Lives in Music analyses interwoven patterns of mobility, change, and power in music and dance practices. It challenges some commonly accepted conceptual tools that are ubiquitous in anthropology today, including cultural hybridity, transnational networks, and globalization. Based on seven "itineraries" that are the result of extensive ethnographic long-term field research efforts, the processes of geographic and social mobility, transformation, and power relative to music and dance practices are explored in different parts of the world. Seven writers provide life stories constructed through ethnographic techniques and life histories and supported by a deep knowledge of local customs.

Music is an expression of feelings of the soul conveyed through the medium of sound. But not all sounds are music. It might be said that only an organised sound or series of sounds can be called music. Thus, music is connected to the eternal and constant flow and order of the universe, to the laws and rhythms of nature. It can also be said that musical order is comparable to the natural order of the universe. There are laws of a certain nature in the natural sciences and likewise in music there are structures and procedures, or even rules, that should be followed to produce beautiful music. The International Conference "Innovations for 21st Century Music Education and Research" provided a timely opportunity to take stock of the latest developments in music education and brought together educators, researchers and members of the broader community in a welcoming forum in which they were able to express theoretical and practical views, concepts, research results and principles to help support the further development of music education.

The Irish songwriter, Thomas Moore (1779-1852) enjoyed enormous popularity during and after his lifetime and his celebrity was summed up by his friend, Lord Byron, who declared him: "The poet of all circles and the idol of his own". Yet, despite his seminal role in the development of Irish national song, few modern editions have been made available and none focus on the earliest piano arrangements published during Moore's lifetime and the decades following his death. This new critical edition collects together for the first time in one volume selected original arrangements of the world-famous Irish Melodies for solo voice and duet along with other successful English-language songs to texts by Moore and foreign-language settings by Schumann, Mendelssohn, Berlioz and Duparc. Several aspects were considered in choosing songs such as their historical significance as well as their usefulness to the performer and impact in performance and the beauty of the vocal content and the partnering accompaniments. The Thomas Moore Songbook will appeal to a broad spectrum of academics, practitioners and teachers of singing as well as those with a deep interest in Irish history, culture and heritage.

Culturally Responsive Choral Music Education visits the classrooms of three ethnically diverse choral teacher-conductors to highlight specific examples of ways that culturally responsive teaching (CRT) can enrich choral music education. Principles of CRT are illustrated in contrasting demographic contexts: a choir serving a sizeable immigrant Hispanic population, a choir with an African American classroom majority, and a choir comprised of students who identify with eighteen distinct ethnicities. Additionally, portraits of nine ethnically diverse students illuminate how CRT shaped their experiences as members of these choral ensembles. Practical recommendations are offered for developing a culturally responsive classroom environment.

Known for creating classic films including His Girl Friday, The Big Sleep, Bringing Up Baby, and Gentlemen Prefer Blondes, Howard Hawks is one of the best-known Hollywood 'auteurs', but the important role that music plays in his films has been generally neglected by film critics and scholars. In this concise study, Gregory Camp demonstrates how Hawks' use of music and musical treatment of dialogue articulate the group communication that is central to his films. In five chapters, Camp explores how the notion of 'music' in Hawks' films can be expanded beyond the film score, and the techniques by which Hawks and his collaborators (including actors, screenwriters, composers, and editors) achieve this heightened musicality.

Eudaimonia: Perspectives for Music Learning asserts the fertile applications of eudaimonia-an Aristotelian concept of human flourishing intended to explain the nature of a life well lived-for work in music learning and teaching in the 21st century. Drawing insights from within and beyond the field of music education, contributors reflect on what the "good life" means in music, highlighting issues at the core of the human experience and the heart of schooling and other educational settings. This pursuit of personal fulfillment through active engagement is considered in relation to music education as well as broader social, political, spiritual, psychological, and environmental contexts. Especially pertinent in today's complicated and contradictory world, Eudaimonia: Perspectives for Music Learning is a concise compendium on this oft-overlooked concept, providing musicians with an understanding of an ethically-guided and socially-meaningful music-learning paradigm.

The book studies the evolution of the ancient drum m?da?ga into the pakhavaj, crossing more than 2,000 years of history. While focusing on the Nathdwara school of pakhavaj, the author joins ethnographic, historical, religious and iconographic perspectives to argue a multifaceted interpretation of the role and function of the pakhavaj in royal courts, temples and contemporary stages. Furthermore, he offers the first analysis of the visual and narrative contents of its repertoire.

* Devoted solely to women's music in The Gambia through the lens of Muslim's women's performances, while other scholarship has concentrated on male musical practices and imply the non-existence of female roles* Goes beyond the health crisis of AIDS to investigate and health and well-being beyond AIDS, and to do so with an interdisciplinary approach* Current ethnographic research from field in the country for period of 12 years* Focuses on the music of kanyeleng fertility societies as well as popular dance music,

two settings for SS and piano or orchestra Both are rhythmically exuberant settings of colourful medieval texts, sparkling with vitality and humour. Orchestral material is available on hire separately for each setting.

The texts are selected from the letters of Calamity Jane to her daughter Janey, from 1880-1902. The five songs present a stirring picture of an independent woman's struggle to earn a living to support her child.

Music, as the form of art whose name derives from ancient myths, is often thought of as pure symbolic expression and associated with transcendence. Music is also a universal phenomenon and thus a profound marker of humanity. These features make music a sphere of activity where sacred and popular qualities intersect and amalgamate. In an era characterised by postsecular and postcolonial processes of religious change, re-enchantment and alternative spiritualities, the intersections of the popular and the sacred in music have become increasingly multifarious. In the book, the cultural dynamics at stake are approached by stressing the extended and multiple dimensions of the sacred and the popular, hence challenging conventional, taken-for-granted and rigid conceptualisations of both popular music and sacred music. At issue are the cultural politics of labelling music as either popular or sacred, and the disciplinary and theoretical implications of such labelling. Instead of focussing on specific genres of popular music or types of religious music, consideration centres on interrogating musical situations where a distinction between the popular and the sacred is misleading, futile and even impossible. The topic is discussed in relation to a diversity of belief systems and different repertoires of music, including classical, folk and jazz, by considering such themes as origin myths, autonomy, ingenuity and stardom, authenticity, moral ambiguity, subcultural sensibilities and political ideologies.

Early Modern Spain examines the role of music in sixteenth and seventeenth century literature and its influence on the broader Empire. This Transatlantic approach provides upper level students and researchers with an understanding of how musical ideas emanated from Spain to the Indies, but also the resonance and response from colonial subjects. Engaging with sources such as songbooks, literary tales, chronicles, opera libretti, and poetry, this book show how music influenced early modern Spanish culture, providing students and researchers with an interdisciplinary approach to understanding the history of early modern Spain and its culture. The questions of who played music, what types of music they played, and who was (not) listening are central concerns are evaluated to show educated readers how early modern Iberians saw the power of music at work in their society.

Early Modern Spain examines the role of music in sixteenth and seventeenth century literature and its influence on the broader Empire. This Transatlantic approach provides upper level students and researchers with an understanding of how musical ideas emanated from Spain to the Indies, but also the resonance and response from colonial subjects. Engaging with sources such as songbooks, literary tales, chronicles, opera libretti, and poetry, this book show how music influenced early modern Spanish culture, providing students and researchers with an interdisciplinary approach to understanding the history of early modern Spain and its culture. The questions of who played music, what types of music they played, and who was (not) listening are central concerns are evaluated to show educated readers how early modern Iberians saw the power of music at work in their society.

1) Twelve contributed essays grouped in three parts: Personal Trauma, Societal Trauma, and of the essays Theoretical Foundations. 2) Seeks to explore HOW pedagogy may support students who live with trauma 3) Witnesses the power of music to reach people of all ages in ways that enable them to process traumatic experiences

Musical Sense-Making: Enaction, Experience, and Computation broadens the scope of musical sense-making from a disembodied cognitivist approach to an experiential approach. Revolving around the definition of music as a temporal and sounding art, it argues for an interactional and experiential approach that brings together the richness of sensory experience and principles of cognitive economy. Starting from the major distinction between in-time and outside-of-time processing of the sounds, this volume provides a conceptual and operational framework for dealing with sounds in a real-time listening situation, relying heavily on the theoretical groundings of ecology, cybernetics, and systems theory, and stressing the role of epistemic interactions with the sounds. These interactions are considered from different perspectives, bringing together insights from previous theoretical groundings and more recent empirical research. The author's findings are framed within the context of the broader field of enactive and embodied cognition, recent action and perception studies, and the emerging field of neurophenomenology and dynamical systems theory. This volume will particularly appeal to scholars and researchers interested in the intersection between music, philosophy, and/or psychology.

English eighteenth-century music is comparatively neglected as an academic topic despite its increasing popularity with listeners, both on record and in the concert hall. Yet England in the eighteenth century was the scene of the liveliest and most various musical activity. The essays in this book, by leading English and American scholars, are devoted to the social and intellectual background, and to the composers who dominated the period, including Handel and Haydn.

for SAATB unaccompanied This is amongst the best-known works of the Tudor period, and holds an important place in the choral repertoire as a liturgical item for use in Holy Week and as a concert work. Includes an English singing translation.

1) Focuses specifically on middle-schoolers 2) Offers a framework and structure for a Methods course, which places the student at the center rather than the musical genre or philosophy, precisely fitting with current thinking about teaching in music education 3) Features an integrated approach to research, not relying on any one philosophy and practical classroom applications 4) Includes practical applications in the form of lesson sequences, absent from the few books focused on middle-school education

This book explores composed scores and pre-existing music in French cinema from 1985 to 2015 so as to identify critical musical moments. It shows how heritage films construct space through music, generating what Powrie calls "third space music," while also working to contain the strong women characters found in French heritage films through the use of leitmotifs and musical cues. He analyses fiction films in which the protagonists perform at the piano, showing how musical performance supports the performance of gender. Building on aspects of musical performance, and in particular the use of songs performed in films, Powrie uses a database of 300 films since 2010 to theorize the intervention of music at critical moments as a "crystal-song". Applying Roland Barthes's concept of the "punctum" and Gille Deleuze's concept of the "crystal-image," Powrie establishes the importance of the crystal-song, which reconfigures time as a crystallization of past, present and future.

Suitable for SA unaccompanied, this work contains a short and easy canonic setting.

Suitable for flute or solo soprano and SATB. The lark is depicted either by a solo soprano, as originally written, or by a flute.

This book is the first translation into the English language of a comprehensive study of opera and its constituent parts by an accomplished writer of the eighteenth century. Francesco Algarotti was concerned with developing opera as drama and a move away from the elaborate formality of the Baroque to a more naturalistic style. The Essay in its original Italian had considerable influence on the reform opera of Christoph Willibald Gluck.

This book explores the nature of the music industries before and after the digital revolution from the point of view of the consumer. Opening an essential interdisciplinary dialogue across music studies, business, and law, it applies business model literature to antitrust law offering a comprehensive history of encounters between the music industry and antitrust and regulatory authorities in the US, UK, and EU. Considering the historically consolidated environment of the music industries, and their rapidly evolving business models in the 21st century, the author argues that there is a need for updated competition design to promote consumer welfare and competition in these markets.

1) An updated study of music in the Mediterranean that reconsiders the region's status as a crossroads between Europe, Africa, and the Middle East, exploring the encounters of performance and aesthetics 2) Describes how experiences of the Mediterranean are shaped through musical performance, and attempts to explain what we can we learn by listening to the musical traditions in this Middle Sea 3) Explores art, folk, popular, and hybrid musical practices