Jewish Contiguities and the Soundtrack of Israeli History revolutionizes the study of modern Israeli art music by tracking the surprising itineraries of Jewish art music in the move from Europe to Mandatory Palestine and Israel. Leaving behind cliches about East and West, Arab and Jew, this book provocatively exposes the legacies of European antisemitism and religious Judaism in the making of Israeli art music.
Shelleg introduces the reader to various aesthetic dilemmas involved in the emergence of modern Jewish art music, ranging from auto-exoticism through the hues of self-hatred to the disarticulation of Jewish musical markers. He then considers part of this musics' translocation to Mandatory Palestine, studying its discourse with Hebrew culture, and composers' grappling with modern and Zionist images of the self. Unlike previous efforts in the field, Shelleg unearths the mechanism of what he calls "Zionist musical onomatopoeias," but more importantly their dilution by the non-western Arab Jewish oral musical traditions (the same traditions Hebrew culture sought to westernize and secularize).
And what had begun with composers' movement towards the musical properties of non-western Jewish musical traditions grew in the 60s and 70s to a dialectical return to exilic Jewish cultures. In the aftermath of the Six-Day War, which reaffirmed Zionism's redemptive and expansionist messages, Israeli composers (re)embraced precisely the exilic Jewish music that emphasized Judaism's syncretic qualities rather than its territorial characteristics. In the 70s, therefore, while religious Zionist circles translated theology into politics and territorial maximalism, Israeli composers deterritorialized the national discourse by a growing return to the spaces shared by Jews and non-Jews, devoid of Zionist appropriations."

Over the past 30 years, musicologists have produced a remarkable new body of research literature focusing on the lives and careers of women composers in their socio-historical contexts. But detailed analysis and discussion of the works created by these composers are still extremely rare. This is particularly true in the domain of music theory, where scholarly work continues to focus almost exclusively on male composers. Moreover, while the number of performances, broadcasts, and recordings of women's compositions has unquestionably grown, they remain significantly underrepresented in comparison to music by male composers. Addressing these deficits is not simply a matter of rectifying a scholarly gender imbalance: the lack of knowledge surrounding the music of women composers means that scholars, performers, and the general public remain unfamiliar with a large body of exciting repertoire. Analytical Essays on Music by Women Composers: Concert Music from 1960-2000 is the first to appear in an exciting a four volume series devoted to the work of women composers across Western art music history. Each chapter, many by leading music theorists, opens with a brief biographical sketch of the composer before presenting an in-depth critical-analytic exploration of a single representative composition, linking analytical observations with questions of meaning and sociohistorical context. Chapters are grouped thematically by analytical approach into three sections, each of which places the analytical methods used in the essays that follow into the context of late twentieth-century ideas and trends. Featuring rich analyses and detailed study by the most reputed music theorists in the field, along with brief biographical sketches for each composer, this collection brings to the fore the essential repertoire of a range of important composers, many of whom otherwise stand outside the standard canon.

In Arthur Upham Pope and A New Survey of Persian Art, fourteen scholars explore the legacy of Arthur Upham Pope (1881-1969) by tracing the formation of Persian art scholarship and connoisseurship during the twentieth century. Widely considered as a self-made scholar, curator, and entrepreneur, Pope was credited for establishing the basis of what we now categorize broadly as Persian art. His unrivalled professional achievement, together with his personal charisma, influenced the way in which many scholars and collectors worldwide came to understand the art, architecture and material culture of the Persian world. This ultimately resulted in the establishment of the aesthetic criteria for assessing the importance of cultural remains from modern-day Iran. With contributions by Lindsay Allen, Sheila S. Blair, Jonathan M. Bloom, Talinn Grigor, Robert Hillenbrand, Yuka Kadoi, Sumru Belger Krody, Judith A. Lerner, Kimberly Masteller, Cornelia Montgomery, Bernard O'Kane, Keelan Overton, Laura Weinstein, and Donald Whitcomb.

During the early medieval Islamicate period (800-1400 CE), discourses concerned with music and musicians were wide-ranging and contentious, and expressed in works on music theory and philosophy as well as literature and poetry. But in spite of attempts by influential scholars and political leaders to limit or control musical expression, music and sound permeated all layers of the social structure. Lisa Nielson here presents a rich social history of music, musicianship and the role of musicians in the early Islamicate era. Focusing primarily on Damascus, Baghdad and Jerusalem, Lisa Nielson draws on a wide variety of textual sources written for and about musicians and their professional/private environments - including chronicles, literary sources, memoirs and musical treatises - as well as the disciplinary approaches of musicology to offer insights into musical performances and the lives of musicians. In the process, the book sheds light onto the dynamics of medieval Islamicate courts, as well as how slavery, gender, status and religion intersected with music in courtly life. It will appeal to scholars of the Islamicate world and historical musicologists.

Using cine-ethnomusicology as a focus, Cineworlding introduces readers to ways of thinking eco-cinematically. Screens are omnipresent, we carry digital cinema production equipment in our pockets, but this screen-based technological revolution has barely impacted social science scholarship. Mixing existential phenomenological fiction about social science digital cinema research practice followed by theoretical reflection and discussion of methods, this book has emerged from a decade-long inquiry into cineworlding and a desire to help others produce digital media to engage creatively with the digital networks that surround us.

Exploring the nexus of music and religious education involves fundamental questions regarding music itself, its nature, its interpretation, and its importance in relation to both education and the religious practices into which it is integrated. This cross-disciplinary volume of essays offers the first comprehensive set of studies to examine the role of music in educational and religious reform and the underlying notions of music in early modern Europe. It elucidates the context and manner in which music served as a means of religious teaching and learning during that time, thereby identifying the religio-cultural and intellectual foundations of early modern European musical phenomena and their significance for exploring the interplay of music and religious education today.

During the formative years of jazz (1890-1917), the Creoles of Color-as they were then called-played a significant role in the development of jazz as teachers, bandleaders, instrumentalists, singers, and composers. Indeed, music penetrated all aspects of the life of this tight-knit community, proud of its French heritage and language. They played and/or sang classical, military, and dance music, as well as popular songs and cantiques that incorporated African, European, and Caribbean elements decades before early jazz appeared. In Jazz a la Creole: French Creole Music and the Birth of Jazz, author Caroline Vezina describes the music played by the Afro-Creole community since the arrival of enslaved Africans in La Louisiane, then a French colony, at the beginning of the eighteenth century, emphasizing the many cultural exchanges that led to the development of jazz. Vezina has compiled and analyzed a broad scope of primary sources found in diverse locations from New Orleans to Quebec City, Washington, DC, New York City, and Chicago. Two previously unpublished interviews add valuable insider knowledge about the music on French plantations and the danses Creoles held in Congo Square after the Civil War. Musical and textual analyses of cantiques provide new information about the process of their appropriation by the Creole Catholics as the French counterpart of the Negro spirituals. Finally, a closer look at their musical practices indicates that the Creoles sang and improvised music and/or lyrics of Creole songs, and that some were part of their professional repertoire. As such, they belong to the Black American and the Franco-American folk music traditions that reflect the rich cultural heritage of Louisiana.

This book forms a basis and a starting point for a closer dialogue between musicologists, anthropologists and psychologists to achieve a better understanding of the cultural psychology of musical experience. This is done by arranging a meeting point or an arena in which different aspects of psychology and musicology touch and encounters each other due to how the two fields might be defined today. In line with this the book consists of a group of scholars that have their feet solidly grounded in psychology, social science or musicology, but at the same time have a certain interest in uniting them. On this basis it is divided into five parts, which investigates musical sensations, musical experiences, musical transformations, musical fundamentals and the notion of a cultural psychology of music. Thus another aim of this book is to prepare the basis for a further growth of a cultural psychology that is able to include the experiences of music as a basis for understanding the ordinary human life. Thus this book should be of interest for those who want to investigate the mysterious intersection between music and psychology.

Proceedings of international conference at NUI Maynooth on Goethe's contribution to music. Goethe was interested in, and acutely aware of, the place of music in human experience generally - and of its particular role in modern culture. Moreover, his own literary work - especially the poetry and Faust - inspired some of the major composers of the European tradition to produce some of their finest works.' (Martin Swales) [Subject: Music Studies, Goethe]

The state of contemporary music is dizzyingly diverse in terms of style, media, traditions, and techniques. How have trends in music developed over the past decades? Music Composition in the 21st Century is a guide for composers and students that helps them navigate the often daunting complexity and abundance of resources and influences that confront them as they work to achieve a personal expression. From pop to classical, the book speaks to the creative ways that new composers mix and synthesize music, creating a music that exists along a more continuous spectrum rather than in a series of siloed practices. It pays special attention to a series of critical issues that have surfaced in recent years, including harmony, the influence of minimalism, the impact of technology, strategies of "openness," sound art, collaboration, and improvisation. Robert Carl identifies an emerging common practice that allows creators to make more informed aesthetic and technical decisions and also fosters an inherently positive approach to new methods.

Ludic Dreaming uses (sometimes fictional) dreams as a method for examining sound and contemporary technoculture's esoteric exchanges, refusing both the strictures of visually dominated logic and the celebratory tone that so often characterizes the "sonic turn." Instead, through a series of eight quasi-analytical essays on the condition of listening, the book forwards a robust engagement with sounds (human and nonhuman alike) that leverages particularity in its full, radical singularity: what is a dream, after all, if not an incipient physics that isn't held to the scientific demand for repeatability? Thus, these studies declare their challenge to the conventions of argumentation and situate themselves at a threshold between theory and fiction, one that encourages reader and writer alike to make lateral connections between otherwise wildly incongruent subjects and states of affairs. Put differently, Ludic Dreaming is a how-to book for listening away from the seeming fatality of contemporary technologies, which is to say, away from the seeming inevitability of late capitalistic nihilism.

The Oxford Handbook of the British Musical provides a comprehensive academic survey of British musical theatre offering both a historical account of the musical's development from 1728 and a range of in-depth critical analyses of the unique forms and features of British musicals, which explore the aesthetic values and sociocultural meanings of a tradition that initially gave rise to the American musical and later challenged its modern pre-eminence. After a consideration of how John Gay's The Beggar's Opera (1728) created a prototype for eighteenth-century ballad opera, the book focuses on the use of song in early nineteenth century theatre, followed by a sociocultural analysis of the comic operas of Gilbert and Sullivan; it then examines Edwardian and interwar musical comedies and revues as well as the impact of Rodgers and Hammerstein on the West End, before analysing the new forms of the postwar British musical from The Boy Friend (1953) to Oliver! (1960). One section of the book examines the contributions of key twentieth century figures including Noel Coward, Ivor Novello, Tim Rice, Andrew Lloyd Webber, director Joan Littlewood and producer Cameron Macintosh, while a number of essays discuss both mainstream and alternative musicals of the 1960s and 1970s and the influence of the pop industry on the creation of concept recordings such as Jesus Christ Superstar (1970) and Les Miserables (1980). There is a consideration of "jukebox" musicals such as Mamma Mia! (1999), while essays on overtly political shows such as Billy Elliot (2005) are complemented by those on experimental musicals like Jerry Springer: the Opera (2003) and London Road (2011) and on the burgeoning of Black and Asian British musicals in both the West End and subsidized venues. The Oxford Handbook of the British Musical demonstrates not only the unique qualities of British musical theatre but also the vitality and variety of British musicals today.

In Eleanor Smith's Hull House Songs: The Music of Protest and Hope in Jane Addams's Chicago, the authors republish Hull House Songs (1916), together with critical commentary. Hull-House Songs contains five politically engaged compositions written by the Hull-House music educator, Eleanor Smith. The commentary that accompanies the folio includes an examination of Smith's poetic sources and musical influences; a study of Jane Addams's aesthetic theories; and a complete history of the arts at Hull-House. Through this focus upon aesthetic and cultural programs at Hull-House, the authors identify the external, and internalized, forces of domination (class position, racial identity, patriarchal disenfranchisement) that limited the work of the Hull-House women, while also recovering the sometimes hidden emancipatory possibilities of their legacy. With an afterword by Jocelyn Zelasko.

Breaking is the first and most widely practiced hip-hop dance in the world today, with an estimated one million participants taking part in this dynamic, multifaceted artform. Yet, despite its global reach and over 40 years of existence, historical treatments of the dance have largely neglected the African Americans who founded it. Dancer and scholar Serouj "Midus" Aprahamian offers, for the first time, a detailed look into the African American beginnings of breaking in the Bronx, New York, during the 1970s. Given the pivotal impact the dance had on hip-hop's formation, this book also challenges numerous myths and misconceptions that have permeated studies of hip-hop culture's emergence. Aprahamian draws on untapped archival material, primary interviews, and detailed descriptions of early breaking to bring this buried history to life, with a particular focus on the early aesthetic development of the dance, the institutional settings in which hip-hop was conceived, and the movement's impact on sociocultural conditions in New York throughout the 1970s. By featuring the overlooked first-hand accounts of over 50 founding b-boys and b-girls, this book also shows how indebted breaking is to African American culture and interrogates the disturbing factors behind its historical erasure.

This is a pioneering study of the phenomenon of vibration and its history and reception through culture. The study of the senses has become a rich topic in recent years. "Senses of Vibration" explores a wide range of sensory experience and makes a decisive new contribution to this growing field by focussing not simply on the senses as such, but on the material experience - vibration - that underpins them. This is the first book to take the theme of vibration as central, offering an interdisciplinary history of the phenomenon and its reverberations in the cultural imaginary. It tracks vibration through the work of a wide range of writers, including physiologists (who thought vibrations in the nerves delivered sensations to the brain), physicists (who claimed that light, heat, electricity and other forms of energy were vibratory), spiritualists (who figured that spiritual energies also existed in vibratory form), and poets and novelists from Coleridge to Dickens and Wells. "Senses of Vibration" is a work of scholarship that cuts through a range of disciplines and will reverberate for many years to come.