Innovation in Music: Performance, Production, Technology and Business is an exciting collection comprising of cutting-edge articles on a range of topics, presented under the main themes of artistry, technology, production and industry. Each chapter is written by a leader in the field and contains insights and discoveries not yet shared. Innovation in Music covers new developments in standard practice of sound design, engineering and acoustics. It also reaches into areas of innovation, both in technology and business practice, even into cross-discipline areas. This book is the perfect companion for professionals and researchers alike with an interest in the Music industry. Chapter 31 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license. https://tandfbis.s3-us-west-2.amazonaws.com/rt-files/docs/Open+Access+Chapters/9781138498211_oachapter31.pdf

This volume is the first book-length study of hooks in popular music. Hooks - those memorable musical moments for listeners such as a riff or catchy melodic phrase – are arguably the guiding principle of much modern popular music. The concept of the hook involves aspects of melody, rhythm, harmony, production, lyrical and cultural meaning - and how these interact within a song’s topline and backing track. Hooks are also inherently related to the human capacities for memory and attention, and interact with our previous experiences with music. Understanding hooks in popular music requires a new interdisciplinary approach drawing from popular music studies, pop musicology, and music psychology, and this book draws from each of these disciplines to understand the hooks present in a broad range of popular music styles from the last thirty years.

This book is a major new study - dealing with notions of film music as a device that desires to control its audience, using a most powerful thing: emotion. The author emphasises the manipulative and ephemeral character of film music dealing not only with traditional orchestral film music, but also looks at film music's colonisation of television, and discusses pop music in relation to films, and the historical dimensions to ability to possess audiences that have so many important cultural and aesthetic effects. It challenges the dominant but limited conception of film music as restricted to film by looking at its use in television and influence in the world of pop music and the traditional restriction of analysis to 'valued' film music, either from 'name' composers' or from the 'golden era' of Classical Hollywood. Focusing on areas as diverse as horror, pop music in film, ethnic signposting, television drama and the soundtrack without a film- this is an original study which expands the range of writing on the subject.

This volume represents the proceedings of the 3rd Eurasian Conference on Educational Innovation 2020 (ECEI 2020). Thes conference is organized by the International Institute of Knowledge Innovation and Invention (IIKII), and was held on February 5-7, 2020 in Hanoi, Vietnam.ECEI 2020 provides a unified communication platform for researchers in a range of topics in education innovation and other related fields. This proceedings volume enables interdisciplinary collaboration of science and engineering technologists. It is a fine starting point for establishing an international network in the academic and industrial fields.

If one were to travel in time between 1951 and 1992 without being aware of it, one would see little resemblance between the 1951 BBC Light Programme and Radio One or Radio Two post-1992. However, despite these differences, the 1951 BBC Wireless Light Programme and the post-1992 Radio One and Two are essentially the same radio station. The changes over the years have been gradual and incremental, with no closures or creation of new stations. The most distinct change occurred on September 30th, 1967, when the names changed to numbers and the Light Programme split into two.

Living Genres in Late Modernity rehears the American 1970s through the workings of its musical genres. Exploring stylistic developments from the late 1960s through the early 1980s, including soul, funk, disco, pop, the nocturne, and the concerto, Charles Kronengold treats genres as unstable constellations of works, people, practices, institutions, technologies, money, conventions, forms, ideas, and multisensory experiences. What these genres share is a significant cultural moment: they arrive just after “the sixties” and are haunted by a sense of belatedness, loss, or doubt, even as they embrace narratives of progress or abundance. These genres give us reasons—and means—to examine our culture’s self-understandings. Through close readings and large-scale mappings of cultural and stylistic patterns, the book’s five linked studies reveal how genres help construct personal and cultural identities that are both partial and overlapping, that exist in tension with one another, and that we experience in ebbs and flows.

This book presents the first in-depth study of the Eurovision Song Contest from an Australian perspective. Using a cultural studies approach, the study draws together fan interviews and surveys with media and textual analysis of the contest itself. In doing so, it begins to answer the question of why the European song contest appeals to viewers in Australia. It explores and challenges the dominant narrative that links Eurovision fandom to post-WWII European migration, arguing that this Eurocentric narrative presents a limited view of how contemporary Australian multicultural society operates in the context of globalized culture. It concludes with a consideration of the future of the Eurovision Song Contest as Australia enters into the ‘Asian century’.

The science..., with respect to culture, ethnicity, personality, and other discriminating facets of human beings are discussed in an honest fashion, with a touch of poignant reality. The principles shared enhance communications within the home, our businesses and our communities. With increased understanding, we will appreciate ourselves better building stronger, more sustainable relationships. The book is divided in three sections which cover Discrimination, Diversity and Inclusion spanning many physical, mental and psychological traits. It is a practical reference book that is fit for every boardroom, schoolroom, meeting room and family room.

While the influence of Western, Anglophone popular culture has continued in the global cultural market, the Korean cultural industry has substantially developed and globally exported its various cultural products, such as television programs, pop music, video games and films. The global circulation of Korean popular culture is known as the Korean wave, or Hallyu. Given its empirical scope and theoretical contributions, this book will be highly appealing to any scholar or student interested in media globalization and contemporary Asia popular culture. These chapters present the evolution of Hallyu as a transnational process and addresses two distinctive aspects of the recent Hallyu phenomenon - digital technology integration and global reach. This book will be the first monograph to comprehensively and comparatively examine the translational flows of Hallyu through extensive field studies conducted in the US, Canada, Chile, Spain and Germany.