Pop music is a deeply transmedial art form, a hybrid of images, attitudes, performances and texts. This bilingual volume examines the diverse transmedial processes in which German-language pop music and other forms of art enrich each other. It aims to make an important contribution to the emerging field of German Pop Music Studies, which is currently enjoying an upsurge in interest. Consisting of chapters by a range of scholars from both the Anglophone world and Germany, it explores how German pop music interacts transnationally with political issues as well as art forms such as film, performance art and fine art. It has a particular focus on the manifold processes of mutual exchange and hybridization between German-language literature and German pop music. The artists examined include Kraftwerk, Einsturzende Neubauten, Tocotronic, Ja, Panik, Gerhard Richter and R. W. Fassbinder. Dieser zweisprachige Band untersucht die vielfaltigen transmedialen Prozesse, in denen sich deutschsprachige Pop-Musik und Kunstrichtungen wie Film, Kunst oder Performance gegenseitig befruchten. Er versteht sich damit als deutsch-britischer Bruckenschlag, der die sich in der englischen Germanistik herausbildende German Pop Music Studies an die deutschen Vorarbeiten anzuschliessen sucht. Ein besonderer Fokus des Bandes liegt auf den vielgestaltigen Interaktionen zwischen deutscher Pop-Musik und Literatur.

This book interrogates the notion of belonging through musicing rituals in the South African context. The authors raise questions such as "What can we learn from musicing rituals?", "What does it mean to belong through musicing?" and "In what ways could musicing address marginalization and transform a broken society?" To answer these questions, the editors employ a range of perspectives from micro-sociological theory to personal accounts of marginalization and belonging through musicing. The contributors employ both established and novel qualitative strategies of inquiry including case studies, narrative inquiry, performative autoethnography, practice as research, and interpretive phenomenological analysis, amongst others. Although this book focuses on musicing in the South African context, international readers will also benefit from the rich theoretical and methodological contributions in this volume. It investigates the potentiality of cultivating a sense of belonging through musicing rituals to heal a mutilated world. The contributions will inform and enhance readers' repertoire of musicing strategies in both community and educational contexts. This work is based on the research supported in part by the National Research Foundation of South Africa (Grant Numbers: 118579). The Grantholder, Prof Liesl van der Merwe, acknowledges that opinions, findings and conclusions or recommendations expressed in Ritualised Belonging, generated by the NRF supported research (Grant Numbers: 118579), is that of the authors, and that the NRF accepts no liability whatsoever in this regard.

for unaccompanied SATB chorus, with soprano and tenor soloists This setting of a popular spiritual is unique with its rich solos and their expressive ornaments. It makes for a very exciting piece and is ideal for a state music festival or concert.

This book explores how we can understand the place of music from a self psychological perspective, by investigating three journeys: the one we take when listening to music, the literal journey of the author from Nazi Germany to the United States, and the subjective round-trip between the past and the present. Drawing on the work of Heinz Kohut, the author examines how music can provide us with a way to reconnect with a sense of self, and how this can manifest in psychological and physical ways. There is particular reference to the work of Richard Wagner, Cole Porter, and Richard Strauss, and an examination of how their music enabled them, in times of stress and crisis, to restore and maintain a more positive sense of self. Finally, the book looks back at the author's own experiences of music and the place of music in the Jewish world. With clinical excerpts, personal narrative, and sophisticated psychoanalytic insights, this book will appeal to all psychoanalysts wanting to understand the place of music in shaping the psyche, as well as music scholars wishing to gain a deeper appreciation of the psychology of music.

This book examines the collection and curation of music, and the way digital streaming services are transforming the way we engage with the media. The study foregrounds personal digital curation techniques, rather than algorithms or technology, to acknowledge the sustaining human agency involved in playlisting. The author looks at Digital Service Providers such as Spotify, Apple and Deezer, which offer their users not just access to large collections of music, but also the opportunity to create and maintain personalised consumption subsets such as playlists. Positioning these current playlisting practices as a remediation of significant cultural practices of the 20th century - such as collecting records and mix-taping - the book highlights the continuity of culture through media change, and the implications for concepts of self and identity, society and sharing. Shedding new light on this contemporary cultural phenomenon, this book will be an important read for scholars who are interested in the area of digital music from different disciplines such as communication, digital humanities and social sciences in fields of media studies, digital cultures, personal information management, digital curation and popular music.

This book explores how we can understand the place of music from a self psychological perspective, by investigating three journeys: the one we take when listening to music, the literal journey of the author from Nazi Germany to the United States, and the subjective round-trip between the past and the present. Drawing on the work of Heinz Kohut, the author examines how music can provide us with a way to reconnect with a sense of self, and how this can manifest in psychological and physical ways. There is particular reference to the work of Richard Wagner, Cole Porter, and Richard Strauss, and an examination of how their music enabled them, in times of stress and crisis, to restore and maintain a more positive sense of self. Finally, the book looks back at the author's own experiences of music and the place of music in the Jewish world. With clinical excerpts, personal narrative, and sophisticated psychoanalytic insights, this book will appeal to all psychoanalysts wanting to understand the place of music in shaping the psyche, as well as music scholars wishing to gain a deeper appreciation of the psychology of music.

An anthem for soprano or baritone soloist, with SATB and an instrumental obbligato for flute, oboe, or organ.

1) First published book on the revival of Cornish music and dance and the first extended history of music and dance in Cornwall. 2) Based on a combination of qualitative fieldwork and expert interviews, and a meticulous study of the historical and revival material

France has a long and rich music history that has had a far-reaching impact upon music and cultures around the world. This accessible Companion provides a comprehensive introduction to the music of France. With chapters on a range of music genres, internationally renowned authors survey music-making from the early middle ages to the present day. The first part provides a complete chronological history structured around key historical events. The second part considers opera and ballet and their institutions and works, and the third part explores traditional and popular music. In the final part, contributors analyse five themes and topics, including the early church and its institutions, manuscript sources, the musical aesthetics of the Siecle des Lumieres, and music at the court during the ancien regime. Illustrated with photographs and music examples, this book will be essential reading for both students and music lovers."

Contains a collection of reflections, variations, and meditations upon some favourite Gershwin songs.

This volume problematizes the historic dominance of Western classical music education and posits culturally sustaining pedagogy (CSP) as a framework through which music curricula can better serve increasingly diverse student populations. By detailing a qualitative study conducted in an urban high school in the United States, the volume illustrates how traditional approaches to music education can inhibit student engagement and learning. Moving beyond culturally responsive teaching, the volume goes on to demonstrate how enhancing teachers' understanding of alternative musical epistemologies can support them in embracing CSP in the music classroom. This new theoretical and pedagogical framework reconceptualizes current practices to better sustain the musical cultures of the minoritized. This text will benefit researchers, academics, and educators with an interest in music education, multicultural education, and urban education more broadly. Those specifically interested in ethnomusicology and classroom practice will also benefit from this book.

* The convergence framework of career learning and career counselling theories is a timely addition to the growing literature on musician employability and knowledge management * This is not a "how to" book; the focus is placed upon providing young musicians with a framework for helping them to learn what they need to learn, and understanding themselves in their chosen career * Offers educators an effective summary of some career development and career counselling theories that they may be unfamiliar with, and in so doing provides an opportunity for new learning and ideas

This book explores the various ways in which individuals use music and culture to understand and respond to changes in their natural and built environments. Drawing on over 15 years of ethnographic fieldwork, interviews, and participant observation, the author develops the thesis that the relationships, networks, and intimate forms of social interaction in the "portable" community cultivated at bluegrass festival events are significant cultural formations that shape participants' relationships to their localities. With specific attention to the ways in which the strength of these relationships are translated into meaningful sites of community identity, place, and action following devastating local floods that destroyed homes and businesses, displacing residents for years, The Portable Community: Place and Displacement in Bluegrass Festival Life sheds light on the strength of such communities when tested and under external threat. A study of the central role of arts and music in grappling with social and environmental change, including their role in facilitating disaster relief and recovery, this volume will appeal to scholars of sociology with interests in symbolic interactionism, the sociology of music, culture, and the sociology of disaster.

How do nations come to shape our collective imagination so profoundly? This book argues that the power of national identity and national belonging stems, in part, from the ways in which nationalism is embedded in popular culture. Comprised of chapters covering a wide range of cases from both the Global North and Global South (including Argentina, Australia, Canada, Europe, Israel, Pakistan, and the United States), the text unpacks the connections between nationalism and film, television, music, and other facets of everyday culture. In doing so, it demonstrates that popular culture can help us understand why and how nationhood has become so deeply entrenched in modern society. This book will be of interest to scholars of political science, nationalism, sociology, history, media studies, and cultural studies.

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the priest has been performed at all subsequent coronations, and Handel's other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel's score, and complete details of sources and editorial method, additional performance notes, and a critical commentary can be viewed in the companion full score available on hire.

Throughout the long nineteenth-century the sounds of liberty resonated across the Anglophone world. Focusing on radicals and reformers committed to the struggle for a better future, this book explores the role of music in the transmission of political culture over time and distance. Following in the footsteps of relentlessly travelling activists - women and men - it brings to light the importance of music making in the lived experience of politics. It shows how music encouraged, unified, divided, consoled, reminded, inspired and, at times, oppressed. The book examines iconic songs; the sound of music as radicals and reformers were marching, electioneering, celebrating, commemorating as well as striking, rioting and rebelling; and it listens within the walls of a range of associations where it was a part of a way of life, inspiring, nurturing, though at times restrictive. It provides an opportunity to hear history as it happened. -- .

Early modern audiences, readerships, and viewerships were not homogenous. Differences in status, education, language, wealth, and experience (to name only a few variables) could influence how a group of people, or a particular person, received and made sense of sermons, public proclamations, dramatic and musical performances, images, objects, and spaces. The ways in which each of these were framed and executed could have a serious impact on their relevance and effectiveness. The chapters in this volume explore the ways in which authors, poets, artists, preachers, theologians, playwrights, and performers took account of and encoded pluriform potential audiences, readers, and viewers in their works, and how these varied parties encountered and responded to these works. The contributors here investigate these complex interactions through a variety of critical and methodological lenses.

These pieces were originally improvisations, and they must be played spontaneously as improvisations are played. Freedom, clarity, and fun should characterize performances of the music.

Given the rapid development of new technologies such as smart devices, robots, and artificial intelligence and their impact on the lives of people and on society, it is important and urgent to construct conceptual frameworks that help us to understand and evaluate them. Benefiting from tendencies towards a performative turn in the humanities and social sciences, drawing on thinking about the performing arts, and responding to gaps in contemporary artefact-oriented philosophy of technology, this book moves thinking about technology forward by using performance as a metaphor to understand and evaluate what we do with technology and what technology does with us. Focusing on the themes of knowledge/experience, agency, and power, and discussing some pertinent ethical issues such as deception, the narrative of the book moves through a number of performance practices: dance, theatre, music, stage magic, and (perhaps surprisingly) philosophy. These are used as sources for metaphors to think about technology-in particular contemporary devices and machines-and as interfaces to bring in various theories that are not usually employed in philosophy of technology. The result is a sequence of gestures and movements towards a performance-oriented conceptual framework for a thinking about technology which, liberated from the static, vision-centred, and dualistic metaphors offered by traditional philosophy, can do more justice to the phenomenology of our daily embodied, social, kinetic, temporal, and narrative performances with technology, our technoperformances. This book will appeal to scholars of philosophy of technology and performance studies who are interested in reconceptualizing the roles and impact of modern technology.

Film Music in the Sound Era: A Research and Information Guide offers a comprehensive bibliography of scholarship on music in sound film (1927-2017). Thematically organized sections cover historical studies, studies of musicians and filmmakers, genre studies, theory and aesthetics, and other key aspects of film music studies. Broad coverage of works from around the globe, paired with robust indexes and thorough cross-referencing, make this research guide an invaluable tool for all scholars and students investigating the intersection of music and film. This guide is published in two volumes: Volume 1: Histories, Theories, and Genres covers overviews, historical surveys, theory and criticism, studies of film genres, and case studies of individual films. Volume 2: People, Cultures, and Contexts covers individual people, social and cultural studies, studies of musical genre, pedagogy, and the Industry. A complete index is included in each volume.

Film Music in the Sound Era: A Research and Information Guide offers a comprehensive bibliography of scholarship on music in sound film (1927-2017). Thematically organized sections cover historical studies, studies of musicians and filmmakers, genre studies, theory and aesthetics, and other key aspects of film music studies. Broad coverage of works from around the globe, paired with robust indexes and thorough cross-referencing, make this research guide an invaluable tool for all scholars and students investigating the intersection of music and film. This guide is published in two volumes: Volume 1: Histories, Theories, and Genres covers overviews, historical surveys, theory and criticism, studies of film genres, and case studies of individual films. Volume 2: People, Cultures, and Contexts covers individual people, social and cultural studies, studies of musical genre, pedagogy, and the Industry. A complete index is included in each volume.

Educating Musicians for Sustainability explores the intersections of sustainability and music, investigating how sustainability affects the development and professional preparation of musicians while asking the question, 'What does sustainability have to do with music?' The volume presents a series of case studies organised according to an expanded view of the 'four pillars of sustainability', addressing cultural, environmental, economic, and social concerns. These case studies reveal a multitude of intersections, highlighting the crucial role music can play in raising awareness and overcoming the crisis of sustainability. In examining pedagogical and practical implications, aspiring musicians are encouraged to develop a broader view of the musical profession as a human endeavour, one that is intimately related to the world in which they live. Educating Musicians for Sustainability addresses the most pressing and serious problem of contemporary times - and seeks to inspire changes in attitudes and behaviour, for the benefit of all of humanity.