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This article aims to propose a polyphonic decolonial historical approach to Management and Organization Studies (MOS), relating the theoretical-methodological aspects of the historical perspective with the decolonial option. We suggest a conceptual dialogue between the historiographical approach and MOS. We aimed to reflect on the possibilities for improving the organization theory, emphasizing the methodological concern with polyphony in historical studies. As a result, epistemological limitations in the use of history are presented when associated with MOS that is necessary to be overcome. We assume a position of understanding the history composed of narratives as fragmented representations of the past. Also, we articulate the ethical-political option of decoloniality for the co-construction of historical narratives about translocal practical-knowledge in management - towards pluriversal transmodernity. The article contributes to epistemic and methodological (re)orientations engaged in the context of (1) local/regional research-teaching (2) through the theory and practice of management in (3) rescuing the sociocultural identity.

This paper presents and discusses various metrics proposed for evaluation of polyphonic sound event detection systems used in realistic situations where there are typically multiple sound sources active simultaneously. The system output in this case contains overlapping events, marked as multiple sounds detected as being active at the same time. The polyphonic system output requires a suitable procedure for evaluation against a reference. Metrics from neighboring fields such as speech recognition and speaker diarization can be used, but they need to be partially redefined to deal with the overlapping events. We present a review of the most common metrics in the field and the way they are adapted and interpreted in the polyphonic case. We discuss segment-based and event-based definitions of each metric and explain the consequences of instance-based and class-based averaging using a case study. In parallel, we provide a toolbox containing implementations of presented metrics.

A key advantage of public participation GIS (PPGIS) tools has been seen as increasing the polyphony of urban planning by reaching the wisdom of crowds. However, the challenge is to enable participation for those who do not have the skills or resources. This article describes participatory action research where the authors of the article collaborated with a local city planning activist at the Kontula Mall, Helsinki (Finland) to improve the participation of a group marginalized from the renewal process (i.e., immigrant entrepreneurs) using a PPGIS tool (Maptionnaire). The case study provided insights into the potential for city planning activism to bring out marginalized groups’ perspectives and use PPGIS. Moreover, the research also revealed barriers to polyphony in current planning practices. Nevertheless, planning activism can enable the participation of the marginalized by coming into contact with them, providing them with information, and bringing their perspectives to the collaboration. The PPGIS tool can serve as a platform to collect participatory data through different response modes. Local activism can also facilitate the questionnaire’s co-design, testing, and marketing. Therefore, a bottom-up approach can be a way to improve the impact of PPGIS and enhance polyphony in urban planning.

POLYPHONIC TIMBRE HAS BEEN DEMONSTRATED TO BEan important element for computational categorization according to genre, style, mood, and emotions, but its perceptual constituents have received less attention. The work presented here comprises two experiments, Experiment 1, to devise a framework of subjective rating scales for quantifying the perceptual qualities of polyphonic timbre and Experiment 2, to rate short excerpts of Indian popular music and correlate them with computationally extracted acoustic features. A factor analysis of the ratings suggested three perceptual dimensions: Activity, Brightness, and Fullness. The present findings imply that there may be regularities and patterns in the way people perceive polyphonic timbre. Furthermore, the perceptual dimensions can be predicted relatively well by the regression models. Spectrotemporal modulations were found to be most relevant, while the well known polyphonic timbre descriptors, the Mel-Frequency Cepstral Coefficients, did not contribute significantly to any of the perceptual dimensions.

In the context of mathematics teachers' training, the concept of dépaysement épistémologique (epistemological disorientation) emphasizes that the contact with the history of mathematics, particularly with the use of original sources, pushes aside commonplace students' perspectives about the discipline and offers them a critical look towards mathematics's historical, social and cultural aspects. Conceptually supported by the theory of objectivation, an emergent sociocultural theory in mathematics education, this study describes the dépaysement épistémologique lived by future mathematics teachers engaged in the reading of historical texts. A phenomenological approach allowed us to clarify various meanings associated with students' lived experiences and a dialogical perspective provides a way to get these meanings in tension through a polyphonic narration. Our reading of this polyphonic narration suggests that dépaysement épistémologique associated with the reading of historical texts encouraged empathy from students towards the authors and their future learners, opening up the possibility for a nonviolent mathematics education.

The author outlines a tripartite, multicultural pedagogic approach to the Russian art song repertoire. An appendix of print and online resources is included.

Purpose The purpose of this paper is to describe an approach to analyzing qualitative data that uses Bakhtin’s concepts of dialogue as a framework. Design/methodology/approach Polyphonic Analysis (PA) is proposed as a critical approach to qualitative data analysis that emphasizes creating virtual dialogues of participants’ voices, bringing together views that typically do not interplay in order to escalate voices that might otherwise be silenced, reduced, or objectified. Findings PA, with its emphases on revoicing and dialoguing participants’ words, seeking understanding in the tensions between voices, and striving for hegemony in the development of themes, heightens researchers’ awareness of key principles of qualitative research, suggesting its use as a pedagogical approach for teaching qualitative research as an interpretive paradigm. The authors reference their study on the impact of the No Child Left Behind legislation in the USA to draw examples that illustrate the utility of this research design for pedagogy and practice. Originality/value PA creates meaning by recognizing multivocality and dialogism. The authors propose and describe this novel application of a literary analysis tool for use as a tool for pedagogy and research methodology.

The Republic of Turkey was founded on a nation-state basis as a nationalist modernism within the framework of Ziya Gokalp and Ataturk's ideas. This understanding influenced cultural and musical creation in Turkey. The composers combined the materials of national music with international polyphonic music techniques, and they created a nationalist polyphonic music as a new kind of music in accordance with the state system. Ahmed Adnan Saygun is one of the first- generation composers of this new kind called Turkish contemporary music. He emphasized nationalism in music with his musical works as well as his ideas, and came to the fore among other composers. Although a considerable amount of research has been done on Saygun and his works hitherto, there is yet no direct study on his nationalist ideas. This study investigates Saygun's codes relating to nationalism in polyphonic music/Turkish polyphonic music within the framework of the discipline of ethnomusicology and the qualitative research model involving document and content analysis techniques. The twelve codes, which have been identified as a result of this study, are defined and interpreted in the light of Saygun's ideas. Reprinted by permission of Ahmet Yesevi University

This bold challenge to conventional notions about medieval music disputes the assumption of pure literacy and replaces it with a more complex picture of a world in which literacy and orality interacted. Asking such fundamental questions as how singers managed to memorize such an enormous amount of music and how music composed in the mind rather than in writing affected musical style, Anna Maria Busse Berger explores the impact of the art of memory on the composition and transmission of medieval music. Her fresh, innovative study shows that although writing allowed composers to work out pieces in the mind, it did not make memorization redundant but allowed for new ways to commit material to memory.

The paper presents a unique and unprecedented translatorial enterprise in which Matthew Kneale’s novel English Passengers was rendered into Polish by a group of twenty-one translators. The book is discussed within the framework of the genre of polyphonic novel and compared to Joseph Conrad’s Heart of Darkness and Shakespeare’s The Tempest. The whole process of translating the novel is described in detail, and numerous problematic issues concerning translatorial problems are addressed.