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This article is an interview with Stan Lynch, the former drummer for Tom Petty and The Heartbreakers. Lynch discusses his experiences in the music industry and the changes he has witnessed over time. He emphasizes the importance of groove and feel in music and expresses his preference for live performances over the use of click tracks and drum machines. Lynch also reflects on the impact of technology on music production and laments the loss of the human element in modern techniques. Overall, the article provides valuable insights into Lynch's career and his perspectives on the evolving landscape of music production. [Extracted from the article]

Simon Barker, Korea and the Western Drumset: Scattering Rhythms Surrey: Ashgate, 2015.145 pages, 4 black and white photographs, 1 CD, 1 DVD. Hardcover, $125; eBook, $52.16. ISBN: 9781472418975 (hardcover); 9781315251042 [...]

Interviews with two human cultural assets Pak Hyong-nae of Imshil P'ilbong nongak and Kim Hyong-sun of Iri nongak were conducted to examine the events that led to their appointment to such positions. In Korea, only five p'ungmul bands, which includes Imshil P'ilbong nongak and Iri nongak, are recognized as 'Important Intangible Cultural Asset.' Kim and Pak presented individual insights into their selection as the national holders of their position due to existing rivalries and the differences in lifestyles and personalities.

The article presents the discussion on intersections between a fledgling music program at the University of British Columbia and the rise of the commercial music industry in greater Vancouver. Topics include timely gap in the existing literature namely an account of the relationships between ethnomusicology and popular music studies and Canadian institutional histories and entanglements; and curricular reform, (anti)racism, Indigenous rights, and decolonization being the themes.

The article presents the discussion on climate of insecurity and identity crisis surrounding college and university undergraduate music programs in North America and the United Kingdom. Topics include focusing on more inclusionary structures allowing the room for training, performance, composition, and theoretical worldviews; and embracing commercial music making currently in line with desired outcomes of curricular reform.

Amatzia Bar-Yosef argues that different cultures demonstrate diverging perceptions of physical space and that these perceptions may be encoded into music works and performances to express that culture's ideology of space. He also explores how culturally specific musical styles align with time organizations to express cultural space constructs.

This article demonstrates how the confluence of ambiguity and rhythm in a pop/rock song creates a powerful force for audience participation. Focusing on Radiohead's "Pyramid Song" (2001) as a case study, I document in detail the myriad ways listening audiences have made sense of its meter and how this knowledge has informed their interpretations of compositional intent. I conclude with further thoughts on the roles and possibilities of ambiguity and the directions it points towards mass participation and collaborative problem solving in the realms of aesthetics and music theory. [ABSTRACT FROM AUTHOR]

This article outlines the compositional development of the piece "Yŏngdong Nongak" for samul nori ensemble. Based on fieldwork conducted with Kangnŭng Nongak during the summer of 2006, the author describes the process by which he transformed a regionally based, communally oriented group dance performance into a smaller scale, presentational, and musically focused event for the concert-hall stage. The primary goals of this project were to bring a long overdue appreciation to the yŏngdong region and its musical practices, and to stimulate a revival of new works written for the traditional percussion quartet while building on the established canon. [ABSTRACT FROM AUTHOR]