Boston Conservatory

Abstract This article examines “Salām Farmāndeh” as a case study of sorud s (state-sponsored songs produced to advance ideological narratives and maintain cultural hegemony). The article argues that “Salām Farmāndeh” represents a significant shift in the Islamic Republic’s cultural strategy: blending religious themes, nationalist sentiment, and popular music elements to mobilize younger generations, particularly Generations A and Z. Through qualitative analysis of the song’s musical structure, lyrical content, and state-led promotional campaigns, the article demonstrates how “Salām Farmāndeh” operates as an ideological state apparatus (ISA)—a tool for reinforcing loyalty to the principles of velāyat-e faqīh (guardianship of the Islamic jurist) and the Islamic Republic’s ideological foundations. Guided by Gramsci’s theory of cultural hegemony and Althusser’s concept of ISAs, this study reveals how contemporary sorud s such as “Salām Farmāndeh” reflect the regime’s adaptation of propaganda techniques to secure consent, not merely through coercion, but via emotional, cultural, and generational appeal. The findings contribute to broader discussions on the intersection of music, power, and ideological reproduction in modern Iran.

Anterior cruciate ligament (ACL) injuries in dance medicine present an interesting comparison to many other sports. When ACL injuries occur, the mechanics required for dance and more specifically ballet, place the knee in positions that put increased load on the graft, which creates challenges to safely return a dancer to a full workload of rehearsals and performances. Unlike most sports, dancers present with a lower rate of ACL injuries in females versus males. In addition to returning to jumping and landing with external rotation at the hip and lower leg, females must also return to dancing en pointe. This manuscript will aim to lay a framework for dance medicine providers to use in returning musculoskeletal mature female professional dancers to full participation. Additional considerations should be reviewed regarding pre-professional and adolescent dancers.

Abstract We describe 24 microsatellite loci for an at-risk North American butterfly, the Mottled Duskywing (Erynnis martialis). Forty-one perfect tetra and di-nucleotide loci were originally identified using Illumina sequencing and were refined to 24 variable and cleanly amplifiable loci, which we attempted to characterized in 34 individuals from a single population. We detected 2 to 10 alleles per locus. Observed heterozygosity ranged from 0.06 to 0.76, and expected heterozygosity ranged from 0.06 to 0.79. We also describe conditions by which 18 microsatellites can be multiplexed in five separate reactions. These microsatellites will be used to investigate population differentiation and diversity of Mottled Duskywing, to inform reintroduction and conservation protocols for the species in Ontario, Canada where it is listed as endangered.

This book introduces a new perspective on Claudio Monteverdi's Orfeo (1607), a work widely regarded as the 'first great opera', by exploring the influence of the Mantuan Accademia deglia Invaghiti, the group which hosted the opera’s performance, and to which the libretto author, Alessandro Striggio the Younger, belonged. Arguing that the Invaghiti played a key role in shaping the development of Orfeo, the author explores the philosophical underpinnings of the Invaghiti and Italian academies of the era. Drawing on new primary sources, he shows how the Invaghiti’s ideas about literature, dramaturgy, music, gender, and aesthetics were engaged and contested in the creation and staging of Orfeo. Relevant to researchers of music history, performance, and Renaissance and Baroque Italy, this study sheds new light on Monteverdi’s opera as an intellectual and philosophical work.

—Public–private partnerships (PPPs) seek to expand access to quality health services in ways that best leverage the capacities and resources of both sectors. There are few examples of PPPs in the hospital sector in developing countries, and little is known about how the involvement of the private sector transforms the delivery of health services in this context. In 2006, the government of Lesotho adopted a PPP approach for the health sector, contracting out to design, build, and operate a hospital network in its capital district. This case study examines differences between a government-run hospital and the PPP-run hospital that replaced it, using in-depth interviews with key informants, observation of management systems, and document review. Key informants emphasized changes in infrastructure, communication, human resource management, and organizational culture that improved quality and demand for services. Important drivers of improved performance included better defined policies and procedures, empowerment and training of managers and staff, and increased accountability. Well-functioning support systems kept the hospital clean and equipment functioning, reduced stock-outs, and allowed staff to do the jobs they were trained to do. The Lesotho PPP model provides insight into the mechanisms by which public–private partnerships may increase access and quality of care.

J. B. Kennedy recently proposed a radical new interpretation of the Platonic dialogues, arguing that their stichometric structure is based in a Greek twelve-tone musical scale. We explore to what extent such an interpretation might be borne out historically by Greek music-theoretical traditions: the concept of scale, the significance of number 12 (on which Kennedy's theory is anchored), conceptual differences between Harmonicists and Pythagoreans, and the applicability of Kennedy's scale within the context of Plato's thought. While the statistical correlations Kennedy notes are intriguing, their foundation in Greek music-theoretical traditions proves problematic.

great deal has been written about the challenges facing music educators who work in urban settings.1 The scarcity of instruments, textbooks, and other resources; a lack of parental and administrative support; and difficulties with classroom management are just a few of the issues that confront mu sic teachers who work in urban communities.2 However, many music educators who teach in urban settings find their work to be a source of deep satisfaction and pride. Their positive stories have been noticeably absent from pub lished writings about urban music education. This article presents a conversation among five music teachers who work in two large cit ies in the northeastern United States as a way of highlighting the rewards of teaching music in urban settings. The discussion took place at a recent panel session at a state in-service con ference for music educators. I served as the facilitator for the panel, which was attended by more than fifty music educators from across the region.3 Three main themes emerged from the discussion: