Nr. 1 (Juni 2016): 197–211. http://dx.doi.org/10.1556/022.2016.61.1.9.

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44

Cunneen, Chris. „Institutional racism and (in)justice: Australia in the 21st century“. Decolonization of Criminology and Justice 1, Nr. 1 (22.10.2019): 29–51. http://dx.doi.org/10.24135/dcj.v1i1.9.

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This article focusses on systemic and institutionalised racism against Indigenous people as a contemporary feature of the Australian social and penal landscape, and its implications for justice. There has been ongoing concern with institutional racism within the criminal justice system, however, this article concentrates on the intersection between institutional racism in non-criminal justice settings and their compounding effect on criminalization. Despite legal prohibitions on racial discrimination, various forms of institutional racism continue unabated. Indeed, part of the argument is that broader political changes particularly associated with the influence of neoliberalism on social policy have exacerbated the problem of institutional racism and redefined and reinforced the link between welfare and criminalization. Indeed, social welfare has come to be informed by the same values and philosophies as criminal justice: deterrence, surveillance, stigma and graduated sanctions or punishments. How might we understand these broader shifts in the public policy environment, to what extent do they reflect and reproduce institutional racism, and how do they bleed into increased criminalization? I endeavour to answer this question through the consideration of two specific sites of social welfare policy – child protection and social housing – and to consider how systemic and institutional forms of racism play out in daily life for Indigenous people and how they interact with criminal justice.

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Barger, I. A. „Control of gastrointestinal nematodes in Australia in the 21st century“. Veterinary Parasitology 46, Nr. 1-4 (Februar 1993): 23–32. http://dx.doi.org/10.1016/0304-4017(93)90045-o.

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46

Lyon, Eric. „Pd and Audio Programming in the 21st Century“. Revista Vórtex 9, Nr. 2 (10.12.2021): 1–9. http://dx.doi.org/10.33871/23179937.2021.9.2.12.

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In celebration of the 25th anniversary of Pure Data, this essay discusses the development of audio programming up to the present, and considers the role that Pd can continue to play in the computer music of the future.

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Simpson, Tim. „Macao, Capital of the 21st Century?“ Environment and Planning D: Society and Space 26, Nr. 6 (01.01.2008): 1053–79. http://dx.doi.org/10.1068/d9607.

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After nearly 450 years of colonial administration, Portugal returned the territory of Macao to the People's Republic of China in 1999. Following the handover, Macao's postcolonial government dismantled the forty-year-old local gambling monopoly and opened Macao to investment by gaming companies from North America, Australia, and Hong Kong. These companies are collectively spending $25 billion to tap the increasingly affluent and mobile market of tourists just across the border in mainland China. This investment has prompted remarkable economic development in the tiny city as well as a phantasmagoric transformation of the cityscape and a concomitant transmutation of Macao's social landscape. Understanding contemporary Macao requires attending to how the legacies of Portuguese colonialism and fascism and Chinese communism and market socialism merge in the spaces of the city today. Drawing inspiration from Walter Benjamin's dialectical analysis of the obsolete commodities of mass culture, this paper meditates through text and photographs on four copresent moments of Macao—socialist fossil, colonial ruin, capitalist dream, and Utopian wish. A form of physiognomic urban ‘dream analysis’ rescues these multiple contradictory meanings of Macau and investigates the city's crucial role in both China's economic reforms and its Utopian desires.

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Won, Yusun. „From Heard Music to Unheard Music : Digital Technology and Conceptual Music in the 21st Century“. Journal of the Musicological Society of Korea 23, Nr. 1 (31.05.2020): 105–34. http://dx.doi.org/10.16939/jmsk.2020.23.1.105.

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49

Anderson, John M. „Current water recycling initiatives in Australia: scenarios for the 21st century“. Water Science and Technology 33, Nr. 10-11 (01.05.1996): 37–43. http://dx.doi.org/10.2166/wst.1996.0659.

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Australia is a relatively dry continent with an average runoff of 50 mm per year. The use of water resources in some river basins is approaching the limits of sustainability. Some adverse environmental impacts have been observed resulting from water diversions and from both reclaimed water and stormwater discharges. The paper describes current water recycling initiatives in Australia. These include: beneficial reuse of reclaimed water for urban, residential, industrial and agricultural purposes; recycling of greywater and stormwater; advanced treatment using membrane technology; and water efficient urban design. Some possible water recycling scenarios for Australia in the 21st century are examined. The implications of these scenarios are discussed.

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Mak, Donna B., Eleanor M. Platt und Christopher H. Heath. „Leprosy transmission in the Kimberley, Western Australia: still a reality in 21st‐century Australia“. Medical Journal of Australia 179, Nr. 8 (Oktober 2003): 452. http://dx.doi.org/10.5694/j.1326-5377.2003.tb05633.x.

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