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Continuous monitoring of water-column and near-bottom hydrosedimentary processes in the Mediterranean Sea over the last 15 years has resulted in a novel view of the functioning of this land-locked sea. Destratification of the water column and fast, dense, organic-matter-rich, and sediment-laden near-bottom currents occurring in late winter to early spring efficiently transfer matter and energy from the continental shelf and the upper ocean layers to the deep basin. These currents, known as dense shelf water cascading (DSWC), have been repeatedly measured by moored instrumentation during concurrent field experiments in the Gulf of Lion (northwestern Mediterranean Sea) and the Adriatic Sea (central Mediterranean). Physical oceanography observations made in the eastern Mediterranean in the early 1990s, together with observations of large-scale bed forms on the shelf floor, indicate that this phenomenon also occurs in the Aegean Sea (eastern Mediterranean) where it impacts the neighboring deep basins. The source areas of DSWC are the northernmost shelves of the Mediterranean Sea. Due to their location and inland topography, they are more exposed to the cold, persistent, intense northerly winter winds that cool shelf (and offshore) waters enough to make them denser than underlying waters, thus triggering their sinking once a density threshold is reached. It has also been observed that low river discharge on these shelves favors late winter-early spring cascading as shelf waters become denser than they would be under high river discharge. While offshore convection cells bring only \"blue water\" to the deep basin, DSWC events carry huge amounts of organic and inorganic substances as they scour the shelf and slope seafloor while sinking. Cascades of DSW may last for several weeks, and cascading waters sink continually deeper until they find their density equilibrium level, which changes from year to year. It has been observed that particularly intense DSWC events that carry shelf waters to the deepest parts of the western Mediterranean basin occur at subdecadal frequency. The influence of seafloor topography on the path followed by DSWC is best illustrated by submarine canyons. At specific locations, canyons are the main conduits for the cascading shelf waters, and from this developed the concept of \"flushing submarine canyons.\" If the volume of cascading waters in a given event is too large, the canyons may be unable to accommodate it, and, therefore, those waters may escape from the canyons—especially where they are less entrenched. It has been also observed that DSW may cascade as sheet flows, sweeping continental slopes along tens of kilometers or more before spreading over the deep basin. The findings reported in this paper are just the tip of the iceberg in terms of the consequences of DSWC on deep-water mass formation and on the deep ecosystem of the Mediterranean Sea. As cascades often occur simultaneously with spring phytoplankton blooms in the various Mediterranean regions, there is no doubt that their role as a natural mechanism for carbon sequestration from the shallow ocean layers will demand the attention of the scientific community in the coming years.

Robbins provides an overview of The Vanishing American, which is based on a Zane Grey novel of the same name, and outline available scoring options in the 1920s for films that featured indigenous characters. To clarify Sullivan's general understanding of film accompaniment, she turns to her personal correspondence, which confirms her dedication to musical accompaniment carefully matched to moving pictures and sets the stage for her scoring of The Vanishing American. Finally, using Sullivan's annotations in Bradford's cue sheet and her music collection held at the American music Research Center, she reconstructs parts of her score for the film, comparing her musical selections with those recommended by Bradford.

A core issue of computational pattern mining is the identification of interesting patterns. When mining music corpora organized into classes of songs, patterns may be of interest because they are characteristic, describing prevalent properties of classes, or because they are discriminant, capturing distinctive properties of classes. Existing work in computational music corpus analysis has focused on discovering discriminant patterns. This paper studies characteristic patterns, investigating the behavior of different pattern interestingness measures in balancing coverage and discriminability of classes in top k pattern mining and in individual top ranked patterns. Characteristic pattern mining is applied to the collection of Native American music by Frances Densmore, and the discovered patterns are shown to be supported by Densmore’s own analyses.

The goal of this article is to highlight recent work examining how culture affects neural activation. We suggest a framework for cultural neuroscience in which there are two objectives: culture mapping—or the mapping function from patterns characteristic of cultures to their neural processing—and source analysis—or the attempt to determine the sources of observed commonalities and differences. We review links between culture and the brain across fundamental domains of cognitive and social psychology.

This paper presents a method for outlier detection in structured music corpora. Given a music collection organised into groups of songs, the method discovers contrast patterns which are significantly infrequent in a group. Discovered patterns identify and describe outlier songs exhibiting unusual properties in the context of their group. Applied to the collection of Native American music collated by Frances Densmore (1867–1957) during fieldwork among several North American tribes, and employing Densmore’s music content descriptors, the proposed method successfully discovers a concise set of patterns and outliers, many of which correspond closely to observations about tribal repertoires and songs presented by Densmore.

Francis La Flesche, an early ethnographer who grew up in the Omaha tribe, has much to teach us about representing peoples and ways of life. By examining writings by and about La Flesche during his lifetime, we can see that he engaged and challenged power structures on many levels and in many contexts. La Flesche worked as an informant and interpreter, and wrote autobiographical, fictional, and ethnographic works. In his writings, both the content and structure tended to disrupt emic and etic perspectives and address the complexities of representing subjectivity and culture.

[...]Arapaho- Kickapoo media artist Missy Whiteman spoke up and explained that this was generally not a goal. According to Elise Marubbio and Eric Buffalohead in Native Americans on Film: Conversations, Teaching and Theory, \"Both cinema of sovereignty and visual sovereignty are aspects of media sovereignty: the act of controlling the camera and refocusing the lens to promote indigenous agency in the media process and in their own image construction\" (10). [...]definitions of media sovereignty began to form with Jolene Rickard's essay on sovereignty and visual arts and has been expanded on by numerous scholars over the years to encompass \"cultural sovereignty\" as applied to Native filmmaking (Singer), representational cinema of sovereignty in documentary filmmaking (Lewis), and visual sovereignty (Raheja, Reservation Reelism). With the surge in new media creation by Indigenous people we see not only more accurate historical and contemporary representation of the people but also counternarratives that intervene in colonial oppressive histories and serve as activist documents to be shared with audiences worldwide. [...]very recently it was difficult to find a Native character in anything other than a western and even more difficult to find one that did not fall into a number of stereotypical categories such as the polarized constructions of the bloodthirsty savage / noble savage, the drudge/princess, and the vanishing American. [...]for many Native American filmmakers, of which there began to be a large number in the 1970s, addressing this history becomes a main motivation for their work.

The history of ethnomusicology since ca. 1950 is explored from a personal perspective by contemplating ways in which the author (seeing himself as an exemplar of the profession as a whole) has changed directions and attitudes on several major issues: (a) The system of ideas, often very complex, about music in indigenous societies provides important insights into a culture. (b) Recent research in the history of Native American cultures suggests that the music discovered and recorded in the twentieth century may be a remnant of much more complex music that disappeared when the population of Native Americans was greatly reduced after the coming of Europeans. (c) Rather than looking for the origins of music in human society fundamentally as one event, the author suggests that a number of different kinds of sound communication, originally unrelated, only later came to be seen as comprising a single unified concept. (d) The concept of authenticity used to explain the relationship between a society and its own unique music has been abandoned in favor of an understanding that the function of music is more typically to establish and maintain relationships among societies. (e) The usefulness of learning performance as part of fieldwork has been broadly accepted and the risks it presented to authentic transmission and preservation turn out to have been exaggerated. In a related development, the capacity of ethnomusicological research to provide practical benefits has become a major focus of the field. [PUBLICATION ABSTRACT]

Through archival evidence at the Rockefeller Archive Center in Tarrytown NY and oral history he has undertaken with participants, Uy demonstrates how consultants and editorial boards tackled and debated issues of American identity, genre, and aesthetics. He argues that the employment of outside consultants in the Recorded Anthology of American Music had major implications for the inclusion and exclusion of repertoire. He analyzes the role of these musicologists and composers through a sociology of expertise that integrates Pierre Bourdieu's concepts of social and cultural capital into a better understanding of the roles experts play in society and decision making.

Looking back upon his career as an ethnomusicologist, the sixty years that in many ways run parallel to the postwar emergence and history of his field, Bruno Nettl examines the crucial ideas that were formative for his early years, but have both grown and changed with the field itself. With candor and wisdom, the author recognizes that certain fundamental concepts about music and its relation to human society remain intact, whereas debate and new forms of scientific investigation have made it necessary for other concepts to respond to the knowledge music scholars have gathered. Whereas new evidence and ideas have effected change widely, Nettl concerns himself specifically with ten areas in this article, ranging from the foundationally ontological—the definition and concept of music and the origins of music—to critical paradigms—Alan P. Merriam's model of music in culture and concepts of improvisation—to the relations among the sub-disciplines of music scholarship—the ethnomusicological study of Western art music. By tracing the way we change our minds during the course of a career, music scholars expand the very ways we come to understand a rich and capacious intellectual history of our fields.