Bücher veröffentlicht von Vaibhavi

On September 9, 2002, the MIT program in Science, Technology, and Society (STS)held the first in a week-long series of events marking the inaugural anniversary of 9/11.The goal was to stimulate "personal reflection and remembrance" of the tragedy and itsaftermath among members of the MIT administration, faculty, students, and staff. Inher welcoming address to those assembled in Killian Hall for a colloquium titled, "MITin a Dangerous World," historian and director of the STS program Rosalind Williamsshared her hope that, by "the end of this week, MIT's motto of 'Mind and Hand' willsomewhat be modified to remind us all that it's mind, hand, and heart that have to worktogether."3 The point of the colloquium, she explained, was to broadly consider MIT'ssocial and moral responsibilities in a new era of global conflict.

In any form, musical participation is an intimately social activity. Yet, as musicians unflinchingly commit their fullest selves to shared musical collaborations, the natural human penchant for self-interest inevitably comes along for the journey, threatening to compromise collectivistic desires with more egocentric comportments. Undeniahly, the ego plays an inextricable-and at hes antagonistic-rule in the negotiation of musicians performed identities. But as pervasive as the ego may he throughout various spheres af musical practice, it has yet to become a topic of empirical music research. In response to this gap in the literature, the purpose of the current study was to contribute an initial understanding of humility's role in musical participation