Music, whether performed or heard, has been seen as therapeutic in the history of many cultures. How have its therapeutic properties been conceptualized and explained? Which cultures have used music therapy? What were their aims and techniques, and how much continuity is there between ancient, medieval and modern practice? These are the questions addressed by the essays in this volume. They focus on the place of music therapy in European intellectual, medical and musical traditions, from their classical roots to the development of the music therapy profession since the Second World War. Chapters covering the Judaic, Islamic, Indian and South-East Asian traditions add global, comparative perspectives. Music as Medicine is the first book to establish the whole shape of the history of music therapy in a systematic and scholarly way. It addresses the problem of defining what music therapy has meant in different cultures and periods, and sets the agenda for future research in the subject. It will appeal to a diverse readership of historians, musicologists, anthropologists, and practitioners.

English pop music was a dominant force on the global cultural scene in the decades after World War II - and it served a key role in defining, constructing and challenging various ideas about Englishness in the period. Kari Kallioniemi covers a stunning range of styles of pop - from punk, reggae and psychedelia to jazz, rock, Brit Pop and beyond - as he explores the question of how various artists (including such major figures as David Bowie and Morrissey), genres and pieces of music contributed to the developing understanding of who and what was English in the transformative post-war years. Publication Forum (Finland) lists this book as a Level 2 publication, where 'the highest-level publications are directed as a result of extensive competition and demanding peer-review'.For Intellect's full listings in this catalogue, please click here.

When Ruth Gipps died in 1999, her legacy was as one of Britain's most prolific female composers. Her creative output spanned some seventy years and includes symphonies, tone poems, concertos, string quartets and various large-scale choral and chamber works. Not content with her creative activities, her boundless energy fuelled her other roles as conductor, concert pianist, orchestral musician and pedagogue. Her many talents were acknowledged but not always respected and she was a figure often dogged by controversy. She gained a reputation for being uncompromising both personally and musically, a reputation that was ultimately to leave her isolated. In the first major review of her life and work the importance of Ruth Gipps is established in two ways: first, as a pioneering woman composer and conductor whose work challenged prevailing attitudes in the era directly after the war and second, as a composer whose musical philosophy was often at odds with mainstream thinking. Although she was branded a reactionary, her position reveals a number of important counter currents in English musical life in the twentieth century. The first section of the book documents her formative years, her life as child prodigy, the disruption and opportunities offered by war, the dramatic end of her career as a concert pianist and her subsequent entry into the world of conducting. The influence of key figures such as Vaughan Williams, Arthur Bliss, Malcolm Arnold and George Weldon is explored, as is Gipps's habitually thorny relationship with a range of musical institutions including the BBC and the City of Birmingham Symphony Orchestra. In the second part of the book her compositional output is reviewed. Works are explored via the guiding themes of her creative agenda; namely anti-modernism and Englishness. The book closes with an analysis of a group of works which all have gendered narratives or readings. As Gipps regularly used personal experience as the basis for such musical narratives, these works provide an intimate insight into this fascinating and complex woman.

In Africa, tension between freedom of expression and censorship in many contexts remains as contentious, if not more so, than during the period of colonial rule which permeated the twentieth century. Over the last one hundred years popular musicians have not been free to sing about whatever they wish to, and in many countries they are still not free to do so. This volume brings together the latest research on censorship in colonial and post-colonial Africa, focusing on the attempts to censor musicians and the strategies of resistance devised by musicians in their struggles to be heard. For Africa, the twentieth century was characterized first and foremost by struggles for independence, as colonizer and colonized struggled for territorial control. Throughout this period culture was an important contested terrain in hegemonic and counter-hegemonic struggles and many musicians who aligned themselves with independence movements viewed music as an important cultural weapon. Musical messages were often political, opposing the injustices of colonial rule. Colonial governments reacted to counter-hegemonic songs through repression, banning songs from distribution and/or broadcast, while often targeting the musicians with acts of intimidation in an attempt to silence them. In the post-independence era a disturbing trend has occurred, in which African governments have regularly continued to practise censorship of musicians. However, not all attempts to silence musicians have emanated from government, nor has all contested music been strictly political. Religious and moral rationale has also featured prominently in censorship struggles. Both Christian and Muslim fundamentalism has led to extreme attempts to silence musicians. In response, musicians have often sought ways of getting their music and message heard, despite censorship and harassment. The book includes a special section on case studies that highlight issues of nationality.

From Prince's superstardom to studio seclusion, this second book in the Prince Studio Sessions series chronicles the tumultuous years immediately following the Purple Rain era. Duane Tudahl takes us back into the world of Prince's musical masterpieces and personal battles, weaving together the voices of those who knew Prince best during this period. As Prince's relationship with his band, the Revolution, and his fiancee, Susan Melvoin, crumbled, he threw himself into creative catharsis, recording and releasing multiples studio albums and side projects. Prince and the Parade and Sign "O" the Times Era Studio Sessions provides a definitive chronicle of more than 260 recording sessions and two tours during 1985 and 1986. These years were full of struggle, but as millions of fans know, Prince would emerge from this darkness to show that the fire of true genius cannot be extinguished.

Fado, often described as 'urban folk music', emerged from the streets of Lisbon in the mid-nineteenth century and went on to become Portugal's 'national' music during the twentieth. It is known for its strong emphasis on loss, memory and nostalgia within its song texts, which often refer to absent people and places. One of the main lyrical themes of fado is the city itself. Fado music has played a significant role in the interlacing of mythology, history, memory and regionalism in Portugal in the second half of the twentieth century. Richard Elliott considers the ways in which fado songs bear witness to the city of Lisbon, in relation to the construction and maintenance of the local. Elliott explores the ways in which fado acts as a cultural product reaffirming local identity via recourse to social memory and an imagined community, while also providing a distinctive cultural export for the dissemination of a 'remembered Portugal' on the global stage.

How are national identities constructed and articulated through music? Popular music has long been associated with political dissent, and the nation state has consistently demonstrated a determination to seek out and procure for itself a stake in the management of 'its' popular musics. Similarly, popular musics have been used 'from the ground up' as sites for both populist and popular critiques of nationalist sentiment, from the position of both a globalizing and a 'local' vernacular culture. The contributions in this book arrive at a critical moment in the development of the study of national cultures and musicology. The book ranges from considerations of the ideological focus of cultural nationalism through to analyses of musical hybridity and musical articulations of other kinds of identities at odds with national identity. The processes of global homogenization are thereby shown to have brought about a transitional crisis for national cultural identities: the evolution of these identities, particularly with reference to the concept of 'authenticity' in music, is situated within broader debates on power, political economy and constructions of the self. Theorizations of practice are employed after the manner of Bourdieu, Gramsci, Goffman, Gadamer, Habermas, Bhabha, Lacan and Zizek. Each contribution acts as a case study to characterize the strategies through which differing modes of musical discourse engage, critique or obscure discourses on national identity. The studies include discussions of: musical representations of Irishness; the relationship between Afropop and World Music; Norwegian club music; the revival of traditional music in Serbia; resistance to cultural homogeneity in Brazil; contemporary Uyghur song in Northwest China; rap and race in French society; technobanda from the barrios of Los Angeles, and Spanish/Moroccan raA-. In this way, the book seeks to characterize the ideological configurations that help to activate and sustain hegemonic, amb

With just four record companies controlling nearly 80 per cent of the world market in popular music, issues of globalization are evidently significant to our understanding of how and why popular music is made and distributed. As transnational industries seek to open up increasingly larger markets, the question of how local and regional music cultures can be sustained is a pressing one. To what extent does the global music market offer opportunities for the worldwide dissemination of local music within and beyond the major industry? The essays in this volume examine the structure and strategies of the transnational music industry, with its deployment of mass communication technologies including sound carriers, satellite broadcasting and the Internet. The book also explores local and individual experience of global music and this music's dissemination through migration and communities of interest, as well as the ideological and political use of different kinds of music. In contrast to recent arguments which posit an American imperialist dominance of popular music, the contributors to this volume find that the global repertoire of the major labels no longer represents the culture of a certain country but is fed by different sources. The essays here discuss how we can characterize this vast de-centered industry, and offer perspectives on the so-called 'international repertoire' that calls for a melodic structure, ballad forms, unaccented vocalisation and an image that has global recognition.

Barbershop singing is a distinctive and under-documented facet of Britain's musical landscape. Imported from the USA in the 1960s, it has developed into an active and highly organized musical community characterized by strong social support structures and a proselytizing passion for its particular style. This style is defined, within the community, in largely music-theoretical terms and is both highly prescriptive and continually contested, but there is also a host of performance traditions that articulate barbershop's identity as a distinct and specific genre. Liz Garnett documents and analyses the social and musical practices of this specialized community of music-makers, and extends this analysis to theorize the relationship between music and self-identity. The book engages with a range of sociological and musicological theoretical frameworks in order to explore the role of harmony, ritual, sexual politics, performance styles and 'tag-singing' in barbershop. This analysis shows how musical style and cultural discourses can be seen to interact in the formation of identity. Garnett provides the first in-depth scholarly insight into the British barbershop community, and contributes to ongoing debates in the semiotics and the sociology of music.

Made in Brazil: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of twentieth-century Brazilian popular music. The volume consists of essays by scholars of Brazilian music, and covers the major figures, styles, and social contexts of pop music in Brazil. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Brazilian popular music. The book first presents a general description of the history and background of popular music in Brazil, followed by essays that are organized into thematic sections: Samba and Choro; History, Memory, and Representations; Scenes and Artists; and Music, Market and New Media.

Made in Italy serves as a comprehensive and rigorous introduction to the history, sociology, and musicology of contemporary Italian popular music. Each essay, written by a leading scholar of Italian music, covers the major figures, styles, and social contexts of pop music in Italy and provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Italian popular music. The book first presents a general description of the history and background of popular music, followed by essays organized into thematic sections: Themes; Singer-Songwriters; and Stories.

The hidden meanings of the Beatles' most esoteric lyrics and sounds are revealed by a rare insider who spent two decades with the man who made "meditation," "mantra," and "yoga" household words: Maharishi Mahesh Yogi. "I absolutely love this book. Between the stories and the pictures, many I've not seen before, this is truly a spiritual journey." -Chris O'Dell, author of Miss O'Dell, My Hard Days and Long Nights with The Beatles, The Stones, Bob Dylan, and the Women They Loved The spiritual journey of the Beatles is the story of an entire generation of visionaries in the sixties who transformed the world. The Beatles turned Western culture upside down and brought Indian philosophy to the West more effectively than any guru. The Inner Light illumines hidden meanings of the Beatles' India-influenced lyrics and sounds, decoded by Susan Shumsky-a rare insider who spent two decades in the ashrams and six years on the personal staff of the Beatles' mentor, Maharishi Mahesh Yogi. "With clarity, depth, and impeccable research, an exceptionally comprehensive book filled with engaging tales and fresh insights that even diehard Beatles fans will find illuminating." -Philip Goldberg, author of American Veda: From Emerson and The Beatles to Yoga and Meditation, How Indian Spirituality Changed the West This eye-opening book draws back the curtain on the Beatles' experiments with psychedelics, meditation, chanting, and Indian music. Among many shocking revelations never before revealed, we discover who invented "raga rock" (not the Beatles), the real identity of rare Indian instruements and musicians on their tracks, which Beatle was the best meditator (not George), why the Beatles left India in a huff, John and George's attempts to return, Maharishi's accurate prediction, and who Sexy Sadie, Jojo, Bungalow Bill, Dear Prudence, Blackbird, My Sweet Lord, Hare Krishna, and the Fool on the Hill really were. "This book reminds us in illuminating fashion why Susan is the premier thinker about India's key influence upon the direction of the Beatles' art. In vivid and stirring detail, she traces the Fabs' spiritual awakening from Bangor to Rishikesh and beyond." -Kenneth Womack, author of John Lennon 1980: The Last Days in the Life Half a century later, the Beatles have sold more records than any other recording artist. A new generation wants to relive the magic of the flower-power era and is now discovering the message of this iconic band and its four superstars. For people of all nations and ages, the Beatles' mystique lives on. The Inner Light is Susan Shumsky's gift to their legacy.

English rock ruled the airwaves in the 60s and 70s The fuse was lit by the Beatles with their Mersey sound in Liverpool. In London, the Rolling Stones played the blues as if their lives depended on it. Then came the Yardbirds, the Who, the Kinks, heralding inventive prog rock bands like Pink Floyd, Genesis and Yes, unleashing the fury of heavy metal with bands like Led Zeppelin and Deep Purple. As the 70s progressed, the androgyny of David Bowie and bands like T-Rex launched glam rock to the world. These two decades of freedom and creativity are captured in this book with photos by the best photographers, and text by top French music writer Philippe Margotin.

This book considers the history of Do It Yourself art, music and publishing, demonstrating how DIY strategies have transitioned from being marginal, to emergent, to embedded. Through secondary research, observation and 30 original interviews, each chapter analyses one of 15 creative cities (San Francisco, Los Angeles, Dusseldorf, New York, London, Manchester, Cologne, Washington DC, Detroit, Berlin, Glasgow, Olympia (Washington), Portland (Oregon), Moscow and Istanbul) and assesses the contemporary situation in each in the post-subcultural era of digital and internet technologies. The book challenges existing subcultural histories by examining less well-known scenes as well as exploring DIY "best practices" to trace a template of best approaches for sustainable, independent, locally owned creative enterprises.

To his many fans, he was known simply as "Mr. Excitement," a singer whose music and stage presence influenced generations of performers, from Elvis Presley to Michael Jackson. Jackie Wilson: Lonely Teardrops looks at the life and career of this deeply troubled artist. Published briefly in a limited edition in the United Kingdom, this Routledge edition makes available this definitive biography for Wilson's legions of fans. Also includes two 8-page photo inserts.

This book, first published in 1987, tells the intriguing and culturally complex story of the art school influence on postwar British popular music. Following Romantic attitudes from life class to recording studio, it focuses on two key moments - the early 1960s, when art students like John Lennon and Eric Clapton begin to play their own versions of American rock and blues and inflected youth music with Bohemian dreams, and the late 1970s, when punk musicians emerged from design courses and fashion departments to disrupt what were, by then, art-rock routines. Sixties rock Bohemians and seventies pop Situationists were, in their different ways, trying to solve the art students' perennial problem - how to make a living from their art. Art Into Pop shows how this problem has been shaped by the history of British art education, from its nineteenth-century origins to current arguments about 'pure' and 'applied' training. In their simultaneous pursuit of authenticity and artifice, art school musicians exemplify the postmodern condition, the collapse of any distinction between 'high' and 'low' culture, the confusions of personal and commercial creativity. And so high pop theorists rub shoulders here with low pop practitioners, experimental musicians debate avant-garde ideas with corporate packagers, and artistic integrity becomes a matter of making oneself up.

In this lively examination of youth and their relationship to music, first published in 1994, contributors cover issues ranging from the place of music in urban subculture and what music tells us about adolescent views on love and sex, to the political status of youth and youth culture.

This book, first published in 1987, was the first major survey of the links between the visual arts and pop music over the last thirty years. It brings to light the ideas, styles and people who have influenced both the look of pop and the shape of art. It examines how pop uses art movements like Dada, Futurism and Surrealism in everything from the design of album covers to the creation of a group's look, stage act and video; how art uses pop, as a subject for painting, sculpture and design; the vital role of the British art school connection; and collaborations and cross-overs - between the visual arts and groups, musicians and movements.

This collection of essays, first published in 1987, provides a sociological treatment of many musical forms - rock, jazz, classical - with special emphasis on the perspective of the practising musician. Among the topics covered are the legal structures governing musical production and the question of copyright; recording and production technology; the social character of musical style; and the impact of lyrical content, considered socially and historically.

This is a comprehensive guide to popular music literature, first published in 1986. Its main focus is on American and British works, but it includes significant works from other countries, making it truly international in scope.

The approach of this book, first published in 1982, is multi-disciplinary. Popular music, it is argued, is not only a musical but also a social phenomenon; the criteria needed to assess it are different from those used in the appreciation of 'classical' music. The first section of this guide is devoted to setting out just what those criteria should be. A second section puts forward bases for course construction that are detailed and flexible. A final section provides a list of further resources.

MTV is the third major breakthrough in music broadcasting, and the first since the late 1960s. "Top Forty" radio was initiated in the 1950s, and along with "free form" or "progressive" rock molded rock music exposure for nearly twenty years. Many observers credit MTV with resurrecting the music industry from the throes of the Great Depression of 1979. Few would dispute its impact on contemporary film, fashion, and radio.

"Inside MTV "examines the world of cablecasting, the evolution of WASEC, MTV, VH-1, and some of their competitors. The strategies, personalities, promotions, and the contents that placed MTV on the road to its dominant position are described. The many controversies surrounding the channel are thoroughly detailed, and a good deal of the misinformation on the subject is corrected.

It is a mere five years since MTV began as the third of four Warner-Amex Satellite Entertainment Company (WASEC) channels, created by two of America's largest conglomerates. Since then, it has become a major force. Before MTV was conceived the relationship between television and rock music was weak, at best. As the new partnership .developed, a story of genius, luck, and discrimination began to unfold, and a corporate innovation of major proportions and psychodemographic success emerged.

MTV is now the most profitable 24-hour cable outlet beamed from a satellite. It reaches 30.8 million households. How all this happened is chronicled in this major new book from a leading authority on the American music business.

Of all pop music's icons, the Beatles have attracted more attention and generated more discussion than any other performers. The group's transformation from a semi-professional skiffle group in Liverpool to one of the twentieth century's key historical and cultural events has been told and re-told in numerous forms - on the cinema screen, in print, on stage, on TV and radio. Details of their personal and private histories are familiar to audiences and fans around the world. Their songs are among the best known and most critically acclaimed of the rock'n'roll era. The ways in which they dismantled many routine assumptions about the role of 'pop stars' in the 1960s helped to substantially re-direct the structures and cultures of the popular music industry in subsequent decades. Sixty years after their formation, interest in the group and its music remains as strong as ever.Because of the unprecedented nature of their success, their perennial associations with the century's most beguiling decade, the range of their extra-musical activity, and the dramatic postscripts to a career that effectively ended in 1970, many accounts of the Beatles have adopted a tone that veers between the sensational and the reverential. In addition, such accounts often overlook the significance of the professional, geographical, historical and technological constraints within which the Beatles worked, and which shaped their live and recorded musical output. In this book, Ian Inglis provides a succinct critical appreciation of the group that is balanced, informative and objective. It concentrates above all on the music of the Beatles, the context in which it was created, performed and recorded, and its rapid and often startling evolution which, powered by the formidable writing talents of John Lennon & Paul McCartney, moved from early cover versions through the conventions of the two- or three-minute love song to the lyrical variety and musical innovations of their post-touring years.His account separates myth from reality, documents the uneasy relationship between creativity and control that acted as a catalyst for their artistic development, and supplies fresh insights into the aspirations and achievements of the world's most celebrated popular musicians.

Reconstructs the socio-political history of the heroic in music through case studies spanning the middle ages to the twenty-first century The first part of this volume reconstructs the various musical strategies that composers of medieval chant, Renaissance madrigals, and Baroque operas, cantatas or oratorios employed when referring to heroic ideas exemplifying their personal moral and political values. A second part investigating the eighteenth and nineteenth centuries expands the previous narrow focus on Beethoven's heroic middle period and the cult of the virtuoso. It demonstrates the wide spectrum of heroic positions - national, ethnic, revolutionary, bourgeois and spiritual - that filtered not only into 'classical' large-scale heroic symphonies and virtuoso solo concerts, but also into chamber music and vernacular dance music. The third part documents the forced heroization of music in twentieth-century totalitarian regimes such as Nazi-Germany and the Soviet Union and its consequences for heroic thinking and musical styles in the time thereafter. Final chapters show how recent rock-folk and avant-garde musicians in North America and Europe feature new heroic models such as the everyday hero and the scientific heroine revealing new confidence in the idea of the heroic.

Passionate about music from childhood and much-respected as a teenage guitarist in his native Birmingham, Jeff Lynne rose through the ranks of various semi-professional local groups to become the frontman of the critically acclaimed Idle Race in the late '60s. From there he joined the ever-popular Move, then helped form the groundbreaking Electric Light Orchestra. After co-founder Roy Wood left in 1972, Lynne turned what had been a struggling rock and classical fusion into one of Britain's most consistently successful and popular acts. Following a run of hit singles, albums, and sell-out concerts throughout the world, he laid the group to rest in 1986 and combined a solo career as an artist and producer with membership of the ultimate supergroup, the Traveling Wilburys. His production credits include Roy Orbison, Tom Petty, Del Shannon, George Harrison, and even the Beatles on their two final singles in the mid-'90s. Jeff Lynne: The Electric Light Orchestra, Before and After is the first-ever biography of one of the most prolific and highly regarded performers of the last fifty years.Rich in backstage anecdotes of overheated orchestras, frontmen rivalries, tour mishaps, cross-group partnerships, unlikely collaborations, and self-imposed exile from the stage in the quest for inspiration, this book will leave fans and general readers delighted and inspired by a career at the epicentre of twentieth-century rock.