Music Outside the Lines is an informative and practical resource for all who are invested in making music composition an integral part of curriculum. Author Maud Hickey addresses the practical needs of music educators by offering both a well-grounded justification for teaching music composition and also a compendium of useful instructional ideas and classroom activities. Hickey begins with a rationale for teachers to begin composition activities in their own classrooms, with a thoughtful argument that demonstrates that all music teachers possess the skills and training needed to take children along the path toward composing satisfying musical compositions even if they themselves have never taken formal composition lessons. She also addresses some of the stickier issues that plague teaching music composition in schools such as assessment, notation, and technology. Most importantly, she introduces a curricular model for teaching composition, a model which provides an array of composition activities to try in the music classrooms and studios. These activities encourage musical and creative growth through music composition; while they are organized in logical units corresponding to existing teaching modules, they also offer jumping off points for music teachers to exercise their own creative thinking and create music composition activities that are customized to their classes and needs. As a whole, Music Outside the Lines both successfully reasons that music composition should be at the core of school music curriculum and also provides inservice and pre-service educators with an essential resource and compendium of practical tips and plans for fulfilling this goal.

Universities are unlikely venues for grading, branding, and marketing beauty, bodies, poise, and style. Nonetheless, thousands of college women have sought not only college diplomas but campus beauty titles and tiaras throughout the twentieth century. The cultural power of beauty pageants continues today as campus beauty pageants, especially racial and ethnic pageants and pageants for men, have soared in popularity. In Queens of Academe, Karen W. Tice asks how, and why, does higher education remain in the beauty and body business and with what effects on student bodies and identities. She explores why students compete in and attend pageants such as "Miss Pride" and "Best Bodies on Campus" as well as why websites such as "Campus Chic" and campus-based etiquette and charm schools are flourishing. Based on archival research and interviews with contemporary campus queens and university sponsors as well as hundreds of hours observing college pageants on predominantly black and white campuses, Tice examines how campus pageant contestants express personal ambitions, desires, and, sometimes, racial and political agendas to resolve the incongruities of performing in evening gowns and bathing suits on stage while seeking their degrees. Tice argues the pageants help to illuminate the shifting terrain of class, race, religion, sexuality, and gender braided in campus rituals and student life. Moving beyond a binary of objectification versus empowerment, Tice offers a nuanced analysis of the contradictory politics of education, feminism, empowerment, consumerism, race and ethnicity, class, and popular culture have on students, idealized masculinities and femininities, and the stylization of higher education itself.

Now in its fourth edition, The Art of Music Production has established itself as the definitive guide to the art and business of music production and a primary teaching tool for college programs. It is the first book to comprehensively analyze and describe the non-technical role of the music producer. Author Richard James Burgess lays out the complex field of music production by defining the several distinct roles that fall under the rubric of music producer. In this completely updated and revised fourth edition of a book already lauded as "the most comprehensive guide to record production ever published," Burgess has expanded and refined the types of producers, bringing them fully up to date. The first part of the book outlines the underlying theory of the art of music production. The second part focuses on the practical aspects of the job including training, getting into the business, day-to-day responsibilities, potential earnings, managers, lawyers, and - most importantly - the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from the most successful music producers ranging from today's chart-toppers to the beginnings of recorded sound, including mainstream and many niche genres. The book also features many revealing anecdotes about the business, including the stars and the challenges (from daily to career-related) a producer faces. Burgess addresses the changes in the nature of music production that have been brought about by technology and, in particular, the paradigmatic millennial shift that has occurred with digital recording and distribution. Burgess's lifelong experience in the recording industry as a studio musician, artist, producer, manager, and marketer combined with his extensive academic research in the field brings a unique breadth and depth of understanding to the topic.

Montana's brewing history stretches back more than 150 years to the state's days as a territory. But the art of brewing in Montana has come a long way since the frontier era. Today, nearly forty craft breweries span the Treasure State, and the quality of their output rivals the best craft beer produced anywhere in the country. Maybe it's because there's also a little piece of Montana in every glass, as the state's brewers pride themselves on using cold mountain water and locally sourced barley harvested from Montana's ample fields. From grain to glass, " Montana Beer: A Guide to Breweries in Big Sky Country" tells the story of the brewers and breweries that make the Treasure State's brew so special.

In 1895, emissaries from the New York Yacht Club traveled to Deer Isle, Maine, to recruit the nation's best sailors, an "All American" crew. This remote island in Penobscot Bay sent nearly thirty of its fishing men to sail "Defender," and under skipper Hank Haff, they beat their opponents in a difficult and controversial series. To the delight of the American public, the charismatic Sir Thomas Lipton sent a surprise challenge in 1899. The New York Yacht Club knew where to turn and again recruited Deer Isle's fisherman sailors. Undefeated in two defense campaigns, they are still considered one of the best American sail-racing teams ever assembled. Read their fascinating story and relive their adventure.

During the nineteenth century, nearly one hundred symphonies were written by over fifty composers living in the United States. With few exceptions, this repertoire is virtually forgotten today. In Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise, author Douglas W. Shadle explores the stunning stylistic diversity of this substantial repertoire and uncovers why it failed to enter the musical mainstream. Throughout the century, Americans longed for a distinct national musical identity. As the most prestigious of all instrumental genres, the symphony proved to be a potent vehicle in this project as composers found inspiration for their works in a dazzling array of subjects, including Niagara Falls, Hiawatha, and Western pioneers. With a wealth of musical sources at his disposal, including never-before-examined manuscripts, Shadle reveals how each component of the symphonic enterprise-from its composition, to its performance, to its immediate and continued reception by listeners and critics-contributed to competing visions of American identity. Employing an innovative transnational historical framework, Shadle's narrative covers three continents and shows how the music of major European figures such as Beethoven, Schumann, Wagner, Liszt, Brahms, and Dvorak exerted significant influence over dialogues about the future of American musical culture. Shadle demonstrates that the perceived authority of these figures allowed snobby conductors, capricious critics, and even orchestral musicians themselves to thwart the efforts of American symphonists despite widespread public support of their music. Consequently, these works never entered the performing canons of American orchestras. An engagingly written account of a largely unknown repertoire, Orchestrating the Nation shows how artistic and ideological debates from the nineteenth century continue to shape the culture of American orchestral music today.

The history of North Carolina's Outer Banks is as ancient and mesmerizing as its beaches. Much has been documented, but many stories were lost--until now. Join local author and historian Sarah Downing as she reveals a past of the Outer Banks eroded by time and tides. Revel in the nostalgic days of the Carolina Beach Pavilion, stand in the shadows of windmills that once lined the coast and learn how native islanders honor those aviation giants, the Wright brothers. Downing's vignettes adventure through windswept dunes, dive deep in search of the lost ironclad the "Monitor" and lament the decline of the diamondback terrapin. Break out the beach chair and let your mind soak in the salty bygone days of these famed coastal extremities.

The Russian school of violin playing produced many of the twentieth century's leading violinists - from the famed disciples of Leopold Auer such as Jascha Heifetz, Nathan Milstein, and Mischa Elman to masters of the Soviet years such as David Oistrakh and Leonid Kogan. Though descendants of this school of playing are found today in every major orchestra and university, little is known about the pedagogical traditions of the Russian, and later Soviet, violin school. Following the revolution of 1917, the center of Russian violin playing and teaching shifted from St. Petersburg to Moscow, where violinists such as Lev Tseitlin, Konstantin Mostras, and Abraham Yampolsky established an influential pedagogical tradition. Founded on principles of scientific inquiry and physiology, this tradition became known as the Soviet Violin School, a component of the larger Russian Violin School. Yuri Yankelevich (1909 - 1973), a student and assistant of Abraham Yampolsky, was greatly influenced by the teachers of the Soviet School and in turn he became one of the most important pedagogues of his generation. Yankelevich taught at the Moscow Conservatory from 1936 to 1973 and produced a remarkable array of superb violinists, including forty prizewinners in international competitions. Extremely interested in the methodology of violin playing and teaching, Yankelevich contributed significant texts to the pedagogical literature. Despite its importance, Yankelevich's scholarly work has been little known outside of Russia. This book includes two original texts by Yankelevich: his essay on positioning the hands and arms and his extensive research into every detail of shifting positions. Additional essays and commentaries by those close to him examine further details of his pedagogy, including tone production, intonation, vibrato, fingerings and bowings, and his general approach to methodology and selecting repertoire. An invaluable resource for any professional violinist, Yankelevich's work reveals an extremely sophisticated approach to understanding the interconnectivity of all components in playing the violin and is complete with detailed practical suggestions and broad historical context.

Audiences have long enjoyed Sergei Prokofievs musical score for Sergei Eisensteins 1938 film Alexander Nevsky. The historical epic cast a thirteenth-century Russian victory over invading Teutonic Knights as an allegory of contemporary Soviet strength in the face of Nazi warmongering. Prokofievs and Eisensteins work proved an enormous success, both as a collaboration of two of the twentieth centurys most prominent artists and as a means to bolster patriotism and national pride among Soviet audiences. Arranged as a cantata for concert performance, Prokofievs music for Alexander Nevsky music proved malleable, its meaning reconfigured to suit different circumstances and times. Author Kevin Bartig draws on previously unexamined archival materials to follow Prokofievs Alexander Nevsky from its inception through the present day. He considers the musics genesis as well as the surprisingly different ways it has engaged listeners over the past eighty years, from its beginnings as state propaganda in the 1930s to showpiece for high-fidelity recording in the 1950s to open-air concert favorite in the post-Soviet 1990s.

Starring New York considers twenty-one films in detail, and more generally discusses many others, that were shot on location and released between 1968 and 1981. Corkin looks at their complex relationship to the fortunes of New York City during that era, probing the multiple connections among film, history, and geography. This period was a volatile moment in the history of the city as it went from the hopefulness of the Lindsay years (1966 to 1973) to financial default in 1975, under the leadership of Abe Beame to its reemergence as a center of international finance in the 1980s, under the leadership of Edward I. Koch (1978 to 1989). These changing regimes and fortunes form the backdrop for films that picture New York's racial and ethnic populations, its decaying districts, its violent street-life, and its emerging gentrification by the later years of the decade. The films, directed by an emerging generation of filmmakers influenced both by the Italian neo-realists and the French auteurs, sought a higher realism than that offered in conventional Hollywood productions. Martin Scorsese, Francis Coppola, Sidney Lumet, Paul Mazursky, Woody Allen, and John Schlesinger, all of whom became noted by a general audience during this period, capture the excitement and volatility of the period. More broadly, Starring New York proposes that this concentration of popular films that picture the city in transition provide viewers with a means to begin reorienting their view of New York's space, their significance, and their relation to other places of the globe.

Discoveries from the Fortepiano meets the demand for a manual on authentic Classical piano performance practice that is at once accessible to the performer and accurate to the scholarship. Uncovering a wide range of eighteenth-century primary sources, noted keyboard pedagogue Donna Gunn examines contemporary philosophical beliefs and principles surrounding Classical Era performance practices. Gunn introduces the reader to the Viennese fortepiano and compares its sonic and technical capabilities to the modern piano. In doing so, she demonstrates how understanding Classical fortepiano performance aesthetics can influence contemporary pianists, paying particular focus to technique, dynamics, articulation, rhythm, ornamentation, and pedaling. The book is complete with over 100 music examples that illustrate concepts, as well as sample model lessons that demonstrate the application of Gunn's historically informed style on the modern piano. Each example is available on the book's companion website and is given three recordings: the first, a modern interpretation of the passage on a modern piano; the second, a fortepiano interpretation; and the third, a historically informed performance on a modern piano. With its in-depth yet succinct explanations and examples of the Viennese five-octave fortepiano and the nuances of Classical interpretation and ornamentation, Discoveries from the Fortepiano is an indispensable educational aid to any pianist who seeks an academically and artistically sound approach to the performance of Classical works.

Ephemeral, fragile, often left unbound, sixteenth-century songbooks led fleeting lives in the pockets of singers and on the music desks of instrumentalists. Constantly in action, they were forever being used up, replaced, or abandoned as ways of reading changed. As such they document the acts of early musicians and the practices of everyday life at the unseen margins of elite society. Materialities is a cultural history of song on the page. It addresses a series of central questions concerning the audiences for written music by concentrating on the first genre to be commercialized by music printers: the French chanson. Scholars have long stressed that chansons represent the most broadly disseminated polyphony of the sixteenth century, but Materialities is the first book to account for the cultural reach of the chanson across a considerable cross-section of European society. Musicologist Kate van Orden brings extensive primary research and new analytical models to bear in this remarkable history of songbooks, music literacy, and social transformation during the first century of music printing. By tracking chansons into private libraries and schoolrooms and putting chansonniers into dialogue with catechisms, civility manuals, and chapbooks, Materialities charts the social distribution of songbooks, the gradual moralization of song, and the ways children learned their letters and notes. Its fresh conclusions revise several common assumptions about the value early moderns attributed to printed music, the levels of literacy required to perform polyphony, and the way musicians did or did not "read" their songbooks. With musical perspectives that can invigorate studies of print culture and the history of reading, Materialities is an essential guide for musicologists working with original sources and historians of the book interested in the vocal performances that operated alongside print.

Winding it Back: Teaching to Individual Differences in Music Classroom and Ensemble Settings is a collaborative effort by practicing music educators, teacher educators, pedagogy experts, researchers, and inclusion enthusiasts with a combined one hundred plus years in the field of music education. The framework of this text is centered on the following principles: 1) Honoring the individual learning needs of all students; 2) providing multiple access points and learning levels; and 3) providing adequate learning conditions for all students within the music classroom. This framework is based on research and best practice within music education. Topics include early childhood music, creative movement, older beginners, rhythm, melodic, and tonal development as well as secondary choral and instrumental music. All chapters focus on meeting the needs of all students and all learning levels within the music classroom. Many of the authors are pairs of music educators that bring different experiences to each topic. In addition, all authors contributed to the editing and musical examples that are provided as part of the collaborative writing process preserving the synergy between practicing K-12 music educators, researchers, and music teacher educators. Therefore, this text can be used as a resource for practicing music educators, teacher educators, and arts integration specialists and enthusiasts. Specific musical examples are provided both within the text and on the extended companion website. These include musical examples, lesson ideas, videos, assessment tools and sequencing ideas that work. The aim of this book is to provide one resource that can be used by music educators for all students in the music classroom both for classroom music education and music teacher preparation.

The scope of service provided by professional accountants is influenced by legislation and case law as well as the dictates of a variety of government and private sector agencies: including State Boards of Accountancy, Academic Accreditation Bodies, the United States Securities and Exchange Commission, the Public Company Accounting Oversight Board, independent standard setting bodies such as the Federal Accounting Standards Advisory Board (US), the Financial Accounting Standards Board (US), the International Accounting Standards Board and self-regulatory organizations such as State Societies of CPA and the American Institute of Certified Public Accountants. There are equivalent and emerging local international bodies that exist in most developed countries. It is important for academics, students, practitioners, regulators and researchers to consider, study and understand the role and relationship of such bodies with the practice and content of our discipline.

Research in Accounting Regulation is a refereed annual serial that seeks to publish high quality manuscripts, which address regulatory issues and policy affecting the practice of accountancy, broadly defined. Topics of interest include research based on:

1) Self-regulatory activities.
2) Case law and litigation.
3) Governmental and quasi-governmental regulation.
4) The economics of regulation, including modelling.

This research series aims to encourage the submission of original empirical, behavioural or applied research manuscripts that consider strategic and policy implications for regulation, regulatory models and markets. It is intended for individual researchers, practitioners, regulators andstudents of accountancy who desire to increase their understanding of the regulation of accountancy.

Only a few years after the 2013 Sundance Film Festival premiere of Blackfish - an independent documentary film that critiqued the treatment of orcas in captivity - visits to SeaWorld declined, major corporate sponsors pulled their support, and performing acts canceled appearances. The steady drumbeat of public criticism, negative media coverage, and unrelenting activism became known as the "Blackfish Effect." In 2016, SeaWorld announced a stunning corporate policy change - the end of its profitable orca shows. In an evolving networked era, social-issue documentaries like Blackfish are art for civic imagination and social critique. Today's documentaries interrogate topics like sexual assault in the U.S. military (The Invisible War), racial injustice (13th), government surveillance (Citizenfour), and more. Artistic nonfiction films are changing public conversations, influencing media agendas, mobilizing communities, and capturing the attention of policymakers - accessed by expanding audiences in a transforming media marketplace. In Story Movements: How Documentaries Empower People and Inspire Social Change, producer and scholar Caty Borum Chattoo explores how documentaries disrupt dominant cultural narratives through complex, creative, often investigative storytelling. Featuring original interviews with award-winning documentary filmmakers and field leaders, the book reveals the influence and motivations behind the vibrant, eye-opening stories of the contemporary documentary age.

Arguably the world's most popular partnered social dance form, salsa's significance extends well beyond the Latino communities which gave birth to it. The growing international and cross-cultural appeal of this Latin dance form, which celebrates its mixed origins in the Caribbean and in Spanish Harlem, offers a rich site for examining issues of cultural hybridity and commodification in the context of global migration. Salsa consists of countless dance dialects enjoyed by varied communities in different locales. In short, there is not one dance called salsa, but many. Spinning Mambo into Salsa, a history of salsa dance, focuses on its evolution in three major hubs for international commercial export-New York, Los Angeles, and Miami. The book examines how commercialized salsa dance in the 1990s departed from earlier practices of Latin dance, especially 1950s mambo. Topics covered include generational differences between Palladium Era mambo and modern salsa; mid-century antecedents to modern salsa in Cuba and Puerto Rico; tension between salsa as commercial vs. cultural practice; regional differences in New York, Los Angeles, and Miami; the role of the Web in salsa commerce; and adaptations of social Latin dance for stage performance. Throughout the book, salsa dance history is linked to histories of salsa music, exposing how increased separation of the dance from its musical inspiration has precipitated major shifts in Latin dance practice. As a whole, the book dispels the belief that one version is more authentic than another by showing how competing styles came into existence and contention. Based on over 100 oral history interviews, archival research, ethnographic participant observation, and analysis of Web content and commerce, the book is rich with quotes from practitioners and detailed movement description.

The reality of transnational innovation and dissemination of new technologies, including digital media, has yet to make a dent in the deep-seated culturalism that insists on reinscribing a divide between the West and Japan. The Oxford Handbook of Japanese Cinema aims to counter this trend toward dichotomizing the West and Japan and to challenge the pervasive culturalism of today's film and media studies.
Featuring twenty essays, each authored by a leading researcher in the field, this volume addresses productive debates about where Japanese cinema is and where Japanese cinema is going at the period of crisis of national boundary under globalization. It reevaluates the position of Japanese cinema within the discipline of cinema and media studies and beyond, and situates Japanese cinema within the broader fields of transnational film history. Likewise, it examines the materiality of Japanese cinema, scrutinizes cinema's relationship to other media, and identifies the specific practices of film production and reception. As a whole, the volume fosters a dialogue between Japanese scholars of Japanese cinema, film scholars of Japanese cinema based in Anglo-American and European countries, film scholars of non-Japanese cinema, film archivists, film critics, and filmmakers familiar with film scholarship.
A comprehensive volume that grasps Japanese cinema under the rubric of the global and also fills the gap between Japanese and non-Japanese film studies and between theories and practices, The Oxford Handbook of Japanese Cinema challenges and responds to the major developments underfoot in this rapidly changing field.

Granddaughter of the philosopher Moses Mendelssohn and sister of the composer Felix Mendelssohn Bartholdy, Fanny Hensel (1805-1847) was an extraordinary musician who left well over four hundred compositions, most of which fell into oblivion until their rediscovery late in the twentieth century. In Fanny Hensel: The Other Mendelssohn, R. Larry Todd offers a compelling, authoritative account of Hensel's life and music, and her struggle to emerge as a publicly recognized composer.

Since 1997, the war in the east of the Democratic Republic of the Congo has taken more than 6 million lives and shapes the daily existence of the nation's residents. While the DRC is often portrayed in international media as an unproductive failed state, the Congolese have turned increasingly to art-making to express their experience to external eyes. Author Cherie Rivers Ndaliko argues that cultural activism and the enthusiasm to produce art exists in Congo as a remedy for the social ills of war and as a way to communicate a positive vision of the country. Ndaliko introduces a memorable cast of artists, activists, and ordinary people from the North-Kivu province, whose artistic and cultural interventions are routinely excluded from global debates that prioritize economics, politics, and development as the basis of policy decision about Congo. Rivers also shows how art has been mobilized by external humanitarian and charitable organizations, becoming the vehicle through which to inflict new kinds of imperial domination. Written by a scholar and activist in the center of the current public policy debate, Necessary Noise examines the uneasy balance of accomplishing change through art against the unsteady background of civil war. At the heart of this book is the Yole!Africa cultural center, which is the oldest independent cultural center in the east of Congo. Established in the aftermath of volcano Nyiragongo's 2002 eruption and sustained through a series of armed conflicts, the cultural activities organized by Yole!Africa have shaped a generation of Congolese youth into socially and politically engaged citizens. By juxtaposing intimate ethnographic, aesthetic, and theoretical analyses of this thriving local initiative with case studies that expose the often destructive underbelly of charitable action, Necessary Noise introduces into heated international debates on aid and sustainable development a compelling case for the necessity of arts and culture in negotiating sustained peace. Through vivid descriptions of a community of young people transforming their lives through art, Ndaliko humanizes a dire humanitarian disaster. In so doing, she invites readers to reflect on the urgent choices we must navigate as globally responsible citizens. The only study of music or film culture in the east of Congo, Necessary Noise raises an impassioned and vibrantly interdisciplinary voice that speaks to the theory and practice of socially engaged scholarship.

During the mid-1950s, when Hollywood found itself struggling to compete within an expanding entertainment media landscape, certain producers and studios saw an opportunity in making films that showcased performances by rock 'n' roll stars. Rock stars eventually found cinema to be a useful space to extend their creative practices, and the motion picture and recording industries increasingly saw cinematic rock stardom as a profitable means to connect multiple media properties. Indeed, casting rock stars for film provided a tool for bridging new relationships across media industries and practices. From Elvis Presley to Madonna, this book examines the casting rock stars in films. In so doing, Rock Star/Movie Star offers a new perspective on the role of stardom within the convergence of media industries. While hardly the first popular music culture to see its stars making the transition to screen, the timing of rock's emergence and its staying power within popular culture proved fortuitous for a motion picture business searching for its place in the face of continuous technological and cultural change. At the same time, a post-star-system film industry provided a welcoming context for rock stars who have valued authenticity, creative autonomy, and personal expression. This book uses illuminating archival resources to demonstrate how rock stars have often proven themselves to be prominent film workers exploring this terrain of platforms old and new - ideal media laborers whose power lies in the fact that they are rarely recognized as such. Combining star studies with media industry studies, this book proposes an integrated methodology for writing media history that combines the actions of individuals and the practices of industries. It demonstrates how stars have operated as both the gravitational center of media production as well as social actors who have taken on a decisive role in the purposes to which their images are used.

Over the last decade, the theatre and opera of the French Revolution have been the subject of intense scholarly reassessment, both in terms of the relationship between theatrical works and politics or ideology in this period and on the question of longer-scale structures of continuity or rupture in aesthetics. Staging the French Revolution: Cultural Politics and the Paris Opera, 1789-1794 moves these discussions boldly forward, focusing on the Paris Opera (Academie Royale de Musique) in the cultural and political context of the early French Revolution. Both institutional history and cultural study, this is the first ever full-scale study of the Revolution and lyric theatre. The book concentrates on three aspects of how a royally-protected theatre negotiates the transition to national theatre: the external dimension, such as questions of ownership and governance and the institution's relationship with State institutions and popular assemblies; the internal management, finances, selection and preparation of works; and the cultural and aesthetic study of the works themselves and of their reception.
In Staging the French Revolution, author Mark Darlow offers an unprecedented view of the material context of opera production, combining in-depth archival research with a study of the works themselves. He argues that a mixture of popular and State interventions created a repressive system in which cultural institutions retained agency, compelling individuals to follow and contribute to a shifting culture. Theatre thereby emerged as a locus for competing discourses on patriotism, society, the role of the arts in the Republic, and the articulation of the Revolution's relation with the 'Old Regime', and is thus an essential key to the understanding of public opinion and publicity at this crucial historical moment. Combining recent approaches to institutions, sociability, and authors' rights with cultural studies of opera, Staging the French Revolution takes a historically grounded and methodologically innovative cross-disciplinary approach to opera and persuasively re-evaluates the long-standing, but rather sterile, concept of propaganda."