Maternal Representations in Twenty-First Century Broadway Musicals: Stage Mothers analyzes Broadway productions within the context of their presentation and assessment of motherhood and the variety of roles for mother figures. Using a frame of feminist and psychoanalytical positions, Gina MacKenzie establishes, defines, and interprets mother figures in contemporary Broadway, according to original categorizations of the absent, inconsequential, and overbearing mothers. MacKenzie considers how and why commercial representation of mother figures are limited and predominantly negative, even as fiction, poetry, and other forms of drama offer a much wider and progressive view of the varieties of motherhood possible in society, asserting the need for greater representation of mother figures in commercial musical theatre today.

History, Opera, Music, Stage, Voice, Theatre, Performance

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.

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.

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.

Coupling the narratives of twenty-two Irish traditional musicians alongside intensive field research, Becoming an Irish Traditional Musician explores the rich and diverse ways traditional musicians hone their craft. It details the educational benefits and challenges associated with each learning practice, outlining the motivations and obstacles learners experience during musical development. By exploring learning from the point of view of the learners themselves, the author provides new insights into modern Irish traditional music culture and how people begin to embody a musical tradition. This book charts the journey of becoming an Irish traditional musician and explores how musicality is learned, developed, and embodied.

Start your music career off right with this fun guide to the music industry Music Business For Dummies explains the ins and outs of the music industry for artists and business people just starting out. You'll learn how file-sharing, streaming, and iTunes have transformed the industry, and how to navigate your way through the new distribution models to capitalize on your work. It all begins with the right team, and this practical guide explains who you need to have on your side as you begin to grow and get more exposure. Coverage includes rehearsing, performing, recording, publishing, copyrights, royalties, and much more, giving you the information you need to start your career off smart. Music industry success has never been easy to achieve, and recent transformations and disruptions to the business side have made the whole idea even more daunting than before. This guide gives you a roadmap around the landmines, and provides expert advice for starting out on the right foot. * Find the right players, agents, and business managers * Make more money from your work with smart distribution * Build your brand and get people talking about you * Get gigs, go on tour, and keep on growing If music is your calling, you need to plan your career in a way that sets you up for success from the very beginning. Put the right people in place, get the most out of your investments, and learn how to work the crowd both virtually and in person. Music Business For Dummies is your companion on your journey to the music career you want.

A sweeping history of Ethiopian musicians during and following the 1974 Ethiopian revolution. Sing and Sing On is the first study of the forced migration of musicians out of the Horn of Africa dating from the 1974 Ethiopian revolution, a political event that overthrew one of the world's oldest monarchies and installed a brutal military regime. Musicians were among the first to depart the region, their lives shattered by revolutionary violence, curfews, and civil war. Reconstructing the memories of forced migration, Sing and Sing On traces the challenges musicians faced amidst revolutionary violence and the critical role they played in building communities abroad. Drawing on the recollections of dozens of musicians, Sing and Sing On details personal, cultural, and economic hardships experienced by musicians who have resettled in new locales abroad. Kay Kaufman Shelemay highlights their many artistic and social initiatives and the ways they have offered inspiration and leadership within and beyond a rapidly growing Ethiopian American diaspora. While musicians held this role as sentinels in Ethiopian culture long before the revolution began, it has taken on new meanings and contours in the Ethiopian diaspora. The book details the ongoing creativity of these musicians while exploring the attraction of return to their Ethiopian homeland over the course of decades abroad. Ultimately, Shelemay shows that musicians are uniquely positioned to serve this sentinel role as both guardians and challengers of cultural heritage.

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.

Music was one of the first casualties of the Iranian Revolution. It was banned in 1979, but it quickly crept back into Iranian culture and politics. The state made use of music for its propaganda during the Iran-Iraq war. Over time music provided an important political space where artists and audiences could engage in social and political debate. Now, more than thirty-five years on, both the children of the revolution and their music have come of age. Soundtrack of the Revolution offers a striking account of Iranian culture, politics, and social change to provide an alternative history of the Islamic Republic. Drawing on over five years of research in Iran, including during the 2009 protests, Nahid Siamdoust introduces a full cast of characters, from musicians and audience members to state officials, and takes readers into concert halls and underground performances, as well as the state licensing and censorship offices. She closely follows the work of four musicians-a giant of Persian classical music, a government-supported pop star, a rebel rock-and-roller, and an underground rapper-each with markedly different political views and relations with the Iranian government. Taken together, these examinations of musicians and their music shed light on issues at the heart of debates in Iran-about its future and identity, changing notions of religious belief, and the quest for political freedom. Siamdoust shows that even as state authorities resolve, for now, to allow greater freedoms to Iran's majority young population, they retain control and can punish those who stray too far. But music will continue to offer an opening for debate and defiance. As the 2009 Green Uprising and the 1979 Revolution before it have proven, the invocation of a potent melody or musical verse can unite strangers into a powerful public.

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

The 1920s were a time of wonder and flux, when Australians sensed a world growing smaller, turning faster-and, for some, skittering off balance. American movies, music and dance brought together what racial lines kept apart. A spirit of youthful rebellion collided with the promise of racial perfectibility, stirring deep anxieties in white nationalists and moral reformers. African-American jazz represented the type of modernism that cosmopolitan Australians craved-and the champions of White Australia feared.Enter Sonny Clay's Colored Idea. Snuck in under the wire by an astute promoter, the Harlem-style revue broke from the usual blackface minstrel fare, delivering sophisticated, liberating rhythms. The story of their Australian tour is a tale of conspiracy-a secret plan to kick out and keep out 'undesirable' expressions of modernism, music and race. From the wild jazz clubs of Prohibition-era LA to Indigenous women discovering a new world of black resistance, this anatomy of a scandal-fuelled frame-up brings into focus a vibrant cast of characters from Australia's Jazz Age.

dancehall, dance and performance studies, sociology, cultural geography, anthropology, post-colonial studies, diaspora studies, musicology, and gender studies.

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

Suitable for unison voices with a simplified piano accompaniment.

Suitable for unison voices and organ with optional SATB choir.

Desired Artistic Outcomes in Music Performance is about empowering musicians to achieve their professional and personal goals in music. The narrative argues that developing musicians should be supported in conceptualizing and achieving their desired artistic outcomes (DAO), as these have been recognized as key elements in a successful career transition in and beyond their studies in higher education. The text explores the nature of DAO and illustrates how higher education students can be enabled to explore and develop these. The book draws on the findings from a range of exploratory studies which: Bring to light connections between contemporary topics in music, such as artistic research and career development; Contribute to existing discussions on innovative pedagogical approaches in higher education in music; and Offer theoretical models to support the broad artistic and professional development in young musicians. This is a text grounded in theory and practice, and which draws on case study examples, as well as historical perspectives and coverage of contemporary issues regarding employment in the music industries. The book will be of particular interest to aspiring music professionals and all those working in the areas of Music Education, Performance Studies and Artistic Research.