Music, the Moving Image and Ireland, 1897-2017 constitutes the first comprehensive study of music for screen productions from or relating to the island. It identifies and interprets tendencies over the first 120 years of a field comprising the relatively distinct yet often overlapping areas of Irish-themed and Irish-produced film. Dividing into three parts, the book first explores accompaniments and scores for 20th-century Irish-themed narrative features that resulted in significant contributions by many Hollywood, British, continental European and, to a lesser extent, Irish composers; along with the input of many orchestras and other musicians. Its second part is framed by a consideration of various cultural, political and economic developments in both the Republic of Ireland and Northern Ireland from the 1920s (including the Troubles of 1968-1998).

This edition presents Faure's masterpiece in a form which accords with his original intention that it should be a liturgical Requiem with accompaniment of organ and chamber ensemble. The 1893 version is an expansion of Faure's original, prepared by the composer for a performance at the Church of the Madeleine in Paris and containing two additional movements, the Offertoire and the Libera me. In contrast to the fully orchestrated version that was published in 1900, this edition preserves the original chamber instrumentation, and it also contains a full English translation by John Rutter. Complete orchestral and vocal material is available on hire/rental, and the vocal score, full score, and parts are also available on sale.

This edition presents Faure's masterpiece in a form which accords with his original intention that it should be a liturgical Requiem with accompaniment of organ and chamber ensemble. The 1893 version is an expansion of Faure's original, prepared by the composer for a performance at the Church of the Madeleine in Paris and containing two additional movements, the Offertoire and the Libera me. In contrast to the fully orchestrated version that was published in 1900, this edition preserves the original chamber instrumentation, and it also contains a full English translation by John Rutter. Complete orchestral and vocal material is available on hire/rental, and the vocal score, full score, and parts are also available on sale.

Business schools are placing more emphasis on the role of business in society. Top business school accreditors are shifting to mandating that schools teach their students about the social impact of business, including AACSB standards to require the incorporation of business impact on society into all elements of accredited institutions. Researchers are also increasingly focused on issues related to sustainability, but in particular to business and peace as a field. A strong strain of scholarship argues that ethics is nurtured by emotions and through aesthetic quests for moral excellence. The arts (and music as shown specifically in this book) can be a resource to nudge positive emotions in the direction toward ethical behavior and, logically, then toward peace. Business provides a model for positive interactions that not only foster long-term successful business but also incrementally influences society. This book provides an opportunity for integration and recognition of how music (and other art forms) can further encourage business toward the direction of peace while business provides a platform for the dissemination and modeling of the positive capabilities of music toward the aims of peace in the world today. The primary market for this book is the academic audience. Unlike many other academic books, however, the interdisciplinary nature of the book allows for multiple academic audiences. Thus, this book reaches into schools of music, business, political science, film studies, sports and society studies, the humanities, ethics and, of course, peace studies.

This edition presents Faure's masterpiece in a form which accords with his original intention that it should be a liturgical Requiem with accompaniment of organ and chamber ensemble. The 1893 version is an expansion of Faure's original, prepared by the composer for a performance at the Church of the Madeleine in Paris and containing two additional movements, the Offertoire and the Libera me. In contrast to the fully orchestrated version that was published in 1900, this edition preserves the original chamber instrumentation, and it also contains a full English translation by John Rutter. Complete orchestral and vocal material is available on hire/rental, and the vocal score, full score, and parts are also available on sale.

Social Partner Dance: Body, Sound, and Space is an ethnographic theory of social partner dancing built on participant observation and interviews with instructors of tango, lindy hop, salsa, blues, and various other forms. The work establishes a general analytical language for the study of these dances, based on the premise that a thorough understanding of any lead/follow form must consider in depth how it manages the four-part relationship between self, partner, music, and surroundings. Each chapter begins with a brief vignette on a distinct dance form and explores the focused worlds of partnered dancing done for the joy and entertainment of the dancers themselves. Grounded intellectually in embodiment studies and sensory ethnography, and empirically in ethnographic fieldwork, Social Partner Dance promotes scholarship that understands the social, cultural, and political functions of partner dance through its embodied practice.

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.

Scottish Dance Beyond 1805 presents a history of Scottish music and dance over the last 200 years, with a focus on sources originating in Aberdeenshire, when steps could be adapted in any way the dancer pleased. The book explains the major changes in the way that dance was taught and performed by chronicling the shift from individual dancing masters to professional, licensed members of regulatory societies. This ethnographical study assesses how dances such as the Highland Fling have been altered and how standardisation has affected contemporary Highland dance and music, by examining the experience of dancers and pipers. It considers reactions to regulation and standardisation through the introduction to Scotland of percussive step dance and caller-facilitated ceilidh dancing. Today's Highland dancing is a standardised and international form of dance. This book tells the story of what changed over the last 200 years and why. It unfolds through a series of colourful characters, through the dances they taught and the music they danced to and through the story of one dance in particular, the Highland Fling. It considers how Scottish dance reflected changes in Scottish society and culture. The book will be of interest to scholars and postgraduates in the fields of Dance History, Ethnomusicology, Ethnochoreology, Ethnology and Folklore, Cultural History, Scottish Studies and Scottish Traditional Music as well as to teachers, judges and practitioners of Highland dancing and to those interested in the history of Scottish dance, music and culture.

* 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,

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.

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.

Intended for SATB choir and baritone solo, with piano or orchestra, this carol is taken from The Wind in the Willows.

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.

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.

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.

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

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

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.

What is the body when it performs music? And what, conversely, is music as it reverberates through or pours out of a performing body? Tekla Bude starts from a simple premise—that music requires a body to perform it—to rethink the relationship between music, matter, and the body in the late medieval period. Progressing by way of a series of case studies of texts by Richard Rolle, Walter Hilton, Margery Kempe, Geoffrey Chaucer, William Langland, and others, Bude argues that writers thought of "music" and "the body" not as separate objects or ontologically prior categories, but as mutually dependent and historically determined processes that called each other into being in complex and shifting ways. For Bude, these "sonic bodies" are often unexpected, peculiar, even bizarre, and challenge our understanding of their constitutive parts. Building on recent conversations about embodiment and the voice in literary criticism and music theory, Sonic Bodies makes two major interventions across these fields: first, it broadens the definitional ambits and functions of both "music" and "the body" in the medieval period; and second, it demonstrates how embodiment and musicality are deeply and multiply intertwined in medieval writing. Compelling literary subjects, Bude argues, are literally built out of musical situations.

This volume will contain selected proceedings from the 2013 Symposium on Music Teacher Education, sponsored by NAfME's Society for Music Teacher Education and hosted at University of North Carolina. After an introduction written by SMTE Chair, Doug Orzolek, the initial chapter will represent the keynote address of the symposium by Karen Hammerness, Director of Program Research for the Bard Master of Arts in Teaching Program. Hammerness will bring her comparative work with music teacher educators in Finland and Norway to bear in her address: From Inspiring Visions to Everyday Practices: Exploring Vision and Practice in Music Teacher Education. Hammerness's research distills into three main themes. To mitigate against the fragmentation that characterizes so much of contemporary education, teacher education programs must: 1) promote a clear vision of teachers and teaching; 2) be coherent, reflecting shared understanding of teaching and learning among faculty and students; 3) be built around a strong, core curriculum that is deeply tied to the practices of teaching. These three themes will orient the remainder of chapters in the volume, which will come from invited primary presenters at the 2013 Symposium. Due to selectivity of blind peer review (twenty-one percent accept rate), these presentations represent the most rigorous research, and best practices grounded in research, that the music education profession has to offer.

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.

Music was everywhere in pre-Revolutionary Williamsburg, Virginia. In 1771, plantation owner Landon Carter noted in his diary that he could hear instruments through the windows of every house in town. In taverns and private homes, at formal performances and dances and casually around the campfire, music filled the daily lives of the people of Williamsburg. While the average citizen enjoyed music during public events, the city's elite, emulating their British counterparts, spent lavishly on instruments, sheet music and private lessons and held private concerts and dances. Williamsburg's theater, the first of its kind in America, provided a venue for all Virginians and brought numerous musical acts to the stage. Drawing on contemporary newspaper accounts, this book is the first to explore how some 18th-century Williamsburg citizens experienced the growing musical world around them.