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The editors of Analytical Approaches to World Music are pleased to present the following set of invited responses to Andrew Killick’s article “Global Notation as a Tool for Cross-Cultural and Comparative Music Analysis.” While Andrew Killick has been developing global notation since 2016, the present article stems from his presentation at the Fifth International Conference on Analytical Approaches to World Music in Thessaloniki in 2018. The presentation generated lively discussion at the conference, and when Killick subsequently submitted the paper to the journal, one of the peer reviewers recommended publishing responses alongside the article. In compiling these responses, we have sought to include perspectives from scholars with a range of backgrounds and identities in terms of academic discipline, area of expertise, race, gender, age, and nationality. The set of responses does not fully live up to these goals insofar as the majority of respondents are men, are white, and are based in the US, Canada, or the UK. The fact that most of the women and Black, Asian, and Latinx scholars whom we invited were not able to spare the time to contribute responses may partly reflect the pervasive inequities within and beyond academia that have only been deepened by the ongoing public health crisis. In any case, our failure to attract a more diverse group of respondents should not reflect on the responses themselves, which offer thought-provoking and creative commentaries on the promise and challenges of Killick’s innovation to music notation, and we are grateful to all respondents for their contributions to the project. The responses are linked below in alphabetical order by author’s name.

Abstract: Conservative critic John Borstlap cited Ligeti as a partisan in his fight against the modernist myth of progress in the arts, based on the famous citation “I am in a prison. One wall is the avant-garde, the other is the past. I want to escape.” Ligeti's ambivalence reflected his distaste for art linked to utopian socialist ideals, and for all that was reactionary. Yet he admitted that his own youthful utopian strivings evolved into a desire for complex music that often defied audibility. This essay traces Ligeti's reception history from the late 1950s onward as a reaction to the thwarted utopian strains in his music. For some, Ligeti's music of the 1960s seemed to define “the contemporary problem itself.” But the composer's increased visibility in the 1990s led to demands that he deal with his Jewish heritage and wartime trauma, and cease writing music with a broad appeal. I argue that Ligeti's works reinscribe the past, the personal, and the extramusical as a conscious expression of his prison. They express the nonlinear notion of progress that defines modernism: a vast “tear in the historical process” able to lift music above the scrum of political-aesthetic skirmishes, to a “region which lies elsewhere.”

AbstractMariachi music has long been recognized as a—perhaps the—central genre of vernacular music in Mexico, with scattered academic studies investigating its ties to Mexican culture, myth, and national identity. But the music itself, still propagated largely through oral instruction, has received little attention. Good Mariachi practice is based on a holistic model of performance that includes a prescribed repertoire of bass lines, harmonic changes, meters, forms, and instrumental voicings that operate in synchrony. Despite having coalesced around distinct regional styles both within and outside of Mexico, the musical tradition of Mariachi rests on select formal principles drawn from the Mexican Ranchera, Mexican Son and the historic instrumentation of trumpet, violin, vihuela/ guitar, and guitarrrón, transmitted primarily through aural instruction. This makes Mariachi an ideal case study for unique schema prototypes inspired by Robert Gjerdingen’s Music in the Galant Style and modeled on foundational examples in the core Mariachi repertoire known as Cajón. These archetypes incorporate specific harmonic motions, bass patterns, and instrumental voicings within a single, well-defined unit. We will also address the practice of marrying instrumental performance practice to vocal delivery and describe how those units shape larger musical narratives. We further address these paradigms as they shape repertoire expansion and the expression of regional style within other genres of Norteño music.Keywords: Mariachi, Cajón, schema theory, Ranchera, NorteñoResumenSe ha reconocido al mariachi durante mucho tiempo como un género –quizás el género– central de la música vernácula en México, con estudios académicos dispersos que investigan sus vínculos con la cultura, el mito y la identidad nacional mexicana. Sin embargo, la música en sí, que aún se transmite en gran medida a través de la instrucción oral, ha recibido poca atención. La buena práctica del mariachi se basa en un modelo holístico de interpretación que incluye un repertorio determinado de líneas de bajo, cambios armónicos, compases, formas y disposiciones instrumentales que operan en sincronía. A pesar de haberse consolidado alrededor de estilos regionales distintos tanto dentro como fuera de México, la tradición musical del mariachi se basa en principios formales preferidos y extraídos de la ranchera mexicana, el son mexicano y la instrumentación histórica para trompeta, violín, vihuela/guitarra y guitarrón, transmitidos principalmente a través de la instrucción aural. Todo esto significa que el mariachi es un caso de estudio ideal para prototipos únicos de esquemas, inspirados en Music in the Galant Style de Robert Gjerdingen y modelados a partir de ejemplos fundamentales en el repertorio central del mariachi conocido como Cajón. Estos arquetipos incorporan movimientos armónicos específicos, patrones de bajo y disposiciones instrumentales dentro de una unidad clara y bien definida. También abordaremos la práctica de unir la interpretación instrumental con la emisión vocal y describiremos cómo esas unidades dan forma a narrativas musicales más amplias. Abordaremos además estos paradigmas a medida que dan forma a la expansión del repertorio y la expresión del estilo regional dentro de otros géneros de música norteña.Palabras clave: mariachi, cajón, teoría de esquemas, ranchera, norteño

Mauro Lanza and composer-technologist Andrea Valle’s cycle Systema Naturae (2013- 17) combines acoustic instruments with computer-controlled mechanical sound objects. The first work of the cycle, Regnum animale, surrounds a string trio with a circle ofcomputer-driven, electro-mechanical devices, whimsical creations that offer a second life to discarded consumer electronics such as hair dryers and electric knives. Every performance of Regnum animale will be different, as the jerry-rigged mechanical objects necessarily break down or malfunction, as part of an instrumentarium in a state of constant becoming. Regnum animale thus represents a paradoxical combination of ideals. The composers demand extreme rigor from themselves and their performers. Yet both composer and performer blend their efforts with the the contingent sounds and rhythmic qualities of found and discarded consumer objects. Lanza recomposed five of the Regnum animale for orchestra as the basis for Anatra digeritrice (Piccola Wunderkammer di automi oziosi) (2014), inspired by the Eighteenth-century inventor Jacques de Vaucanson’s duck automaton Le Canard Digérateur (1739). Although the recomposition imparts a certain a sense of depth and grandeur to its source, Anatra remains, in Lanza’s words, «a littlecollection […] of precision-made mechanisms that move about pointlessly». Lanza’s The Kempelen Machine from 2015 celebrates Wolfgang von Kempelen’s speaking machine developed at the end of the 18th century by orchestrating the results of a humanmechanical voice hybrid. 1

Introduction: Health informatics-supported strategies for training and ongoing support may aid the delivery of evidence-based psychotherapies. The objective of this study was to describe the development, implementation, and practice outcomes of a scalable health informatics-supported training program for behavioral activation for patients who screened positive for posttraumatic stress disorder and/or bipolar disorder. Method: We trained 34 care managers in 12 rural health centers. They used a registry checklist to document the delivery of 10 behavioral activation skills for 4,632 sessions with 455 patients. Care managers received performance feedback based on registry data. Using encounter-level data reported by care managers, we described the implementation outcomes of patient reach and care manager skill adoption. We used cross-classified multilevel modeling to explore variation in skill delivery accounting for patient characteristics, provider characteristics, and change over time. Results: Care managers engaged 88% of patients in behavioral activation and completed a minimum course for 57%. The average patient received 5.9 skills during treatment, with substantial variation driven more by providers (63%) than patients (29%). Care managers significantly increased the range of skills offered to patients over time. Discussion: The registry-based checklist was a feasible training and support tool for community-based providers to deliver behavioral activation. Providers received data-driven performance feedback and demonstrated skill improvement over time, promoting sustainment. Future research will examine patient-level outcomes. Results underscore the potential public health impact of a simple registry-based skills checklist coupled with a scalable remote training program for evidence-based psychotherapy. Public Significance Statement This study demonstrates that healthcare providers can include a brief checklist in their electronic health records to support the delivery of behavioral activation. When paired with a scalable, remote training program, providers' skills improved over time. Keywords: brief psychotherapy, registries, clinical decision support, health workforce, training program Supplemental materials: http://dx.doi.org/100.1037/fsh0000523.supp, Most people with mental health needs seek care in primary care settings where evidence-based psychotherapies are rarely available. Many express preference for psychotherapy over, or in conjunction with, psychiatric medication [...]

BackgroundDepression and adherence to antidepressant treatment are important clinical concerns in diabetes care. While patient-provider communication patterns have been associated with adherence for cardiometabolic medications, it is unknown whether interpersonal aspects of care impact antidepressant medication adherence.ObjectiveTo determine whether shared decision-making, patient-provider trust, or communication are associated with early stage and ongoing antidepressant adherence.DesignObservational new prescription cohort study.SettingKaiser Permanente Northern California.PatientsOne thousand five hundred twenty-three adults with type 2 diabetes who completed a survey in 2006 and received a new antidepressant prescription during 2006-2010.MeasurementsExposures included items based on the Trust in Physicians and Interpersonal Processes of Care instruments and the Consumer Assessment of Healthcare Providers and Systems (CAHPS) communication scale. Measures of adherence were estimated using validated methods with physician prescribing and pharmacy dispensing data: primary non-adherence (medication never dispensed), early non-persistence (dispensed once, never refilled), and new prescription medication gap (NPMG; proportion of time without medication during 12 months after initial prescription).ResultsAfter adjusting for potential confounders, patients' perceived lack of shared decision-making was significantly associated with primary non-adherence (RR = 2.42, p

BackgroundPrevious studies have reported that health literacy limitations are associated with poorer disease control for chronic conditions, but have not evaluated potential associations with medication adherence.ObjectiveTo determine whether health literacy limitations are associated with poorer antidepressant medication adherence.DesignObservational new prescription cohort follow-up study.ParticipantsAdults with type 2 diabetes who completed a survey in 2006 and received a new antidepressant prescription during 2006-2010 (N = 1,366) at Kaiser Permanente Northern California.Main measuresValidated three-item self-report scale measured health literacy. Discrete indices of adherence based on pharmacy dispensing data according to validated methods: primary non-adherence (medication never dispensed); early non-persistence (dispensed once, never refilled); non-persistence at 180 and 365 days; and new prescription medication gap (NPMG; proportion of time that the person is without medication during 12 months after the prescription date).Key resultsSeventy-two percent of patients were classified as having health literacy limitations. After adjusting for sociodemographic and clinical covariates, patients with health literacy limitations had significantly poorer adherence compared to patients with no limitations, whether measured as early non-persistence (46 % versus 38 %, p

As Esa-Pekka Salonen notes, György Ligeti ‘was the most cosmopolitan of composers, but, paradoxically, remained clearly defined in terms of his roots and language’. As a ‘rooted’ cosmopolitan and survivor of Nazi and Soviet occupations, Ligeti retained an inherent idealism that reached back to Kant's notion of a cosmopolitan, universal future, albeit one tempered by nostalgia and fatalism. In their incorporation of disparate cultural influences, the late works in particular exemplify a form of cultural contestation—distinct from mere pluralism or hybridity—known as the ‘cosmopolitan imagination’. This paper focuses on one manifestation of this cosmopolitan impulse in four vocal and instrumental compositions. Each work manifests a comic absurdity that neither mimics nor merges the music and text which inspire it, and which binds Ligeti's music to larger modernist themes.

Hungarian composer György Ligeti has not lacked for attention since coming into contact with Europe’s new music scene in the early 1960s. In 1966 he was featured in Moderne Musik I: 1945–65, and by 1969 Erkki Salmenhaara had published a dissertation on three major works. Although periodic illness and a painstaking approach to composition slowed his progress, Ligeti continued to refine and expand his style in the 1970s, producing everything from intimate solo works for harpsichord to the suitably grand opera Le Grand Macabre (1974–7, revised 1996). His turn towards traditional orchestral forms and a quasi-diatonic language in the 1980s brought him new prominence, and the voluble composer has seemed ever ready to provide ripe commentary on his work and the state of new music. The numerous awards and publications that followed Ligeti’s seventieth birthday in 1993 support his status as probably the most widely fêted and influential composer of the latter half of the twentieth century. And if that degree of timely recognition was not enough, the composer has entered his ninth decade with no noticeable decline in compositional energy or ideas. Ligeti continues to fashion brilliant revisions of the tried but true genres of concerto, solo étude, song cycle, choral work, and character piece. His compositions bear the weight of extramusical influence as well as that from beyond the Western canon, yet each innovation affirms his inimitable voice and his singular musical journey from the mid-twentieth to the twenty-first century.