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In recent years, girls' and mixed-gender ensembles have challenged the tradition of male-dominated gamelan performance. The change heralds a fundamental shift in how Balinese think about gender roles and the gender behavior taught in children's music education. It also makes visible a national reorganization of the arts taking place within debates over issues like women's rights and cultural preservation. Sonja Lynn Downing draws on over a decade of immersive ethnographic work to analyze the ways Balinese musical practices have influenced the processes behind these dramatic changes. As Downing shows, girls and young women assert their agency within the gamelan learning process to challenge entrenched notions of performance and gender. One dramatic result is the creation of new combinations of femininity, musicality, and Balinese identity that resist messages about gendered behavior from the Indonesian nation-state and beyond. Such experimentation expands the accepted gender aesthetics of gamelan performance but also sparks new understanding of the role children can and do play in ongoing debates about identity and power.

In recent years, girls' and mixed-gender ensembles have challenged the tradition of male-dominated gamelan performance. The change heralds a fundamental shift in how Balinese think about gender roles and the gender behavior taught in children's music education. It also makes visible a national reorganization of the arts taking place within debates over issues like women's rights and cultural preservation. Sonja Lynn Downing draws on over a decade of immersive ethnographic work to analyze the ways Balinese musical practices have influenced the processes behind these dramatic changes. As Downing shows, girls and young women assert their agency within the gamelan learning process to challenge entrenched notions of performance and gender. One dramatic result is the creation of new combinations of femininity, musicality, and Balinese identity that resist messages about gendered behavior from the Indonesian nation-state and beyond. Such experimentation expands the accepted gender aesthetics of gamelan performance but also sparks new understanding of the role children can and do play in ongoing debates about identity and power.

After Uchino’s introduction of a new terminology, ‘Micromechatronics’ in 1979 for describing the application area of ‘piezoelectric actuators’, the rapid advances in semiconductor chip technology have led to a new terminology MEMS(micro-electro-mechanical-system) or even NEMS (nano-electro-mechanicalsystem) to describe mainly thin film sensor/actuator devices, a narrower area of micromechatronics coverage. New technologies, product developments and commercialization are providing the necessity of this major revision. In particular, the progresses in high power transducers, loss mechanisms in smart materials, energy harvesting and computer simulations are significant. New technologies, product developments and commercialization are providingthe updating requirement for the book contents, in parallel to the deletion of oldcontents.Various educational/instructional example problems have been accumulated, which were integrated in the new edition in order to facilitate the self-learning for the students, and the quiz/problem creation for theinstructors.Heavily revised topics from the previous edition include: high power transducers, loss mechanisms in smartmaterials, energy harvesting and computer simulations New technologies, product developments and commercialization helped shape the updated contents of this book where all chapters have been updated and revised.This textbook is intended for graduate students and industrial engineers studying orworking in the fields of electronic materials, control system engineering, opticalcommunications, precision machinery, and robotics. The text is designed primarilyfor a graduate course with the equivalent of thirty 75-minute lectures; however, it isalso suitable for self-study by individuals wishing to extend their knowledge in thefield.

For over a century, drummers have been turning to a variety of percussive traditions as prompts for the creation of new expressive possibilities on the drumset. In this book, Simon Barker sets out in detail the developmental processes he has followed creating an improvisational language for the drumset utilizing Korean rhythm/sticking cells, aesthetic conceptions, improvisatory codes, and developmental procedures. Barker offers historical overviews of Korean traditional rhythmic forms, analysis of rhythmic structures appearing in a variety of styles, an analysis and chronological account of his development of a 'Koreanized' approach to the drumset, a methodology for performing p’ansori accompaniment on the drumset, an introduction to Korean extended techniques, and a large collection of drumset studies based on Korean traditional forms such as tasÅ­rÅ­m, ch’ilch’ae, and ritual music structures from Korea’s East Coast. Barker also explores physical practices employed by Korean musicians which aid in the development of a relaxed, dynamic approach to performance. He creates a framework for creating an alternative approach to drumset education and performance through an engagement with Korea’s extraordinary rhythmic and aesthetic traditions. The volume includes accompanying downloadable resources featuring recordings of developmental exercises, solo drumset improvisations, and ensemble performances, each track representing a subject of discussion within the volume.