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.

Once the center of agricultural prosperity in Alabama, the rich soil of the Black Belt still features beautiful homes that stand as a testimony to the region's proud heritage. Join author Jennifer Hale as she explores the history of seventeen of the finest plantation homes in Alabama's Black Belt. This book chronicles the original owners and slaves of the homes and traces their descendants, who have continued to call these plantations home throughout the past two centuries. Discover why the families of an Indian chief and a chief justice feuded for over a century about the land on which Belvoir stands. Follow Gaineswood's progress as it grew from a humble log cabin into an opulent mansion. Learn how the original builder and subsequent owners of the Kirkwood Mansion are linked by a legacy of exceptional and dedicated preservation. "Historic Plantations of Alabama's Black Belt" recounts the elegant past and hopeful future of a well-loved region of the South.

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.

Charles III: The Making of a King celebrates the new King in the year of his coronation. The beautiful gift book includes a timeline of key events from Charles' life, and explores the future of the monarchy through photographs and paintings of the wider royal family, including Diana, Princess of Wales, Camilla, Queen Consort, William and Catherine, Prince and Princess of Wales, Harry and Meghan, Duke and Duchess of Sussex, and Prince George of Wales. Presenting family photographs alongside important formal portraits, this book features works by key artists who have depicted the King from 1948 to the present day, such as Nadav Kander, Cecil Beaton, Marcus Adams, Lisa Sheridan, Lord Snowdon, Joan Williams, Patrick Lichfield, Norman Parkinson, Bern Schwartz, Carole Cutner, Bryan Organ, Terence Donovan, Nicola Philipps and Mario Testino.

In Max/MSP/Jitter for Music, expert author and music technologist V. J. Manzo provides a user-friendly introduction to a powerful programming language that can be used to write custom software for musical interaction. Through clear, step-by-step instructions illustrated with numerous examples of working systems, the book equips readers with everything they need to know in order to design and complete meaningful music projects. The book also discusses ways to interact with software beyond the mouse and keyboard through use of camera tracking, pitch tracking, video game controllers, sensors, mobile devices, and more. The book does not require any prerequisite programming skills, but rather walks readers through a series of small projects through which they will immediately begin to develop software applications for practical musical projects. As the book progresses, and as the individual's knowledge of the language grows, the projects become more sophisticated. This new and expanded second edition brings the book fully up-to-date including additional applications in integrating Max with Ableton Live. It also includes a variety of additional projects as part of the final three project chapters. The book is of special value both to software programmers working in Max/MSP/Jitter and to music educators looking to supplement their lessons with interactive instructional tools, develop adaptive instruments to aid in student composition and performance activities, and create measurement tools with which to conduct music education research.

Early in his career, the composer Arnold Schoenberg maintained correspondence with many notable figures: Gustav Mahler, Heinrich Schenker, Guido Adler, Arnold Rose, Richard Strauss, Alexander Zemlinsky, and Anton von Webern, to name a few. In this volume of Oxford's Schoenberg in Words series, Ethan Haimo and Sabine Feisst present English translations of the entirety of Arnold Schoenberg's early correspondence, from the earliest extant letters in 1891 to those written in the aftermath of the controversial premieres of his String Quartet No. 1, Op. 7, and the Kammersymphonie, Op. 9. The letters provide a wealth of information on many of the crucial stages in Schoenberg's early career, offering invaluable insights into his daily life and working habits. New details emerge about his activities at Wolzogen's Buntes Theater in Berlin, his frequently confrontational interactions with his first publisher (Dreililien Verlag), the reactions of friends and critics to the premieres of his works, his role in the founding of the Vereinigung schaffender Tonkunstler, his activities as a teacher, and his (all too often unsuccessful) attempts to convince musicians to perform his music. Presented alongside the editors' extensive running commentary, the more than 300 letters in this volume create a vivid picture of the young Schoenberg and his times.