Music education thrives on philosophical inquiry, the systematic and critical examination of beliefs and assumptions. Yet philosophy, often considered abstract and irrelevant, is often absent from the daily life of music instructors. In The Oxford Handbook of Philosophy in Music Education, editors Wayne D. Bowman and Ana Lucia Frega have drawn together a variety of philosophical perspectives from the profession's most exciting scholars. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere, demonstrating that philosophy offers a way of navigating the daily professional life of music education and proving that critical inquiry improves, enriches, and transforms instructional practice for the better. Questioning every musical practice, instructional aim, assumption, and conviction in music education, The Oxford Handbook of Philosophy in Music Education presents new and provocative approaches to the practice of teaching music.
Bowman and Frega go deeper than mere advocacy or a single point of view, but rather conceive of philosophy as a dynamic process of debate and reflection that must constantly evolve to meet the shifting landscapes of music education. In place of the definitive answers often associated with philosophical work, Bowman and Frega offer a fascinating cross-section of often-contradictory approaches and viewpoints. By bringing together essays by both established and up-and-coming scholars from six continents, Bowman and Frega go beyond the Western monopoly of philosophical practice and acknowledge the diversity of cultures, instructors, and students who take part in music education. This range of perspectives invites broader participation in music instruction, and presents alternative answers to many of the fields most pressing questions and issues. By acknowledging the inherent plurality of music educational practices, the Handbook opens up the field in new and important ways. Emphasizing clarify, fairness, rigor, and utility above all, The Oxford Handbook of Philosophy in Music Education challenges music educators around the world to make their own decisions and ultimately contribute to the conversation themselves."

It is common to hear people say rock and roll music has lost its edge. Disillusioned by the sound of modern pop radio, many fans wonder why a revolutionary voice has not yet emerged to define these tumultuous times the way Bob Dylan, The Clash, and Public Enemy once did. In many people's minds, rock and roll is dead, killed off by Britney Spears and an MTV that has taken the music out of television.

"Rock 'N' Politics" aims to breathe new life into the spirit of rock and roll. It explains how the virtues of great political action are present in great rock music. By surveying the contemporary music scene in chapters about Bruce Springsteen, Green Day, Bono, Madonna, indie rock, and OutKast, "Rock 'N' Politics" reveals how rock music recently lost touch with its political ambitions and explains how musicians and fans can-and must-restore rock and roll's revolutionary voice.

In an era characterized by lackluster rock music and uninspiring politics, "Rock 'N' Politics" captures the excitement of world-changing rock and roll for a generation longing for music that matters. Written with intelligence and a passion for rock and roll music from all styles and eras, "Rock 'N' Politics" offers readers a new perspective on a subject crucial to our times.

Increasing numbers of children and adolescents internationally are being diagnosed with secondary health problems (e.g., overweight-obesity, diabetes, asthma, anxiety, etc.) due in part, or at least related to, a lack of physical activity. Children and adolescents with various forms of special needs (for example, children and adolescents with physical or intellectual disabilities, children and adolescents from disadvantaged social backgrounds and children and adolescents with chronic illnesses) seem to be particularly at risk for secondary health problems, which in the end limit their social participation and inclusion, as well as their ability to achieve their full potential and to lead happy and fulfilling lives. For these children and adolescents, involvement in regular physical activities (including fitness activities and sports) may have far reaching benefits. For instance, organized physical activities are known to represent an effective vehicle for interventions for children and adolescents with special needs who do not seem to benefit as much as others from more traditional, verbal-oriented approaches. Organized physical activities (in or out of school) further provide these children and adolescents with opportunities to interact in a positive manner with prosocial peers and adults who may serve as positive role models for them. There is currently a paucity of research about physical activities that effectively include children and adolescents with a range of special needs or research that identifies evidence-based strategies that seed success in maximizing the involvement in, and the positive biopsychosocial outcomes associated with, the practice of physical activity. This dearth of research is impeding progress in addressing the biopsychosocial disadvantage that these children and adolescents encounter, the development of new solutions for enabling full potential, and ensuring that children and adolescents with special needs not only succeed, but also flourish in life. This volume includes examples of theory, research, policy, and practice that will advance our understanding of how best to encourage these children and adolescents to participate regularly in physical activity, how to maximize the biopsychosocial benefits of involvement in physical activities, and how to ensure that these physical activities are inclusive for children and adolescents with special needs. The focus will be placed on research-derived physical activity practices that seed success for children and adolescents with special needs, and new directions in theory, research, and practice that have implications for enhancing physical activity practices with at-risk children and adolescents. The themes covered in this volume include: Strategies to maximise participation of children and adolescents with special needs in physical activity as a global priority; Strategies to maximise the social inclusion of children and adolescents with special needs in general physical activities; Effective physical education strategies to enhance biopsychosocial outcomes for children and adolescents with special needs; Advancing the practice of educators and coaches to cultivate the social inclusion and participation in physical activity of children and adolescents with special needs; and Challenging the meaning and implementation of inclusive practices in physical education globally.

Since 1973, Queen have captivated listeners through the intense sonic palette of voices and guitars, the sprawling and epic journeys of songs, and charismatic splendour of their live performances. Rock and Rhapsodies is the first book to undertake a musicological study of the band's output, with a fundamental aim of discovering what, exactly, gave Queen's songs their magical and distinct musical identity. Focusing on the material written, recorded, and released between 1973 and 1991, author Nick Braae provides readers with an in-depth and nuanced analytical account of the group's individual musical style (or "idiolect"), and illuminates the multifaceted stylistic and historical contexts in which Queen's music was created. Aspects of Queen's songs are also used as a springboard for exploring a range of further analytical and discursive issues: the nature of a musical style; the conceptual relationship between an artist, style, and genre; form in popular songs; and the character and identity of a singing voice. Following an introduction and "primer" on Queen's idiolect, Rock and Rhapsodies presents ten further chapters, each of which offers a snapshot of a particular musical element (form, the voice), a particular subset of repertoire (Freddie Mercury's large-scale 1970s songs), or a particular era (post-1991), thus painting a rich overall picture of both the band's history and their ongoing presence in popular culture. Along the way, there is an underlying focus on interrogating and substantiating the themes and ideas that emerge from the writing, documentaries and other media on Queen, using a variety of analytical tools and close readings of songs, to demonstrate how aspects of critical reception align (or not) with musical details. Rock and Rhapsodies will reward any reader who has been enchanted by the myriad and complex musical components that make up any Queen song.

The future of music archiving and search engines lies in deep learning and big data. Music information retrieval algorithms automatically analyze musical features like timbre, melody, rhythm or musical form, and artificial intelligence then sorts and relates these features. At the first International Symposium on Computational Ethnomusicological Archiving held on November 9 to 11, 2017 at the Institute of Systematic Musicology in Hamburg, Germany, a new Computational Phonogram Archiving standard was discussed as an interdisciplinary approach. Ethnomusicologists, music and computer scientists, systematic musicologists as well as music archivists, composers and musicians presented tools, methods and platforms and shared fieldwork and archiving experiences in the fields of musical acoustics, informatics, music theory as well as on music storage, reproduction and metadata. The Computational Phonogram Archiving standard is also in high demand in the music market as a search engine for music consumers. This book offers a comprehensive overview of the field written by leading researchers around the globe.

This Life of Sounds portrays an important and previously unexplored corner of the history of new music in America: the Center of the Creative and Performing Arts in the State University of New York at Buffalo. Composers Lukas Foss (the Center's founder), Lejaren Hiller, and Morton Feldman were the music directors over the life of "the Buffalo group," during the years 1964-1980. Based on Foss's plan, the Rockefeller Foundation provided annual fellowships for young composers and virtuoso instrumentalists to live in Buffalo for up to two years, thus creating a cadre of like-minded musicians who would spend their time studying, creating, and performing difficult - often controversial - new work. The now legendary group of musicians (some would say "musical outlaws") who participated in the Buffalo group included Pulitzer Prize winner George Crumb, Terry Riley, Cornelius Cardew, Maryanne Amacher, Frederic Rzewski, David Tudor, Julius Eastman, and many more. Composers John Cage, Jim Tenney, Iannis Xenakis and others all figure in the story as well. The book provides valuable accounts of the Center's influential concert series, Evenings for New Music, performed in Buffalo, New York and throughout Europe; its famous recording of Terry Riley's In C; the political activism of the time; and the intersection of academic, private, and institutional funding for the arts. Life magazine declared in an article about the 1965 Festival of the Arts Today titled, "Can This Be Buffalo?," "Buffalo exploded last month in a two-week avant garde festival that was bigger and hipper than anything ever held in Paris or New York..." The concerts, the festivals, and the adventurous musical climate attracted filmmakers and young visual artists resulting in what one person called "one of those kinds of places the way people talk about Vienna in 1900-1910."

Burney is recognised as the great musical writer of his day. This is a facsimile reprint of the first edition in 1771.

The Evolution of Electronic Dance Music establishes EDM's place on the map of popular music. The book accounts for various ambiguities, variations, transformations, and manifestations of EDM, pertaining to its generic fragmentation, large geographical spread, modes of consumption and, changes in technology. It focuses especially on its current state, its future, and its borders - between EDM and other forms of electronic music, as well as other forms of popular music. It accounts for the rise of EDM in places that are overlooked by the existing literature, such as Russia and Eastern Europe, and examines the multi-media and visual aspects such as the way EDM events music are staged and the specificity of EDM music videos. Divided into four parts - concepts, technology, celebrity, and consumption - this book takes a holistic look at the many sides of EDM culture.

This was the first attempt at a full length biography of Bach and a critical apreciation of his work as composer and performer. Translated by Walter Emery in 1941-1942 with introductory notes and two appendices, but not published in his lifetime. Walter Emery, musicologist, specialised in the works J.S. Bach.

In Resonant Matter, Lutz Koepnick considers contemporary sound and installation art as a unique laboratory of hospitality amid inhospitable times. Inspired by Ragnar Kjartansson’s nine-channel video installation The Visitors (2012), the book explores resonance—the ability of objects to be affected by the vibrations of other objects—as a model of art’s fleeting promise to make us coexist with things strange and other. In a series of nuanced readings, Koepnick follows the echoes of distant, unexpected, and unheard sounds in twenty-first century art to reflect on the attachments we pursue to sustain our lives and the walls we need to tear down to secure possible futures. The book’s nine chapters approach The Visitors from ever-different conceptual angles while bringing it into dialogue with the work of other artists and musicians such as Lawrence Abu Hamdan, Guillermo Galindo, Mischa Kuball, Philipp Lachenmann, Alvien Lucier, Teresa Margolles, Carsten Nicolai, Camille Norment, Susan Philipsz, David Rothenberg, Juliana Snapper, and Tanya Tagaq. With this book, Koepnick situates resonance as a vital concept of contemporary art criticism and sound studies. His analysis encourages us not only to expand our understanding of the role of sound in art, of sound art, but to attune our critical encounter with art to art’s own resonant thinking.

Dancing to the Drum Machine is a never-before-attempted history of what is perhaps the most controversial musical instrument ever invented: the drum machine. Here, author Dan LeRoy reveals the untold story of how their mechanical pulse became the new heartbeat of popular music. The pristine snap of the LinnDrum. The bottom-heavy beats of the Roland 808. The groundbreaking samples of the E-MUSP-1200. All these machines-and their weirder, wilder-sounding cousins-changed composition, recording, and performance habits forever. Their distinctive sounds and styles helped create new genres of music, like hip hop and EDM. But they altered every musical style, from mainstream pop to heavy metal to jazz. Dan LeRoy traces the drum machine from its low-tech beginnings in the Fifties and Sixties to its evolution in the Seventies and its ubiquity in the Eighties, when seemingly overnight, it infiltrated every genre of music. Drum machines put some drummers out of work, while keeping others on their toes. They anticipated virtually every musical trend of the last five decades: sequencing, looping, sampling, and all forms of digital music creation. But the personalities beneath those perfect beats make the story of drum machines a surprisingly human one-told here for the very first time.

Popular music and masculinity have rarely been examined through the lens of research into monstrosity. The discourses associated with rock and pop, however, actually include more ‘monsters’ than might at first be imagined. Attention to such individuals and cultures can say things about the operation of genre and gender, myth and meaning. Indeed, monstrosity has recently become a growing focus of cultural theory. This is in part because monsters raise shared concerns about transgression, subjectivity, agency, and community. Attention to monstrosity evokes both the spectre of projection (which invokes familial trauma and psychoanalysis) and shared anxieties (that in turn reflect ideologies and beliefs). By pursuing a series of insightful case studies, Scary Monsters considers different aspects of the connection between music, gender and monstrosity. Its argument is that attention to monstrosity provides a unique perspective on the study of masculinity in popular music culture.

Exposing the depth of two major artists' philosophies, creative visions, stylistic tendencies, and contributions to their craft, this unprecedented comparative analysis synthesizes biographical material, critical interpretation, and selected exemplars of the writers' work. Smith reinterprets their work in a new and fascinating light, presenting Dylan as a songwriter of enigmatic wordplay and Springsteen as the melodramatic narrator of a specific community's life struggles.

Both songwriters have had unique responses to the celebrity singer/songwriter tradition begun by Woody Guthrie. Smith reveals the power of authorship and the creative drive necessary to negotiate an artistic vision through the complicated mechanisms of the world of commercial art. Both have discovered their own means of traveling this difficult terrain, and Smith probes their lives and work to reveal the myriad ways in which two distinct, equally significant artists have learned from and contributed to an ongoing and important American musical tradition.

Beyond its elucidation and critique of traditional 'notation-centric' musicology, this book's primary emphasis is on the negotiation and construction of meaning within the extended musical multimedia works of the classic British group Pink Floyd. Encompassing the concept albums that the group released from 1973 to 1983, during Roger Waters' final period with the band, chapters are devoted to Dark Side of the Moon (1973), Wish You Were Here (1975), Animals (1977), The Wall (1979) and The Final Cut (1983), along with Waters' third solo album Amused to Death (1993). This book's analysis of album covers, lyrics, music and film makes use of techniques of literary and film criticism, while employing the combined lenses of musical hermeneutics and discourse analysis, so as to illustrate how sonic and musical information contribute to listeners' interpretations of the discerning messages of these monumental musical artifacts. Ultimately, it demonstrates how their words, sounds, and images work together in order to communicate one fundamental concern, which-to paraphrase the music journalist Karl Dallas-is to affirm human values against everything in life that should conspire against them.

Sebastien Erard's (1752-1831) inventions have had an enormous impact on instruments and musical life and are still at the foundation of piano building today. Drawing on an unusually rich set of archives from both the Erard firm and the Erard family, author Robert Adelson shows how the Erard piano played an important and often leading role in the history of the instrument, beginning in the late eighteenth century and continuing into the final decades of the nineteenth. The Erards were the first piano builders in France to prioritise the more sonorous grand piano, sending gifts of their new model to both Haydn and Beethoven. Erard's famous double-escapement action, which improved the instrument's response while at the same time producing a more powerful tone, revolutionised both piano construction and repertoire. Thanks to these inventions, the Erard firm developed close relationships with the greatest pianist composers of the nineteenth century, including Hummel, Liszt, Moscheles and Mendelssohn. The book also presents new evidence concerning Pierre Erard's homosexuality, which helps us to understand his reluctance to found a family to carry on the Erard tradition, a reluctance that would spell the end of the golden era of the firm and lead to its eventual demise. The book closes with the story of Pierre's widow Camille, who directed the firm from 1855 until 1889. Her influential position in the male-dominated world of instrument building was unique for a woman of her time.

Honoring God and the City is a documentary history of musical activities at Venetian lay confraternities from their origins in the thirteenth century to their suppression in the early nineteenth, demonstrating the vital role they played in the cultural life of Venice.

In this first monograph on E. T. A. Hoffmann and opera, Francien Markx examines Hoffmann's writings on opera and the challenges they pose to established narratives of aesthetic autonomy, the search for a national opera, and Hoffmann's biography. Markx discusses Hoffmann's lifelong fascination with opera against the backdrop of eighteenth-century theater reform, the creation of national identity, contemporary performance practices and musical and aesthetic discourses as voiced by C. M. von Weber, A. W. Schlegel, Heine, and Wagner, among others. The book reconsiders the traditional view that German opera followed a deterministic trajectory toward Wagner's Gesamtkunstwerk and reveals a cosmopolitan spirit in Hoffmann's operatic vision, most notably exemplified by his controversial advocacy for Spontini in Berlin.

Minas Gerais is a state in southeastern Brazil deeply connected to the nation's slave past and home to many traditions related to the African diaspora. Addressing a wide range of traditions helping to define the region, ethnomusicologist Jonathon Grasse examines the complexity of Minas Gerais by exploring the intersections of its history, music, and culture. Instruments, genres, social functions, and historical accounts are woven together to form a tapestry revealing a cultural territory's development. The deep pool of Brazilian scholarship referenced in the book, with original translations by the author, cites over two hundred Portuguese-language publications focusing on Minas Gerais. This research was augmented by fieldwork, observations, and interviews completed over a twenty-five-year period and includes original photographs, many taken by the author. Hearing Brazil: Music and Histories in Minas Gerais surveys the colonial past, the vast hinterland countryside, and the modern, twenty-first-century state capital of Belo Horizonte, the metropolitan region of which is today home to over six million. Diverse legacies are examined, including an Afro-Brazilian heritage, eighteenth- and nineteenth-century liturgical music of the region's "Minas Baroque," the instrument known as the viola, a musical profile of Belo Horizonte, and a study of the regionalist themes developed by the popular music collective the Clube da Esquina (Corner Club) led by Milton Nascimento with roots in the 1960s. Hearing Brazil champions the notion that Brazil's unique role in the world is further illustrated by regionalist studies presenting details of musical culture.

CLASSICAL COOKS: A GASTROHISTORY OF WESTERN MUSIC by Ira Braus The expression, "Classical music is an acquired taste" takes on new meaning in Ira Braus's Classical Cooks: A Gastrohistory of Western Music. Unlike most classical music guides, Classical Cooks links music and food synaesthetically. Synaesthesia means experiencing one sense modality by stimulating another, such as "hearing" colors. Music and food, as my book shows, are close enough aesthetically, so that we can enjoy them synaesthetically. The book correlates the respective musical and culinary talents of composers living between 1350 and 2000; it also suggests ways for listeners to distinguish composers' styles by way of gastro-musical association. Classical Cooks complements a recent line of books dealing with food and culture, e.g., The Toulouse Lautrec Cookbook, Keats's Porridge, and Jazz Cooks. To be sure, American orchestras, like the Boston Symphony and New York Philharmonic, have published recipes contributed by their players. But no substantial anthology of composer recipes has thus far appeared. Classical Cooks has Three Courses, plus Dessert. Course 1, "Why Musicians Love to Talk Shop in the Kitchen," matches food categories with musical ones. Take fat. Musicians associate fat with lush, full-bodied orchestration as we hear in, say, Hollywood scores of the 1950s. These composers learned their craft from lipid composers like Puccini and Debussy. Puccini's "fat," mellifluous as it is, may be compared to olive oil - clear, fruity, digestible, while Debussy's is voluptuous, like butter - filmy, artery-clogging, and delectable. Course 2, "A Gastrohistory of Music in Documents" offers accounts of composers as gastro-nomes. Beethoven's culinary disasters are juxtaposed with Rossini's haute cuisine, so haute in fact, that one of his recipes ("Tournedos Rossini") appears in Larousse Gastronomique. One also reads stories of Liszt's food-fights with his pupils and of his chiding the American pianist, Amy Fay, for "making an omelette" when playing wrist-bending passages in his piano music. Course 3, "You Eat What you Compose, or, Will the Real Mozart Please Stand Up?" addresses riddles of music history: how knowledge of Mozart's favorite foods -- liver dumplings and sauerkraut -- might revise his popular image as a composer of "sweet" music, e.g. Eine kleine Nachtmusik; how a gastronomic kinship between J.S. Bach and Brahms -- their love of herring -- might reflect their dense musical expression, as well as Brahms's composing minuets and sarabandes during the mid-1800s; and how knowing Ravel's preference for "hot" food helps us to distinguish the sound of his music from the more understated style of Debussy. Dessert comprises "The Well-Tempered Cuisinier: Twenty-four Pastries and Foods from the Classical Cooks." Readers will find here a combination of recipes and menus suitable for diverse musical occasions (concert receptions, composer birthdays, opera caf entres).