Brand revitalization refers to the strategic process of reclaiming lost brand value to reverse declining trends and restore competitive advantage. While widely discussed in business and management literature, its application within the music industry remains underexplored. This qualitative study addresses this gap by examining the social media strategies used to revitalize the brand of a U.S.-based country music artist, following the seven-step framework proposed by Dev and Keller (2014). Drawing on insider access to the artist’s management team, the research employs an in-depth single case study to analyze a rebranding process implemented across multiple digital platforms, supported by structured brand management and content strategies. The revitalization effort combined the restoration of legacy materials with the creation of emotionally engaging content - including photos, videos, and narrative storytelling - aimed at expanding the fanbase and reinforcing the artist’s authenticity. The findings illustrate how a multidimensional, data-informed approach - integrating brand positioning, storytelling-based marketing, systematic digital optimization, and the careful sequencing of social media initiatives - can successfully reposition an artist’s brand, generating renewed visibility, stronger engagement, and cross-media outcomes such as increased streaming, radio play, and traditional media attention. The study further highlights the transient and adaptive nature of social media–driven brand revitalization, which demands sustained strategic management to ensure long-term effectiveness. Overall, this research contributes theoretical and practical insights into how legacy music brands can be revitalized through integrated, multidimensional brand strategies.
Marketing. Distribution of products, Economics as a science
R. Vazquez-Noguerol Mendez, S. Garcia Pineiro, P. G. S. Perez
et al.
Introduction
As part of the intervention, patients with severe schizophrenia who are cared for in psychiatric rehabilitation units need psychological treatments. However, there is great variability within the psychotherapy alternatives that are proposed for rehabilitation in schizophrenia, and it is necessary to know which are the most efficient interventions in order to prioritize their inclusion in intervention programs.
Objectives
To know the level of evidence of the existing psychotherapy alternatives for the rehabilitation treatment in schizophrenia through the systematic review of recently published studies.
Methods
Consecutive systematic searches in the scientific literature were used in a sensitive and specific way, aimed at identifying the existence of documents in databases and clinical practice guidelines based on evidence of psychological treatment in schizophrenia. Psychosocial and social approaches and family members interventions were excluded, and the search was limited to the last 5 years. The PICO format has been used, and a subsequent critical reading using the AGREE II tool, considering the inclusion criteria of presenting a score >60% in 4 domains.
Results
The following interventions have been found to be therapeutically effective: Level 1B (Early intervention in Psychosis; Patient and Family psychoeducational intervention; Basic ando social skills training; Social cognition and Metakognition training; Cognitive Remediation; Cognitive Behavioral Individual Therapy; Assertive Community treatment; Supported employment). Level 2B (Family Problem Solving Therapy, Dynamic Psychotherapy; Cognitive Behavioral Group Therapy); Level 2C (Horticultural, Art, Music, Animals Therapies).
Conclusions
Several psychotherapy alternatives are proposed for rehabilitation in schizophrenia, with known level of evidenca in order to prioritize their inclusion in intervention programs.
Disclosure of Interest
None Declared
Location-based service (LBS) provides users with personalized experience. With the latest Bluetooth low energy (BLE) technology, switched antenna array and constant tone extension (CTE) are introduced enabling angle of arrival (AoA) estimation for improved positioning accuracy. However, phase noise may significantly degrade the AoA estimation performance. Such impairment and its mitigation method are not well discussed in existing literature. In this paper, we theoretically analyze the performance degradation of AoA estimation caused by phase noise in BLE system. Based on the specific antenna switching pattern, an improved multiple signal classification (MUSIC) algorithm is proposed. We further propose an expectation maximization MUSIC (EM-MUSIC) algorithm to improve the AoA estimation accuracy by estimating the phase noise with extended Kalman filter. Simulation results show that at typical SNR level, the proposed algorithm can reduce the estimation error by more than 55% compared with existing algorithms. The proposed EM-MUSIC algorithm can greatly improve the positioning accuracy and is ideal for LBS.
Recenzja edycji: Zygmunt Mycielski, znaki zapytania. Wstęp i komentarze Beata Bolesławska-Lewandowska, red. Beata Bolesławska-Lewandowska, Marek Zagańczyk, Kraków 2022.
Abstract The Beijing-Tianjin-Hebei region, with the capital Beijing as the core, carries a profound geo-culture and gathers numerous intangible cultural heritages. Studying the spatial distribution characteristics and influencing factors of intangible cultural heritage can help to propose positive suggestions for protection and development from the perspective of sustainable development. Taking 329 national intangible cultural heritages in Beijing-Tianjin—Hebei as the research objects, and using ArcGIS spatial analysis technology, combined with methods such as kernel density analysis, standard deviation ellipse and geographical detector, to visualize the spatial distribution of intangible cultural heritages and explore the influencing factors of their distribution. The results show that: (1) the distribution of intangible cultural heritage in Beijing-Tianjin-Hebei is not balanced, mainly concentrated in the central and southern regions, and three high-density core circles are formed in Beijing, Tianjin, and Handan-Xingtai in Hebei Province, showing large differences in spatial distribution density; (2) Traditional techniques, traditional arts, dramatic balladry, sports, music, and medicine show the characteristics of aggregated distribution. folkways, dance, and drama show the characteristics of random distribution. Folk literature shows the characteristics of uniform distribution; (3) The Cultural Development Period is an important evolutionary turning point in the spatial and temporal distribution of intangible cultural heritage in Beijing-Tianjin-Hebei, as well as an accelerating period in the development of intangible cultural heritage, and completes the transformation from decentralized distribution to localized aggregation distribution. In The Period of Regional Cultural Integration, the peak value is reached; (4) Economic development and social culture have the greatest influence on the spatial distribution of intangible cultural heritage in Beijing-Tianjin-Hebei, while the influence of physical environment is relatively small.
A wide variety of crossmodal correspondences, defined as the often surprising connections that people appear to experience between simple features, attributes, or dimensions of experience, either physically present or else merely imagined, in different sensory modalities, have been demonstrated in recent years. However, a number of crossmodal correspondences have also been documented between more complex (i.e., multi-component) stimuli, such as, for example, pieces of music and paintings. In this review, the extensive evidence supporting the emotional mediation account of the crossmodal correspondences between musical stimuli (mostly pre-recorded short classical music excerpts) and visual stimuli, including colour patches through to, on occasion, paintings, is critically evaluated. According to the emotional mediation account, it is the emotional associations that people have with stimuli that constitutes one of the fundamental bases on which crossmodal associations are established. Taken together, the literature that has been published to date supports emotional mediation as one of the key factors underlying the crossmodal correspondences involving emotionally-valenced stimuli, both simple and complex.
Partindo da hipótese que a passagem de Nepomuceno para estudos na França causou grande impacto em Nepomuceno, levando-o a adotar a Mélodie como modelo em suas canções, o objetivo deste artigo é analisar obras paradigmáticas buscando demonstrar as relações e compreender o processo de assimilação. Objetivamos mostrar possíveis referências de Alberto Nepomuceno (1964–1920) a Gabriel Fauré (1845–1924) em duas de suas canções, Coração triste e Canção da ausência. O processo analítico, de natureza comparativa e interdisciplinar, tem como referencial teórico Stein e Spillman (1996) na análise de relações texto-música, bem como Klein (2005), Reynolds (2003) e Straus (1990) na análise das estratégias intertextuais, não se furtando à identificação de aspectos que possam contribuir à caracterização do estilo composicional de Nepomuceno, trazendo à luz a consciência de relação entre Nepomuceno e as correntes modernistas francesas.
Palavras-chave: Alberto Nepomuceno; Canção de câmara brasileira; Intertextualidade em música
This study contains the first detailed survey of the art works connected to the influential Augsburg Kantor, composer, teacher and music theorist Adam Gumpelzhaimer (1559–1625) and demonstrates that they are much more plentiful and widespread than previously realized. For instance, this survey examines nineteen portraits of Gumpelzhaimer whereas only four are mentioned in recent works on the composer, and in the case of one portrait expands the number of known exemplars from six to twenty-nine. Other materials studied here comprise four contemporary printed art works with two of Gumpelzhaimer’s canons and another with one; eleven of his autograph items in Stammbücher with art work and music; seven contemporary drawings, a number of which have music; eleven contemporary engravings for which he created music; and nine seventeenth-century oil paintings, some of which include his music. The art works date from the sixteenth to the nineteenth centuries and played an important role in cementing Gumpelzhaimer’s reputation, not least because some of the artists involved were well known. The images shed new light on Gumpelzhaimer and his music, on his interactions with artists and other figures, on his musical, literary and historical interests and on his standing among his contemporaries.
In addition, this study includes significant revelations about Adam Gumpelzhaimer’s music treatise 'Compendium musicae' which appeared in thirteen editions between 1591 and 1681 and was used extensively throughout Europe. Its editions include art works, theoretical material and musical compositions by Gumpelzhaimer and other composers and mostly comprise canons, but also include bicinia, motets, hymns, instrumental pieces and other items. Gumpelzhaimer made extensive changes to the music treatise and many of them are explored for the first time. The musical items vary throughout the editions and in some cases Répertoire International des Sources Musicales (RISM) and others overlook or mischaracterize the composers represented in certain editions. An inventory of the musical works in the series with indications of the specific editions which include them has previously been unavailable in the literature and one appears in Appendix I; it establishes that the series contains more than 350 musical compositions and examples. RISM indicates the whereabouts of the editions, but as this study shows some of its listings are erroneous or overlook certain copies. Several unique copies in the British Library are examined including a sumptuously bound copy which Gumpelzhaimer presented to a distinguished relative.
Adam Gumpelzhaimer’s 'Compendium musicae' influenced other authors and two are singled out in this study because of important new evidence about them. Until now it has escaped notice that the English editor, composer and music theorist Thomas Ravenscroft (c. 1589–c. 1630) appropriated twenty-six canons from Gumpelzhaimer’s 'Compendium musicae'. In his Pammelia published in London in 1609 and reprinted in 1618, Ravenscroft presented the latter canons as anonymous compositions and since then commentators about Pammelia and editors of its music have treated these works in the same manner. As the present study reveals, twenty-three of the relevant canons were composed by Gumpelzhaimer and the remaining three were produced by other composers. The other author investigated here is the German Kantor, music theorist and teacher Maternus Beringer (b. 1580; d. after 1632), who appropriated thirty-three canons from Gumpelzhaimer’s 'Compendium musicae'. The present study establishes that they comprise twenty-nine by Gumpelzhaimer, three by Giovanni Matteo Asola (c. 1532–1609) and one by an unknown composer. Beringer included them without attribution in one of his music treatises published in 1610. In the eighteenth century and again in the mid-twentieth century, three canons were attributed to William Byrd (c. 1540–1623) and thereafter the attributions were questioned without establishing their origin. This study demonstrates that they derive from Gumpelzhaimer’s 'Compendium musicae' and that he composed two of them.
History of scholarship and learning. The humanities, Bibliography. Library science. Information resources
W niniejszym eseju autor podjął refleksję nad możliwością wykorzystania polskich podręczników i szkół do gry na fortepianie w badaniach nad społeczną historią instrumentu sensu stricto i sensu largo. W pierwszej części pracy dokonany został syntetyczny przeglądu skromnej literatury przedmiotu. Została również szkicowo scharakteryzowana rola fortepianu w kulturze polskiej dziewiętnastego stulecia. Następnie autor krótko opisał system kształcenia pianistycznego na ziemiach polskich w pierwszych dziesięcioleciach XIX wieku, który opierał się na trzech podstawowych filarach: edukacji instytucjonalnej, metrach oraz podręcznikach do gry na instrumencie. W kolejnej części artykułu przeprowadzona została interdyscyplinarna analiza wybranych polskich szkół gry na fortepianie z I poł. XIX wieku (Karol Kurpiński – Wykład systematyczny zasad muzyki na klawikord, 1818 r.; Ignacy Platon Kozłowski – Szkoła teoretyczna i praktyczna na fortepiano, 1832 r.; Jan Nowiński – Nowa szkoła na fortepian, 1839 r.; Józef Nowakowski – Szkoła na fortepian podług celniejszych autorów, 1840 r.; Ignacy Feliks Dobrzyński – Szkoła na fortepian poświęcona Rodakom, 1842). Autor skupił uwagę przede wszystkim na narracyjnych ustępach materiału źródłowego. Dokonanie powyższego zestawienia umożliwiło stworzenie modelowego schematu formy podręcznika do gry na fortepianie w badanym okresie. Uzyskane dane osadzone zostały w kontekście aktualnej wiedzy o fenomenie fortepianu, rekonstruowanej przede wszystkim na fundamencie źródeł prasowych, epistolograficznych, pamiętnikarskich i beletrystycznych. W ramach wniosków końcowych autor przedstawił kilka obserwacji związanych ze społecznym obrazem fortepianu na ziemiach polskich w pierwszej połowie XIX wieku oraz dynamiką jego zmian, a także z modelami edukacji muzycznej oraz zewnętrznymi i wewnętrznymi fluktuacjami ówczesnego polskiego świata pianistycznego.
The article provides an overview of scientific research
on the relationship of musicality and general intelligence. It is noted that the problem of the relationship between musicality, musical achievements and intelligence is interdisciplinary. It is significant for general and music
psychology as well as for the theory and practice of music education. There is a shortage of empirical and theoretical works on this topic in the modern Russian-language scientific literature, and that is what determines
the relevance of the overview presented. The article discusses the role of general intelligence in the formation of a musical professional and musical and educational achievements. There is a continuity in the development of scientific ideas and approaches from the beginning of the last century to modern research. Musical abilities are shown to be largely determined by the intellectual potential of the individual, which explains the association of musical abilities with academic performance and abilities in non-musical areas. Modern approaches view musicality as a polymorphic entity which is better described in terms of multidimensional musical behavior. The formation of a professional in the musical field makes
the relationship between musicality and intelligence more complex; it begins to be mediated by a combination of factors, a significant place among which is shared intelligence.
Located at the southernmost part of Kosovo and Metohija, on the slopes of the
Sharr Mountains, Gora represents a place once inhabited by the Serbian
Orthodox population, who converted to Islam under the Turkish occupation of
the Balkans. The faith conversion began in the 16th and ended in the 19th
century, at which point there had still been some remains of Orthodox
churches left on the territory of Gora. The acceptance of the new religion
and other values passed on by the Ottoman Empire brought about changes in
terms of identity, so, nowadays, inhabitants identify themselves as the
Goranci/Gorani people. To this very day, their cultural matrix reflects a
combination of musical creations which probably preceded the change of
religion as well as those variations established by the Turkish domination.
These phenomena can be tracked on the level of both their context and the
musical text. The Gorani celebrate Christian holidays (Christmas and St
George’s Day), and keep those holidays that are part of Islamic practice
(Sunnah and Bayram). As an example of an older, traditional manner of musical
expression, the two-part “aloud” (na glas) singing has a dominant second
interval in a narrow tonal ambitus and a free metro-rhythmical organization.
This form of singing is usually shaped into octosyllable and it is
characterized by text improvisation which happens simultaneously with a
certain action. Its interpretation is associated with St George’s Day,
wedding, Sunnah, and other holidays. Songs that accompany the dance are sung
in a heterophonic manner or in unison, accompanied by the tambourine (emic
term: daire or def). Unlike the two-part “aloud” singing, performing the
songs in unison with the tambourine and dance has wider tonal systems with a
periodical case of an excessive second. However, the very emergence of
numerous instruments such as the tambourine, kaval, tambura and zurla, shows
a considerable Turkish-Eastern influence. This influence is especially
noticeable in the Romani “musicking” using zurla, which typically involves a
combination of traditional music of different nations, predominantly Turkish
and Albanian. Turkish influence tied to instrumental music was conveyed to
the vocal singing, particularly to singing songs together with using the
tambourine while dancing, as well as to singing to the accompaniment of the
tambura. Within these modes of musical performance, asymmetrical rhythms are
used, along with the augmented second, which ethnomusicological literature
often cites as an element of Oriental culture. By overviewing the Gorani
musical practice and the “otherness” in diachrony, it is evident that what
was known as otherness in the past now represents an integral part of the
identity. The practices established before Islam, as well as those brought by
this religion, are manifested in terms of context and text. It is obvious
that the Gorani people have created their own musical uniqueness throughout
the centuries of cultural turmoil. [Projekat Ministarstva nauke Republike
Srbije, br. 177024]
The oratorio was certainly not one of the favorite musical genres of the Jesuits in the 17th-18 century. The Pressburg Jesuits, however, have also performed oratorios in the 18th century, except their typical school dramas. The "golden age" of the oratorio in Pressburg were the 20s and 30s of the 18th century, i. e. the period of office of the Prince Primate Emericus Esterházy. At that time, there were performed 1–2 oratorios per year dedicated to the Primate by the libretits F. Syhn and by composer J. M. Schenauer in the Bratislava Jesuit Church. We know of them unfortunately only the text books. The Pressburg Jesuits have also worked with the court composer G. Ch. Wagenseil: from the oratorio Mater dolorum (1773) has only been handed a libretto, a yet unknown Oratorio per la Novenna di S. Xaverio (1750), however, is completely preserved.
Teresa Palma Pereira, Sofia Lourenço, Paulo Ferreira-Lopes
The aim of this article is to analyze musical form in german composer Robert Schumann’s works (8 June 1810 – 29 July 1856), particularly that of piano solo piece Carnaval, op. 9, trying to understand what is revealed by the way he uses it in relation to his personality, not only in artistic terms (taking into account the context of German Romanticism) but also on a deeper psychological level. To come to an understanding of Schumann’s use of form, this paper begins with a brief description of the evolution of musical form since Viennese Classicism, with additional references to the baroque system of ‘affects’. Form in Schumann is compared with that of other significant composers of the romantic period and various points of intersection between music and other arts are analyzed, especially literature, in certain key works of this period. Parting from these reflections, we explore the question of the expressive intention behind his handling of form in Carnaval, op. 9. The aim of the investigation of this aspect is to understand how far the innovatory use of this parameter in Schumann, reflects a unique vision of the art of music.