Teaching the Postsecondary Music Student with Disabilities provides valuable information and practical strategies for teaching the college music student. With rising numbers of students with disabilities in university music schools, professors are being asked to accommodate students in their studios, classes, and ensembles. Most professors have little training or experience in teaching students with disabilities. This book provides a resource for creating an inclusive music education for students who audition and enter music school. Teaching the Postsecondary Music Student with Disabilities covers all of the topics that all readers need to know including law, assistive technology, high-incidence and low-incidence disabilities, providing specific details on the disability and how it impacts the learning of the music student.

Typically regarded as reflecting on a culture in social, political, or psychological crisis, the arts in fin-de-siecle Vienna had another side: they were means by which creative individuals imagined better futures and perfected worlds dawning with the turn of the twentieth century. As author Kevin C. Karnes reveals, much of this utopian discourse drew inspiration from the work of Richard Wagner, whose writings and music stood for both a deluded past and an ideal future yet to come. Illuminating this neglected dimension of Vienna's creative culture, this book ranges widely across music, philosophy, and the visual arts. Uncovering artworks long forgotten and providing new perspectives on some of the most celebrated achievements in the Western canon, Karnes considers music by Mahler, Schoenberg, and Alexander Zemlinsky, paintings, sculptures, and graphic art by Klimt, Max Klinger, and members of the Vienna Secession, and philosophical writings by Nietzsche, Schopenhauer, and Maurice Maeterlinck. Through analyses of artworks and the cultural dynamics that surrounded their creation and reception, this study reveals a powerful current of millennial optimism running counter and parallel to the cultural pessimism widely associated with the period. It discloses a utopian discourse that is at once beautiful, moving, and deeply disturbing, as visions of perfection gave rise to ecstatic artworks and dystopian social and political realities.

America is Elsewhere provides a rigorous and creative reconsideration of hard-boiled crime fiction and the film noir tradition within three related postwar contexts: 1) the rise of the consumer republic in the United States after World War II 2) the challenge to traditional notions of masculinity posed by a new form of citizenship based in consumption, and 3) the simultaneous creation of "authenticity effects" - representational strategies designed to safeguard an image of both the American male and America itself outside of and in opposition to the increasingly omnipresent marketplace. Films like Double Indemnity, Ace in the Hole, and Kiss Me Deadly alongside novels by Dashiel Hammett and Raymond Chandler provide rich examples for the first half of the study. The second is largely devoted to works less commonly understood in relation to the hard-boiled and noir canon. Examinations of the conspiracy films from the Seventies and Eighties-like Klute and The Parallax View-novels by Thomas Pynchon, Chester Himes and William Gibson reveal the persistence and evolution of these authenticity effects across the second half of the American twentieth century.

Throughout the 1970s and 1980s, Hollywood studios and record companies churned out films, albums, music videos and promotional materials that sought to recapture, revise, and re-imagine the 1950s. Breaking from the dominant wisdom that casts the trend as wholly defined by Ronald Reagan's politics or the rise of postmodernism, Back to the Fifties reveals how Fifties nostalgia from 1973 to 1988 was utilized by a range of audiences for diverse and often competing agendas. Films from American Graffiti to Hairspray and popular music from Sha Na Na to Michael Jackson shaped-and was shaped by-the complex social, political and cultural conditions of the Reagan Era. By closely examining the ways that "the Fifties" were remade and recalled, Back to the Fifties explores how cultural memory is shaped for a generation of teenagers trained by popular culture to rewind, record, recycle and replay.

William Kinderman's detailed study of Parsifal, described by the composer as his "last card," explores the evolution of the text and music of this inexhaustible yet highly controversial music drama across Wagner's entire career, and offers a reassessment of the ideological and political history of Parsifal, shedding new light on the connection of Wagner's legacy to the rise of National Socialism in Germany. The compositional genesis is traced through many unfamiliar manuscript sources, revealing unsuspected models and veiled connections to Wagner's earlier works. Fresh analytic perspectives are revealed, casting the dramatic meaning of Parsifal in a new light. Much debated aspects of the work, such as Kundry's death at the conclusion, are discussed in the context of its stage history. Path-breaking as well is Kinderman's analysis of the religious and ideological context of Parsifal. During the half-century after the composer's death, the Wagner family and the so-called Bayreuth circle sought to exploit Wagner's work for political purposes, thereby promoting racial nationalism and anti-Semitism. Hitherto unnoticed connections between Hitler and Wagner's legacy at Bayreuth are explored here, while differences between the composer's politics as an 1849 revolutionary and the later response of his family to National Socialism are weighed in a nuanced account. Kinderman combines new historical research, sensitive aesthetic criticism, and probing philosophical reflection in this most intensive examination of Wagner's culminating music drama.

Film is Like a Battleground: Sam Fuller's War Movies is the first book to focus on the genre that best defined the American director's career: the war film. It draws on previously unexplored archival materials, such as Fuller's Federal Bureau of Investigation files and WWII-era amateur films, to explore the director's lifelong interest in making challenging, thought-provoking, and often politically dangerous movies about war. After establishing the roots of Fuller's cinematographic schooling in the trenches during World War II, including careful consideration of his 16mm footage of a Nazi camp at the end of that war, Film is Like a Battleground explores Fuller's first forays into hot war representation in Hollywood with the pioneering Korean conflict films The Steel Helmet (1951) and Fixed Bayonets (1951). This pair of films introduced Fuller to his first run-ins with the American political machine when they triggered both FBI and Department of Defense investigations into his political sympathies and affiliations. Fuller's cold war films Pickup on South Street (1953) and, though it veers into hot war territory, Hell and High Water (1954) are Fuller's responses to the political pressures he had now personally experienced and resented. A chapter on Fuller's representation of pre-American-invasion Vietnam in China Gate (1957) alongside his unrealized Vietnam war screenplay, The Rifle (ca. late 1960s), illustrates the degree to which Fuller's representation of war and nation shifted even as he continued to probe war's impossible contradictions. Film is Like a Battleground would be incomplete without a thorough exploration of the films depicting the war Fuller personally experienced and spent a lifetime contemplating, WWII. Verboten! (1959), Merrill's Marauder's (1962), and The Big Red One (1980) demonstrate Fuller's representation of a morally justifiable war. Fuller's 1959 CBS television pilot-Dogface-offers a glimpse at one of Fuller's failed attempts to bring his WWII story into American living rooms. The book concludes with a chapter about a documentary film made late in the director's life that returns Fuller to the actual site of the Nazi's Falkenau camp, at which he discusses his experiences there and that powerful, unforgettable footage he shot in the spring of 1945.

New communication technologies have reshaped media and politics. But who are the new power players? The Hybrid Media System is a sweeping new theory of how political communication now works. Politics is increasingly defined by organizations, groups, and individuals who are best able to blend older and newer media logics, in what Andrew Chadwick terms a hybrid system. Power is wielded by those who create, tap, and steer information flows to suit their goals and in ways that modify, enable, and disable the power of others, across and between a range of older and newer media. By examining this system in flow, Chadwick reveals its complex balance of power. From American presidential campaigns to WikiLeaks, from live prime ministerial debates to hotly-contested political scandals, from the daily practices of journalists, campaign workers, and bloggers to the struggles of new activist organizations, the clash of media logics causes chaos and disintegration but also surprising new patterns of order and integration. With a new preface and chapter, the fully updated second edition applies the conceptual framework of the hybrid system to the 2016 U.S. presidential election and the rise of Donald Trump, illustrating the ways individuals blend new and old media systems to obtain political power.

In our era of financial uncertainty and disruptive technological change, the music industry is in crisis. One career path that holds great promise, however, is independent music teaching. For a host of reasons, demand exists in every corner, providing one of the most stable, promising career options available to musicians regardless of instrument, genre, or background - at least, in the hands of a savvy music teacher. In this book, author David Cutler offers hands-on advice for creating a music career that is meaningful, artistically fulfilling, and financially self-supporting. The book's overriding goal is to ensure a steady income for its reader and to give the reader tools to use that income to provide financial independence. Cutler walks the reader through the process of setting up a profitable and sustainable career plan, and then through the practical aspects of getting out of debt, spending responsibly, investing, and saving for retirement. Cutler also sheds light on the logistics of running a teaching studio, providing helpful documentation and tips for everything from bookkeeping to time management. Lastly and most importantly, Cutler explores situations for increasing a teacher's impact. Rather than simply creating wealthy teachers, the overriding goal of their book is to cultivate leaders who add significant value to society through their teaching. A must-read for private music teachers of all levels, both beginning and those with established studios, as well as the music performance graduates who so often become private studio teachers, The Savvy Music Teacher provides practical advice in down-to-earth language that includes real-life experiences from successful teacher-entrepreneurs, a focus on large-scale income streams not usually covered in books for studio teachers, and sample documents (including contracts and marketing materials) on the book's comprehensive companion website.

Among the most memorable innovations of music and poetry in thirteenth-century France was a genre that seemed to privilege sound over sense. The polytextual motet is especially well-known to scholars of the Middle Ages for its tendency to conceal complex allegorical meaning in a texture that, in performance, made words less, rather than more, audible. It is with such musical sound that this book is concerned. What did it mean to create a musical effect so potentially independent from the meaning of words? Is it possible such supermusical effects themselves had significance? The Sense of Sound offers a radical recontextualization of French song in the heyday of the motet c.1260-1330, and makes the case for listening to musical sound against a range of other potently meaningful sonorities, often premised on non-verbal meaning. In identifying new audible interlocutors to music, it opens our ears to a broad spectrum of sounds often left out of historical inquiry, from the hubbub of the medieval city; to the eloquent babble of madmen; to the violent clamor of charivari; to the charismatic chatter of prayer. Drawing on a rich array of artistic evidence (music, manuscripts, poetry, and images) and contemporary cultural theory, it locates musical production in this period within a larger cultural environment concerned with representing sound and its emotional, ethical, and social effects. In so doing, The Sense of Sound offers an experiment in how we might place central the most elusive aspect of music's history: sound's vibrating, living effect.

Barack Obama flipped the script on more than three decades of conventional wisdom when he openly embraced hip hop-often regarded as politically radioactive-in his presidential campaigns. Just as important was the extent to which hip hop artists and activists embraced him in return. This new relationship fundamentally altered the dynamics between popular culture, race, youth, and national politics. But what does this relationship look like now, and what will it look like in the decades to come? The Hip Hop & Obama Reader attempts to answer these questions by offering the first systematic analysis of hip hop and politics in the Obama era and beyond. Over the course of 14 chapters, leading scholars and activists offer new perspectives on hip hop's role in political mobilization, grassroots organizing, campaign branding, and voter turnout, as well as the ever-changing linguistic, cultural, racial, and gendered dimensions of hip hop in the U.S. and abroad. Inviting readers to reassess how Obama's presidency continues to be shaped by the voice of hip hop and, conversely, how hip hop music and politics have been shaped by Obama, The Hip Hop & Obama Reader critically examines hip hop's potential to effect social change in the 21st century. This volume is essential reading for scholars and fans of hip hop, as well as those interested in the shifting relationship between democracy and popular culture. Foreword: Tricia Rose, Brown University Afterword: Cathy Cohen, University of Chicago

Over the past two decades, a steady stream of recordings, videos, feature films, festivals, and concerts has presented the music of Balkan Gypsies, or Roma, to Western audiences, who have greeted them with exceptional enthusiasm. Yet, as author Carol Silverman notes, "Roma are revered as musicians and reviled as people." In this book, Silverman introduces readers to the people and cultures who produce this music, offering a sensitive and incisive analysis of how Romani musicians address the challenges of discrimination. Focusing on southeastern Europe then moving to the diaspora, her book examines the music within Romani communities, the lives and careers of outstanding musicians, and the marketing of music in the electronic media and "world music" concert circuit. Silverman touches on the way that the Roma exemplify many qualities- adaptability, cultural hybridity, transnationalism-that are taken to characterize late modern experience. Rather than just celebrating these qualities, she presents the musicians as complicated, pragmatic individuals who work creatively within the many constraints that inform their lives. As both a performer and presenter on the world music circuit, Silverman has worked extensively with Romani communities for more than two decades both in their home countries and in the diaspora. At a time when the political and economic plight of European Roma and the popularity of their music are objects of international attention, Silverman's book is incredibly timely.

Music and tourism, both integral to the culture and livelihood of the circum-Caribbean region, have until recently been approached from disparate disciplinary perspectives. Scholars who specialize in tourism studies typically focus on issues such as economic policy, sustainability, and political implications; music scholars are more likely to concentrate on questions of identity, authenticity, neo-colonialism, and appropriation. Although the insights generated by these paths of scholarship have long been essential to study of the region, Sun, Sea, and Sound turns its attention to the dynamics and interrelationships between tourism and music throughout the region. Editors Timothy Rommen and Daniel T. Neely bring together a group of leading scholars from the fields of ethnomusicology, anthropology, mobility studies, and history to develop and explore a framework - termed music touristics - that considers music in relation to the wide range of tourist experiences that have developed in the region. Over the course of eleven chapters, the authors delve into an array of issues including the ways in which countries such as Jamaica and Cuba have used music to distinguish themselves within the international tourism industry, the tourism surrounding music festivals in St. Lucia and New Orleans, the intersections between music and sex tourism in Brazil, and spirituality tourism in Cuba. An indispensable resource for the study of music and tourism in global perspective, Sun, Sea, and Sound is essential reading for scholars and students across disciplines interested in the Caribbean region.

The study of Roman sculpture has been an essential part of the disciplines of Art History and Classics since the eighteenth century. From formal concerns such as Kopienkritic (copy criticism) to social readings of plebeian and patrician art and beyond, scholars have returned to Roman sculpture to answer a variety of questions about Roman art, society, and history. Indeed, the field of Roman sculptural studies encompasses not only the full chronological range of the Roman world but also its expansive geography, and a variety of artistic media, formats, sizes, and functions. Exciting new theories, methods, and approaches have transformed the specialized literature on the subject in recent decades. Rather than creating another chronological ARCH15OXH of representative examples of various periods, genres, and settings, The Oxford Handbook of Roman Sculpture synthesizes current best practices for studying this central medium of Roman art, situating it within the larger fields of art history, classical archaeology, and Roman studies. This volume fills the gap between introductory textbooks-which hide the critical apparatus from the reader-and the highly focused professional literature. The handbook conveniently presents new technical, scientific, literary, and theoretical approaches to the study of Roman sculpture in one reference volume and complements textbooks and other publications that present well-known works in the corpus. Chronologically, the volume addresses material from the Early Republican period through Late Antiquity. The Oxford Handbook of Roman Sculpture not only contributes to the field of classical art and archaeology but also provides a useful reference for classicists and historians of the ancient world.

Beethoven's Ninth Symphony has held musical audiences captive for close to two centuries. Few other musical works hold such a prominent place in the collective imagination; each generation rediscovers the work for itself and makes it its own. Honing in on the significance of the symphony in contemporary culture, this book establishes a dialog between Beethoven's world and ours, marked by the earthshattering events of 1789 and of 1989. In particular, this book outlines what is special about the Ninth in millennial culture. In the present day, music is encoded not only as score but also as digital technology. We encounter Beethoven 9 flashmobs, digitally reconstructed concert halls, globally synchonized performances, and other time-bending procedures. The digital artwork 9 Beet Stretch even presents the Ninth at glacial speed over twenty-four hours, challenges our understanding of the symphony, and encourages us to confront the temporal dimension of Beethoven's music. In the digital age, the Ninth emerges as a musical work that is recomposed and reshaped-and that is robust enough to live up to such treatment-continually adapting to a changing world with changing media.

During the late 1960s and 1970s, as Film Studies crystallized into an academic discipline, psychological realism became linked to both classical Hollywood and continuity editing. The style was derided as theatrical, or worse, bourgeois, a product of a capitalism that valorized individual personality. This view persists, though often tacitly. However, we must attribute some degree of mindedness to any figure that we might call a character, even if that psyche is established not by a performer but by another aspect of the film, such as editing. Through the study of performer and director Mike Nichols, Kyle Stevens questions the aesthetic-ideological stance against psychological realism. He argues that characters' actions are not just filmed concepts but can be film concepts whose forms resonate politically. Nichols' oeuvre centers on moments when words and gestures cease to mean, or to mean in typical ways. In doing so, he exposes the pretense of tropes that constitute conventionally realist characters, and participates in changes in U.S. cultural attitudes toward language, subjectivity, embodiment, and the social, particularly with regard to sexual politics. This book thus sheds light on Hollywood history, historicizes Film Studies' turn away from humanism, and reassesses paradigms that hold psychological realism to be "transparent"-thereby blinding us to potentially subtle and subversive uses of this aesthetic choice.

Written by the world's leading scholars and researchers in the emerging field of sound studies, The Oxford Handbook of Sound Studies offers new and fully engaging perspectives on the significance of sound in its material and cultural forms. The book considers sounds and music as experienced in such diverse settings as shop floors, laboratories, clinics, design studios, homes, and clubs, across an impressively broad range of historical periods and national and cultural contexts.
Science has traditionally been understood as a visual matter, a study which has historically been undertaken with optical technologies such as slides, graphs, and telescopes. This book questions that notion powerfully by showing how listening has contributed to scientific practice. Sounds have always been a part of human experience, shaping and transforming the world in which we live in ways that often go unnoticed. Sounds and music, the authors argue, are embedded in the fabric of everyday life, art, commerce, and politics in ways which impact our perception of the world. Through an extraordinarily diverse set of case studies, authors illustrate how sounds -- from the sounds of industrialization, to the sounds of automobiles, to sounds in underwater music and hip-hop, to the sounds of nanotechnology -- give rise to new forms listening practices. In addition, the book discusses the rise of new public problems such as noise pollution, hearing loss, and the "end" of the amateur musician that stem from the spread and appropriation of new sound- and music-related technologies, analog and digital, in many domains of life.
Rich in vivid and detailed examples and compelling case studies, and featuring a companion website of listening samples, this remarkable volume boldly challenges readers to rethink the way they hear and understand the world.

Sound coming from outside the field of vision, from somewhere beyond, holds a privileged place in the Western imagination. When separated from their source, sounds seem to manifest transcendent realms, divine powers, or supernatural forces. According to legend, the philosopher Pythagoras lectured to his disciples from behind a veil, and two thousand years later, in the age of absolute music, listeners were similarly fascinated with disembodied sounds, employing various techniques to isolate sounds from their sources. With recording and radio came spatial and temporal separation of sounds from sources, and new ways of composing music.
Sound Unseen: Acousmatic Sound in Theory and Practice explores the phenomenon of acousmatic sound. An unusual and neglected word, "acousmatic" was first introduced into modern parlance in the mid-1960s by avant garde composer of musique concrete Pierre Schaeffer to describe the experience of hearing a sound without seeing its cause. Working through, and often against, Schaeffer's ideas, Brian Kane presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses. Kane investigates acousmatic sound from a number of methodological perspectives -- historical, cultural, philosophical and musical -- and provides a framework that makes sense of the many surprising and paradoxical ways that unseen sound has been understood. Finely detailed and thoroughly researched, Sound Unseenpursues unseen sounds through a stunning array of cases -- from Bayreuth to Kafka's "Burrow," Apollinaire to %Zi%zek, music and metaphysics to architecture and automata, and from Pythagoras to the present-to offer the definitive account of acousmatic sound in theory and practice.
The first major study in English of Pierre Schaeffer's theory of "acousmatics," Sound Unseen is an essential text for scholars of philosophy of music, electronic music, sound studies, and the history of the senses."

The Oxford Handbook of The American Musical offers new and cutting-edge essays on the most important and compelling issues and topics in the growing, interdisciplinary field of musical-theater and film-musical studies. Taking the form of a "keywords" book, it introduces readers to the concepts and terms that define the history of the musical as a genre and that offer ways to reflect on the specific creative choices that shape musicals and their performance on stage and screen. The handbook offers a cross-section of essays written by leading experts in the field, organized within broad conceptual groups, which together capture the breadth, direction, and tone of musicals studies today.
Each essay traces the genealogy of the term or issue it addresses, including related issues and controversies, positions and problematizes those issues within larger bodies of scholarship, and provides specific examples drawn from shows and films. Essays both re-examine traditional topics and introduce underexplored areas. Reflecting the concerns of scholars and students alike, the authors emphasize critical and accessible perspectives, and supplement theory with concrete examples that may be accessed through links to the handbook's website.
Taking into account issues of composition, performance, and reception, the book's contributors bring a wide range of practical and theoretical perspectives to bear on their considerations of one of America's most lively, enduring artistic traditions. The Oxford Handbook of The AmericanMusical will engage all readers interested in the form, from students to scholars to fans and aficionados, as it analyses the complex relationships among the creators, performers, and audiences who sustain the genre.

The Second Edition of Teaching Music to Students with Special Needs offers updated accounts of music educators' experiences, featured as vignettes throughout the book. An accompanying Practical Resource includes lesson plans, worksheets, and games for classroom use. As a practical guide and reference manual, Teaching Music to Students with Special Needs, Second Edition addresses special needs in the broadest possible sense to equip teachers with proven, research-based curricular strategies that are grounded in both best practice and current special education law. Chapters address the full range of topics and issues music educators face, including parental involvement, student anxiety, field trips and performances, and assessment strategies. The book concludes with an updated list of resources, building upon the First Edition's recommendations.