This paper examines as its main subject. Aid activities by musicians. These are analyzed around the cases of Band Aid and Live Aid. These activities or music have the characteristic that they exert an influence on human sensitivity and have the potential to promote understanding between different cultures and dialog within the world structure.
For this reason, this paper concludes that musicians will have a universal role from now on. The possibility that oneself and others change from ‘interrupted relations’ into ‘interactive relations’ is suggested in order to promote this theory.

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This thesis is a study of the changes in the performing style of minyou singers in post WWII Okinawa, through an analysis of three minyou singers (Seijin Noborikawa, Sadao China, Syuken Maekawa). It examines their life history and musical activities, internal and external influences on popular music history in Okinawa and two activities and thinking of minyou singers in Okinawa. As to internal influences, three minyou singers regard very highly the inheritance of the style of musical activities. Most minyou singers in Okinawa emphasize developing their own skill between times and leaders. Moreover, as to external influences, Seijin Noborikawa has been active under the leadership of a producer from the Japanese mainland. Sadao China has been active comprehensively as a singer, songwriter and producer. Syuken Maekawa has only influenced people of Okinawan ancestry.

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This essay concerns the activity of the Nisei amateur orchestras in Hawai'i after the Pacific War.
In the postwar period, there were more than 40 Nisei orchestras performing Japanese popular songs at events and parties held by and for Americans of Japanese ancestry in Hawaii. Some of the orchestras also put on stage shows and produced many records. Of the few pieces composed by Nisei musicians, “Wakare no Iso Chidori, ” composed by Francis Zanami, became a big hit in Hawaii. A few years after it's release in Hawaii, a famous Japanese singer, OMI Toshiro, also recorded this song and his version became quite popular in Japan. Over the same period, several Nisei singers made their debuts in Japan as well.
The Nisei Orchestras flourished only for four or five years after the war. In that short period, they used music as a tool to express their confidence and pride as Americans of Japanese ancestry, as well as to reestablish ties with the land of their parents.

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Negus's own account on his book, Popular Music in Theory, published in 1996, and his reflection on later development in popular music theories and research outcomes. Of the abundant of topics and perspectives, the interviewer focuses on some of Negus's key arguments on ‘culture of production’, ‘identity’, ‘globalisation’ and ‘musical analysis’. It is also intended as a bibliography of some of the latest publications in this domain so as to facilitate upcoming students and researchers. The interviewer tries to mtegrate some of his own findings from his doctoral research on Parisian and Tokyoite hip hop scenes.

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