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Studies in the sociopolitics of archaeology have shown patterns of inequality in publishing. Because this inequality affects the richness of perspectives on the past, the extent of unevenness requires continual documentation. This article explores gendered and institutionally based patterns of authorship in prominent archaeology journals, archaeology papers in general science journals, and Sapiens, a public-facing web magazine, from 2016 to 2021. We find that the representation of women is similar across these two types of journals, for authors both in the United States and abroad. Men still publish significantly more than women though the gap is narrowing due to the publication activity of recent PhDs. Using a large database of PhDs as a baseline for comparison, we find that women publish less in these venues than expected, resulting in an imbalance. Some archaeology programs have a larger presence in journal publishing than others, but this imbalance is not as pervasive as what has been observed in hiring practices. Archaeology journals exhibit healthier measures of diversity, compared to Science, in terms of the institutional affiliation of authors.
To describe the cumulative seroprevalence of severe acute respiratory coronavirus virus 2 (SARS-CoV-2) antibodies during the coronavirus disease 2019 (COVID-19) pandemic among employees of a large pediatric healthcare system.
Design, setting, and participants:
Prospective observational cohort study open to adult employees at the Children’s Hospital of Philadelphia, conducted April 20–December 17, 2020.
Methods:
Employees were recruited starting with high-risk exposure groups, utilizing e-mails, flyers, and announcements at virtual town hall meetings. At baseline, 1 month, 2 months, and 6 months, participants reported occupational and community exposures and gave a blood sample for SARS-CoV-2 antibody measurement by enzyme-linked immunosorbent assays (ELISAs). A post hoc Cox proportional hazards regression model was performed to identify factors associated with increased risk for seropositivity.
Results:
In total, 1,740 employees were enrolled. At 6 months, the cumulative seroprevalence was 5.3%, which was below estimated community point seroprevalence. Seroprevalence was 5.8% among employees who provided direct care and was 3.4% among employees who did not perform direct patient care. Most participants who were seropositive at baseline remained positive at follow-up assessments. In a post hoc analysis, direct patient care (hazard ratio [HR], 1.95; 95% confidence interval [CI], 1.03–3.68), Black race (HR, 2.70; 95% CI, 1.24–5.87), and exposure to a confirmed case in a nonhealthcare setting (HR, 4.32; 95% CI, 2.71–6.88) were associated with statistically significant increased risk for seropositivity.
Conclusions:
Employee SARS-CoV-2 seroprevalence rates remained below the point-prevalence rates of the surrounding community. Provision of direct patient care, Black race, and exposure to a confirmed case in a nonhealthcare setting conferred increased risk. These data can inform occupational protection measures to maximize protection of employees within the workplace during future COVID-19 waves or other epidemics.
Situated within a series of river journeys, this inquiry considers the role of material landscape in shaping learning possibilities and explores practices of reading landscapes diffractively. We consider ways we might pay attention to the ever-changing flux of places while experimenting with posthuman pedagogical praxis. Methodologically, we embrace the post-qualitative provocation to do research differently by enacting a new empiricism that does not ground the inquiry in a paradigmatic structure. In doing so, we rethink conventional notions of method and data as we create a series of short videos from footage recorded during canoeing journeys with tertiary outdoor environmental education students. These videos, along with a student poem, form the empirical materials in this project. Video allows us to closely analyse more-than-human entanglements, contemplating the diverse ways we can participate with and read landscapes in these contexts. We aim to provoke diffractive thought and elicit affective dimensions of material encounters, rather than offer representational findings. This project intends to open possibilities for post-qualitative research, inspired by posthuman and new materialist orientations.
What is classical music? This book answers the question in a manner never before attempted, by presenting the history of fifteen parallel traditions, of which Western classical music is just one. Eachmusic is analysed in terms of its modes, scales, and theory; its instruments, forms, and aesthetic goals; its historical development, golden age, and condition today; and the conventions governing its performance. The writers are leading ethnomusicologists, and their approach is based on the belief that music is best understood in the context of the culture which gave rise to it . By including Mande and Uzbek-Tajik music - plus North American jazz - in addition to the better-known styles of the Middle East, the Indian sub-continent, the Far East, and South-East Asia, this book offers challenging new perspectives on the word 'classical'. It shows the extent to which most classical traditions are underpinned by improvisation, and reveals the cognate origins of seemingly unrelated musics; it reflects the multifarious ways in which colonialism, migration, and new technology have affected musical development, and continue to do today. With specialist language kept to a minimum, it's designed to help both students and general readers to appreciate musical traditions which may be unfamiliar to them, and to encounter the reality which lies behind that lazy adjective 'exotic'.
MICHAEL CHURCH has spent much of his career in newspapers as a literary and arts editor; since 2010 he has been the music and opera critic of The Independent. From 1992 to 2005 he reported on traditional musics all over the world for the BBC World Service; in 2004, Topic Records released a CD of his Kazakh field recordings and, in 2007, two further CDs of his recordings in Georgia and Chechnya.
Contributors: Michael Church, Scott DeVeaux, Ivan Hewett, David W. Hughes, Jonathan Katz, Roderic Knight, Frank Kouwenhoven, Robert Labaree, Scott Marcus, Terry E. Miller, Dwight F.Reynolds, Neil Sorrell, Will Sumits, Richard Widdess, Ameneh Youssefzadeh
In recent years, a variety of efforts have been made in political science to enable, encourage, or require scholars to be more open and explicit about the bases of their empirical claims and, in turn, make those claims more readily evaluable by others. While qualitative scholars have long taken an interest in making their research open, reflexive, and systematic, the recent push for overarching transparency norms and requirements has provoked serious concern within qualitative research communities and raised fundamental questions about the meaning, value, costs, and intellectual relevance of transparency for qualitative inquiry. In this Perspectives Reflection, we crystallize the central findings of a three-year deliberative process—the Qualitative Transparency Deliberations (QTD)—involving hundreds of political scientists in a broad discussion of these issues. Following an overview of the process and the key insights that emerged, we present summaries of the QTD Working Groups’ final reports. Drawing on a series of public, online conversations that unfolded at www.qualtd.net, the reports unpack transparency’s promise, practicalities, risks, and limitations in relation to different qualitative methodologies, forms of evidence, and research contexts. Taken as a whole, these reports—the full versions of which can be found in the Supplementary Materials—offer practical guidance to scholars designing and implementing qualitative research, and to editors, reviewers, and funders seeking to develop criteria of evaluation that are appropriate—as understood by relevant research communities—to the forms of inquiry being assessed. We dedicate this Reflection to the memory of our coauthor and QTD working group leader Kendra Koivu.1
The COVID-19 pandemic has had a major impact on clinical practice. Safe standards of practice are essential to protect health care workers while still allowing them to provide good care. The Canadian Society of Clinical Neurophysiologists, the Canadian Association of Electroneurophysiology Technologists, the Association of Electromyography Technologists of Canada, the Board of Registration of Electromyography Technologists of Canada, and the Canadian Board of Registration of Electroencephalograph Technologists have combined to review current published literature about safe practices for neurophysiology laboratories. Herein, we present the results of our review and provide our expert opinion regarding the safe practice of neurophysiology during the COVID-19 pandemic in Canada.
Low aspartic acid d:l ratios and modern collagenlike concentration values indicate that amino acids in bones from the Rancho La Brea asphalt deposit, Los Angeles, California are better preserved than amino acids in bones of equivalent age that have not been preserved in asphalt. Amino acids were recovered from 10 Rancho La Brea bone samples which range in age from less than 200 to greater than 36,000 yr. The calibrated rates of aspartic acid racemization range from 2.1 to 5.0 × 10−6yr−1. Although this wide range of rate constants decreases the level of confidence for age estimates, use of the larger rate constant of 5.0 × 10−6yr−1 provides minimum age estimates which fit the known stratigraphic and chronologic records of the Rancho La Brea deposits.
As the orchestra and chorus take the stage – the men in tuxedos, the women in traditional gowns – people in the audience call out to their favourites, particularly the tambourine player who is the sole percussionist; the maestro emerges to applause. After an initial instrumental piece, songs dominate, presented by the male and female choruses standing behind the orchestra, or by vocal duets or trios at the front of the stage; after a while there is an extended solo improvisation. The audience listens quietly, having been schooled in the Western way to save applause until the end of each piece; with a ritual wave of their programmes, people demand repeats of their favourite songs. Western string instruments – violins, cellos and double bass – predominate, though their long-time presence in this culture gives the orchestra a traditional feel. Indigenous instruments – reed flute, lute, zither and tambourine – fill out the ensemble, adding textures that keep the overall sound decidedly local. This sense is intensified by the use of more than twelve notes per octave: the ‘extra’ non-Western notes help build an atmosphere of enchantment.
THE art music of the eastern Arab world has a long and dynamic history: with roots going back two millennia, it has evolved greatly over time and continues to evolve today. Concentrated in Cairo, Beirut, Damascus and Aleppo, it has many shared features across the region; we may think of it as a single tradition, but there are local variations. The shared features include scales and rhythms, instruments, types of ensemble, repertoire and performance contexts. As such, the above description – of a 1980s performance by the Arabic Music Ensemble in Cairo – could represent similar concerts in many parts of the eastern Arab world. Yet compositions by the Egyptian Sayyid Darwīsh and Muḥ ammad ‘Abd al-Wahhāb, for example, are regarded as distinctly Egyptian; performances by the singer Fayrouz are felt to exhibit a uniquely Lebanese character; and traditional songs performed by the Aleppan singer Ṣabāḥ Fakhrī are regarded as reflecting a quintessentially Syrian tradition. Thus do styles differ within this shared music.
Early history
The history of Arab music predates the birth of Islam. Early vocal and poetic traditions from nomadic tribes and flourishing urban centres like Mecca were further developed in opulent court settings from the seventh century, first in Damascus, the capital of the Umayyad dynasty (661–750), and then in the Abbasid-dynasty capital, Baghdad (750–1258).
THIS book is a team effort, driven by a shared desire to illuminate and celebrate the world's great classical traditions. Its ancestry as a piece of crosscultural musical analysis goes back a thousand years, to the ‘science of music’ of the medieval Arab theorists. Its European precursors include the sixteenthcentury Swiss theologian Jean de Léry, who notated antiphonal singing in Brazil, and the Moldavian polymath Prince Dimitrie Cantemir (1673–1723) who was enslaved by the Ottomans in Istanbul, became a de facto Turkish composer, and created the first notation for Turkish makam; also Captain James Cook, who made detailed descriptions of the music and dance of Pacific islanders in 1784. Meanwhile Chinese music was being admiringly analysed by French Jesuit missionaries – Chinese theorists had beaten their European counterparts in the race to solve the mathematics of equal temperament – and other Frenchmen were investigating the music of the Arab world. While serving on Napoleon Bonaparte's Egyptian campaign, Guillaume-André Villoteau made studies of Arab folk and art music, before going on to contrast those with the music of Greece and Armenia; his theories were then contested by the French composer Francesco Salvador-Daniel, who after a twelve-year musical sojourn in Algeria concluded, among other things, that Arab and Greek modes were one and the same. Long before ‘ethnomusicology’ was born in academe, the game was well established.
In recent years the ethnomusicologists’ findings have been magisterially presented in two great publications: in the ten massive volumes of the Garland Encyclopedia of World Music, and scattered through the twenty-nine volumes of the New Grove Dictionary of Music and Musicians. But our book is, we believe, the first panoptic survey of the world's classical musics (I explain in the Introduction why we have settled on that somewhat contentious adjective). Although much of its information may also be found in Grove and Garland – many of its writers were contributors to, or editors on, those projects – its tight focus permits presentation in a single volume, rather than scattered through a six-foot shelf of tomes.
As editor I am deeply indebted to my writers, who have patiently put their chapters through numerous drafts in pursuit of non-academic accessibility, while in no way traducing their (often very complicated) subject-matter. I must particularly thank Terry Miller, whose resourceful problem-solving assistance has extended far beyond his own signed contributions; also his colleague Andrew Shahriari, for additional information on Persian classical music.