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This essay pays tribute to Hans Roosenschoon who celebrated his 60th birthday in December 2012. In contrast to conventional approaches that focus on local ideologies and local political issues, the essay explores the context of Roosenschoon's music from a global and a historical perspective. Taking as point of departure the pluralist nature of postmodernism, it investigates the interaction of cultural spaces, particularly those occupied by 'African' and 'Western' musics. The entanglement of time and space is shown to be manifest in complex, multifaceted contemporary musical worlds. In doing so, the essay interrogates the conventional absence of the 'voice' of music in contextdriven musicology. An approach that acknowledges music as an equal partner in the musicological enterprise shows an alignment of Hans Roosenschoon's music with global trends and issues of his time. ; https://doi.org/10.4102/td.v10i3.182

This essay pays tribute to Hans Roosenschoon who celebrated his 60th birthday in December 2012. In contrast to conventional approaches that focus on local ideologies and local political issues, the essay explores the context of Roosenschoon's music from a global and a historical perspective. Taking as point of departure the pluralist nature of postmodernism, it investigates the interaction of cultural spaces, particularly those occupied by 'African' and 'Western' musics. The entanglement of time and space is shown to be manifest in complex, multifaceted contemporary musical worlds. In doing so, the essay interrogates the conventional absence of the 'voice' of music in contextdriven musicology. An approach that acknowledges music as an equal partner in the musicological enterprise shows an alignment of Hans Roosenschoon's music with global trends and issues of his time. ; https://doi.org/10.4102/td.v10i3.182

This essay pays tribute to Hans Roosenschoon who celebrated his 60th birthday in December 2012. In contrast to conventional approaches that focus on local ideologies and local political issues, the essay explores the context of Roosenschoon's music from a global and a historical perspective. Taking as point of departure the pluralist nature of postmodernism, it investigates the interaction of cultural spaces, particularly those occupied by 'African' and 'Western' musics. The entanglement of time and space is shown to be manifest in complex, multifaceted contemporary musical worlds. In doing so, the essay interrogates the conventional absence of the 'voice' of music in context- driven musicology. An approach that acknowledges music as an equal partner in the musicological enterprise shows an alignment of Hans Roosenschoon's music with global trends and issues of his time.

Chapter from Dublin's Future: New Visions for Ireland's Capital City, Dr. Lorcan Sirr (ed.), (Dublin: The Liffey Press, 2011). Dublin's Future is a collection of essays, which, for the first time, recognises that the future of the island's largest and most important urban conurbation is about more than the engineering of roads and the colouring of development plans. Seán Mac Erlaine's chapter explores the performance of music in Ireland's capital city, documenting the currently vibrant use of alternative art spaces for niche markets of improvised, experimental and non-mainstream music practice. Contributors are recognised authorities in their fields. They cross sectors of age, private and public, profit and non-profit, and each and every one has something interesting to say about the future of Dublin. Lorcan Sirr - on Cities; Peter Sirr - on Literature; Patrick Daly - on Energy; James Pike - on Housing; Dermot Lacey - on Politics; Paul Donnelly - on Theatre; Seán Mac Erlaine - on Music; Sinead Shannon - on Ageing; Helen Carey - on Visual Arts; Ciaran Fallon - on Movement; Gillian O'Brien - on Memory; Conor Skehan - on Economy; Deirdre Black - on Landscape; Katrina Goldstone - on Ethnic Legacy; Noel J. Brady - on Bridges and Crossings; Ferdinand von Prondzynski - on Education; Gregory Bracken - on the View from Without.

From Aristotle to Heidegger, philosophers distinguished two orders of time, before, after and past, present, future, presenting them in a wide range of interpretations. It was only around the turn of the 1970s that two theories of time which deliberately went beyond that tradition, enhancing our notional apparatus, were produced independently of one another. The nature philosopher Julius T. Fraser, founder of the interdisciplinary International Society for the Study of Time, distinguished temporal levels in the evolution of the Cosmos and the structure of the human mind: atemporality,prototemporality,eotemporality,biotemporality andnootemporality. The author of the book distinguishes two 'dimensions' in time: the dimension of the sequence of time (syntagmatic) and the dimension of the sizes of duration or frequency (systemic). On the systemic scale, the author distinguishes, in human ways of existing and acting, a visual zone, zone of the psychological present, zone of works and performances, zone of the natural and cultural environment, zone of individual and social life and zone of history, myth and tradition. In this book, the author provides a synthesis of these theories.

This paper discusses the concept spacetime in the context of some traditional notions of space and time in sociological and anthropological literature. The paper argues that the concept of spacetime, together with other post‐Newtonian insights, can provide a useful metaphor with which to interpret societal phenomena. The paper concludes by illustrating the argument with a brief review of the ethnohistory of a Caribbean territory.

n order to promote access to non-tonal music, the fusion of musical time and space may be considered as a point of departure. As a pre-analytical strategy, it relies on direct experience of the music as it is heard instead of on specialised music theoretical knowledge. The music of Hans Roosenschoon is used to illustrate five ways in which the fusion of time and space manifests itself on a metaphorical level, namely the integration of Western and African cultural spaces through music as a temporal art form, the blending of time and space in the music itself and the fusion of art music from the past with everyday life by electronic means. A true story from the South African past that combines with a visual image associated with Cape Town represents another version of fusing time and space, while on a metaphysical level past and present coalesce as melodic references to Schubert's music are used to signify abstract ideas. Listening to music directly rather than through the filter of a rational analytical system helps to develop an appreciation of non-tonal music, a kind of music that is often regarded as inaccessible.

The Revista Brasileira de Música (Brazilian Journal of Music) continues its editorial policy of internationalization and democratization of access to knowledge by increasing geographic diversity of authors and dissemination of the publication itself. The theme of each issue expresses the convergence of topics, theoretical or methodological frameworks of the selected texts. This issue proposes the theme "Music in urban spaces", and presents some approaches that have engaged musicology recently, alongside other approaches that have occupied music research for a longer time. The articles that make up this issue deal with musical contexts of the Americas and Europe.

Algorithms C (Heritage)Creative Villages: New York City and Los Angeles; Multicultural Urban Music Scenes; Walking Through Music History; Music Ecosystems and Branding; Music, Technology and Urban Communication; Issues Affecting the Music Cities of New York City and Los Angeles; Los Angeles's Urban Sprawl; Pay-to-Play Music in Los Angeles; Impact of Gentrification; New York Is Music; Role of Night Mayors in the US; Conclusion; References; Part III: Life; Chapter 6: Marvelous (Musical) Melbourne (1835 to 1980s); Introduction; Stage 1: Indigenous Times to 1880 (Gold Rush to Marvelous Melbourne)