Everyday Musical Life among the Indigenous Bunun, Taiwan contributes to multidisciplinary research on music in everyday human life by pushing beyond the urbanized Western populations routinely featured in such writing. Based on ethnographic study in Buklavu, a village in southern Taiwan mostly inhabited by the indigenous Bunun, the book explores villagers' contemporaneous musical engagements and pathways, paying heed both to imported music-such as TV theme tunes, karaoke singing, church hymns-and to the transformation of Bunun traditions through school and community interventions and folkloric festivals. The case study underpins a new, widely applicable, theoretical model for the study of music in everyday life in global society which is historically engaged, sensitive to individual and group diversity, cognizant of the interplay of the mundane and the exceptional, and primed to support applied research.

This book provides a thorough analysis of terpsichorean lexis in Renaissance drama. Besides considering not only the Shakespearean canon but also the Bard's contemporaries (e.g., dramatists as John Marston and Ben Jonson among the most refined Renaissance dance aficionados), the originality of this volume is highlighted in both its methodology and structure. As far as methods of analysis are concerned, corpora such as the VEP Early Modern Drama collection and EEBO, and corpus analysis tools such as #LancsBox are used in order to offer the widest range of examples possible from early modern plays and provide co-textual references for each dance. Examples from Renaissance playwrights are fundamental for the analysis of connotative meanings of the dances listed and their performative, poetic and metaphoric role in sixteenth- and seventeenth-century drama. This study will be of great interest to Renaissance researchers, lexicographers and dance historians.

This book provides an overview of professional musicians working within the healthcare system and explores programs that bring music into the environment of the hospital. Far from being onstage, musicians in the hospital provide musical engagement for patients and healthcare providers focused on life-and-death issues. Music in healthcare offers a new and growing area for musical careers, distinct from the field of music therapy in which music is engaged to advance defined clinical goals. Rather, this volume considers what happens when musicians interact with the clinical environment as artists, and how musical careers and artistic practices can develop through work in a hospital setting. It outlines the specialized skills and training required to navigate safely and effectively within the healthcare context. The contributors draw on their experiences with collaborations between the performing arts and medicine at Boston University/Boston Medical Center, University of Florida/UF Health Shands Hospital, and the Peabody Institute/Johns Hopkins Medicine. These experiences, as well as the experiences of artists spotlighted throughout the volume, offer stories of thriving artistic practices and collaborations that outline a new field for tomorrow's musical artists.

Olivia A. Bloechl reconceives the history of French and English music from the sixteenth through to the eighteenth century from the perspective of colonial history. She demonstrates how encounters with Native American music in the early years of colonization changed the course of European music history. Colonial wealth provided for sumptuous and elite musical display, and American musical practices, materials, and ideas fed Europeans' taste for exoticism, as in the masques, ballets, and operas discussed here. The gradual association of Native American song with derogatory stereotypes of musical 'savagery' pressed Europeans to distinguish their own music as civilized and rational. Drawing on evidence from a wide array of musical, linguistic, and visual sources, this book demonstrates that early American colonization shaped European music cultures in fundamental ways, and it offers a fresh, politically and transculturally informed approach to the study of music in the early colonial Atlantic world.

Tracing the Mbira Sound Archive in Zimbabwe analyses the revitalisation and repatriation of historical recordings from the largest sound archive in Africa, the International Library of African Music (ILAM). It provides a postcolonial study on the African sound archive divided into three historical periods: the colonial period offers a critical analysis on how ILAM classifies its music through ethnic and linguistic groups; the postcolonial period reconsiders postcolonial nationhood, new/old mobility and cultural border crossing in present Africa; and the recent period of repatriation focuses on the author's revitalisation of the sound archive. The main goal of this study is to reconsider the colonial demarcations of southern African mbira music provided by the International Library of African Music (ILAM). These mbira recordings reveal that the harmonic system used in different lamellophones (or mbiras) in southern Africa is musically related. The analysis of sound archives in Africa is an essential tool to envision the new ways in which African culture can be directed not only from postcolonial notions of nationhood or Afrocentric discourses but also for the necessity of bringing awareness of the circulation of musical cultures from and beyond colonial African borders.

Constructing a Personal Orientation to Music Teaching: Growth, Inquiry, and Agency, (Second Edition), is a textbook for studies in music education. Expanding upon the first edition, the authors promote inquiry and reflection to facilitate teacher growth, lifelong learning, and a disposition toward educational change. The revised text responds to current calls for social change and teacher education reform by reaffirming and intensifying the need for music teachers to adopt a personal orientation toward their work. A personal orientation encourages teachers to initiate their own growth, engage in inquiry, and exercise agency in school contexts. Strongly grounded in current theories and research in teacher education, Constructing a Personal Orientation to Music Teaching: Growth, Inquiry, and Agency strives to do the following: Engage readers in analyzing their own experiences in order to conceptualize the complexity of teaching Involve them in clarifying their reasons for seeking a career in teaching Support their insights, questions, and reflections about their work Promote a reflective, critical attitude about schools in general as music teachers are urged to think of themselves as change agents in school settings Construct a moral purpose as a compass to guide their current and future endeavors in the profession. Every chapter includes a wealth of pedagogical features, including new methodologies and examples of practice to engage the readers in processes of inquiry and reflection. The second edition is organized in two parts. Part I focuses on positioning music teachers as learners in the profession, significantly expanding concepts explored in the first edition that are central to a personal orientation to professional growth. In the new edition, a reconceptualized Chapter 5 challenges teachers to cultivate their identities as change agents. The second half of the book-focusing on becoming a student of music teaching- features five new chapters. A provocative chapter on curriculum sets the stage for a set of additional chapters that invite deeper considerations of the commonplaces of teacher, learners, subject matter, and context. An epilogue speaks directly to the power of agency, imagination, and hope in teachers' lives.

- Presenting a cutting-edge framework which will be of interest to both aspiring and practicing professionals in sound design for all manner of media - Author has impressive professional credentials, with more than 700 IMDb credits. - An excellent addition to our growing 'Sound Design' series

This volume seeks to offer a new approach to the study of music through the lens of recent works in science and technology studies (STS), which propose that facts are neither absolute truths, nor completely relative, but emerge from an intensely collective process of construction. Applied to the study of music, this approach enables us to reconcile the human, social, factual, and technological aspects of the musical world, and opens the prospect of new areas of inquiry in musicology and sound studies. Rethinking Music through Science and Technology Studies draws together a wide range of both leading and emerging scholars to offer a critical survey of STS applications to music studies, considering topics ranging from classical music instrument-making to the ethos of DIY in punk music. The book's four sections focus on key areas of music study that are impacted by STS: organology, sound studies, music history, and epistemology. Raising crucial methodological and epistemological questions about the study of music, this book will be relevant to scholars studying the interactions between music, culture, and technology from many disciplinary perspectives.

This book examines the depiction of the Delta region of Nigeria through literature and other cultural art forms. The Niger Delta has been thrust into the global limelight due to resource extraction and conflict, but it is also a region with a rich culture, environment, and heritage. The creative imagination of the area's artists has been fuelled by the area's pressing concerns of indigenous peoples, minority discourse, environmental degradation, climate change, multinational corporations' greed, dictatorship, and people's struggle for control of their resources. Taking a holistic approach to the Niger Delta experience, this book showcases artistic responses from literature, visual arts, and performances (such as masquerades, dances, and festivals). Chapters cover authors, artists, and performers such as Ben Okri, Ken Saro-Wiwa, Isidore Okpewho, J.P. Clark, and Bruce Onobrakpeya, as well as topics like the famous Benin bronze figures and Urhobo Udje dance. Affirming the wealth and diversity of the region which continues to inspire creative artistic productions, The Literature and Arts of the Niger Delta will be of interest to researchers of African literature, arts, and other cultural productions.

Music at the Intersection of Brazilian Culture takes an interdisciplinary approach by utilizing several aspects of Brazilian music, race, and food as a window to understanding Brazilian culture, with music at the core. Through a holistic understanding of the Brazilian experience - exploring issues of race, colonization, sustainable development, and the contributions of the three distinct ethnic groups in the making of Brazil - the authors create a narrative based on their own recollection of memories, traditions, customs, sounds, and landscapes that they experienced in Brazil. Each engaging section begins with an overview of the topic that places it in historical context, and then focuses on each subtopic with a thorough presentation of the content as well as suggested activities that can be implemented in the classroom. The chapters conclude with a list of useful references, resources, and audio recording examples, which are available on Spotify, to present readers with a musical landscape of the folktales. These can be found online via the Routledge catalogue page for this book. This book is an essential resource for students and teachers of music and cultural studies, as it unpicks complex issues to help readers better understand and appreciate Brazilian culture.

The relationship between musical activity and ethical significance occupies long traditions of thought and reflection both within Christianity and beyond. From concerns regarding music and the passions in early Christian writings through to moral panics regarding rock music in the 20th century, Christians have often gravitated to the view that music can become morally weighted, building a range of normative practices and prescriptions upon particular modes of ethical judgment. But how should we think about ethics and Christian musical activity in the contemporary world? As studies of Christian musicking have moved to incorporate the experiences, agencies, and relationships of congregations, ethical questions have become implicit in new ways in a range of recent research - how do communities negotiate questions of value in music? How are processes of encounter with a variety of different others negotiated through musical activity? What responsibilities arise within musical communities? This volume seeks to expand this conversation. Divided into four sections, the book covers the relationship of Christian musicking to the body; responsibilities and values; identity and encounter; and notions of the self. The result is a wide-ranging perspective on music as an ethical practice, particularly as it relates to contemporary religious and spiritual communities. This collection is an important milestone at the intersection of ethnomusicology, musicology, religious studies and theology. It will be a vital reference for scholars and practitioners reflecting on the values and practices of worshipping communities in the contemporary world.

During the last thirty years Eastern Europe has been a place of radical political, economic, and social transformation, and these changes have affected the cultural industries of its countries. This volume consists of twelve chapters by leading international researchers. Stories are documented of various organisations that once dominated the 'communist music industries' - such as state-owned record companies, music festivals, and collecting societies. The strategies employed by artists and industries to join international music markets after the fall of communism are explained and evaluated. Political and economic transformations that coincided with the advent of digitalisation and the Internet intensified the changes. All these issues posed challenges both to record labels and artists who, after adjusting to the rules of the free-market economy, were faced with the falling record sales of records caused by the advent of new communication technologies. This book examines how these processes have all affected the music scene, industries, and markets in various Eastern European countries.

This book uses the Afro-Brazilian art of capoeira to examine how security has been pursued from below and what significance this has for security analysis and policy. Illegal at the beginning of the twentieth century, capoeira is now a cultural institution and export that is protected by the Brazilian state and recognised by UNESCO, with capoeira players protecting and promoting their interests through the practice and development of their art. The book brings the musical and corporeal narrative from capoeira into conversation with debates on security; these have typically been dominated by northern, white, military voices, and as a result, the perspective of the weaker player is routinely overlooked in security literature and policy making. Bringing the perspective of the weaker party, Cultural Resistance and Security from Below examines the distribution of security from two angles. First, it presents the history of the interaction between capoeira players and the Brazilian society and state that resulted in political and legal acceptance of capoeira. Second, it explores how the practice of capoeira generates knowledge of identities, explanations and values, and how this knowledge empowers communities of players and is communicated to society more broadly. The book then turns to consider how capoeira resists within Brazil's contemporary context of insecurity, and what significance the knowledge and power, along with capoeira's core move of escape, have to security analysis and policy. The book concludes by taking the lessons from capoeira to inform understanding of other cultural activities and ways of life as potential sites and forms of resistance. Conceptually and methodologically original, this book will be of interest to scholars and students in the fields of security studies, development studies, political science and international studies. It will also be of interest to those scholars interested in the changing interaction between politics and the arts.

Aural Education: Reconceptualising Ear Training in Higher Music Learning explores the practice of musical 'aural training' from historical, pedagogical, psychological, musicological, and cultural perspectives, and uses these to draw implications for its pedagogy, particularly within the context of higher music education. The multi-perspective approach adopted by the author affords a broader and deeper understanding of this branch of music education, and of how humans relate to music more generally. The book extracts and examines one by one different parameters that appear central to 'aural training', proceeding in a gradual and well-organised way, while at the same time constantly highlighting the multiple interconnections and organic unity of the many different operations that take place when we interact with music through any music-related activity. The resulting complex profile of the nature of our relationship with music, combined with an exploration of non-Western cultural perspectives, offer fresh insights on issues relating to musical 'aural training'. Emerging implications are proposed in the form of broad pedagogical principles, applicable in a variety of different music educational settings. Andrianopoulou propounds a holistic alternative to 'aural training', which acknowledges the richness of our relationship to music and is rooted in absorbed aural experience. The book is a key contribution to the existing literature on aural education, designed with researchers and educators in mind.

Relevance and Marginalisation in Scandinavian and European Performing Arts 1770-1860: Questioning Canons reveals how various cultural processes have influenced what has been included, and what has been marginalised from canons of European music, dance, and theatre around the turn of the nineteenth century and the following decades. This collection of essays includes discussion of the piano repertory for young ladies in England; canonisation of the French minuet; marginalisation of the popular German dramatist Kotzebue from the dramatic canon; dance repertory and social life in Christiania (Oslo); informal cultural activities in Trondheim; repertory of Norwegian musical clocks; female itinerant performers in the Nordic sphere; preconditions, dissemination, and popularity of equestrian drama; marginalisation and amateur staging of a Singspiel by the renowned Danish playwright Oehlenschlager, also with perspectives on the music and its composers; and the perceived relevance of Henrik Ibsen's staged theatre repertory and early dramas. By questioning established notions about canon, marginalisation, and relevance within the performing arts in the period 1770-1860, this book asserts itself as an intriguing text both to the culturally interested public and to scholars and students of musicology, dance research, and theatre studies.

Constructing a Personal Orientation to Music Teaching: Growth, Inquiry, and Agency, (Second Edition), is a textbook for studies in music education. Expanding upon the first edition, the authors promote inquiry and reflection to facilitate teacher growth, lifelong learning, and a disposition toward educational change. The revised text responds to current calls for social change and teacher education reform by reaffirming and intensifying the need for music teachers to adopt a personal orientation toward their work. A personal orientation encourages teachers to initiate their own growth, engage in inquiry, and exercise agency in school contexts. Strongly grounded in current theories and research in teacher education, Constructing a Personal Orientation to Music Teaching: Growth, Inquiry, and Agency strives to do the following: Engage readers in analyzing their own experiences in order to conceptualize the complexity of teaching Involve them in clarifying their reasons for seeking a career in teaching Support their insights, questions, and reflections about their work Promote a reflective, critical attitude about schools in general as music teachers are urged to think of themselves as change agents in school settings Construct a moral purpose as a compass to guide their current and future endeavors in the profession. Every chapter includes a wealth of pedagogical features, including new methodologies and examples of practice to engage the readers in processes of inquiry and reflection. The second edition is organized in two parts. Part I focuses on positioning music teachers as learners in the profession, significantly expanding concepts explored in the first edition that are central to a personal orientation to professional growth. In the new edition, a reconceptualized Chapter 5 challenges teachers to cultivate their identities as change agents. The second half of the book-focusing on becoming a student of music teaching- features five new chapters. A provocative chapter on curriculum sets the stage for a set of additional chapters that invite deeper considerations of the commonplaces of teacher, learners, subject matter, and context. An epilogue speaks directly to the power of agency, imagination, and hope in teachers' lives.

Bringing the research of musicologists, art historians, and film studies scholars into dialogue, this book explores the relationships between visual art forms and music. The chapters are organized around three core concepts - threshold, intermediality, and synchresis - which offer ways of understanding and discusssing the interplay between the arts of sounds and images. Refuting the idea that music and visual art forms only operate in parallel, the contributors instead consider how the arts of sound and vision are entwined across a wide array of materials, genres and time periods. Contributors delve into a rich variety of topics, ranging from the art of Renaissance Italy to the politics of opera in contemporary Los Angeles to the popular television series Breaking Bad. Placing these chapters in conversation, this volume develops a shared language for cross-disciplinary inquiry into arts that blend music and visual components, integrates insights from film studies with the conversation between musicology and art history, and moves the study of music and visual culture forward.

Through a series of vivid case studies, Music and Creativity in Healthcare Settings: Does Music Matter? documents the ways in which music brings humanity to sterile healthcare spaces, and its significance for people dealing with major illness. It also considers the notion of the arts as a vessel to explore humanitarian questions surrounding serious illness, namely what it is to be human. Overarching themes include: taking control; security and safety; listening; the normalization of the environment; being an individual; expressing emotion; transcendence and hope and expressing the inexpressible. With an emphasis on service user narratives, chapters are enriched with examples of good practice using music in healthcare. Furthermore, a focus on aesthetic deprivation contributes to debates on the intrinsic and instrumental value of music and the arts in modern society. This concise study will be a valuable source of inspiration for care givers and service users in the health sector; it will also appeal to scholars and researchers in the areas of Music medicine and music Therapy, and the Medical Humanities.

Radio 2's PopMaster quiz has been thrilling listeners to the Ken Bruce Show for 20 years. Now you can enjoy the pop quiz in your own time at home, in the pub, or at a party with your family and friends. This new giant quiz-book is packed with over 3800 questions to keep you entertained, amused, and informed for hours. Written by PopMaster's expert quiz-setters Phil Swern and Neil Myners, this book is a must for pop trivia fans, music lovers and quiz addicts alike!

The Musical Heritage of Al-Andalus is a critical account of the history of Andalusian music in Iberia from the Islamic conquest of 711 to the final expulsion of the Moriscos (Spanish Muslims converted to Christianity) in the early 17th century. This volume presents the documentation that has come down to us, accompanied by critical and detailed analyses of the sources written in Arabic, Old Catalan, Castilian, Hebrew, and Latin. It is also informed by research the author has conducted on modern Andalusian musical traditions in Morocco, Algeria, Tunisia, Egypt, Lebanon and Syria. While the cultural achievements of medieval Muslim Spain have been the topic of a large number of scholarly and popular publications in recent decades, what may arguably be its most enduring contribution - music - has been almost entirely neglected. The overarching purpose of this work is to elucidate as clearly as possible the many different types of musical interactions that took place in medieval Iberia and the complexity of the various borrowings, adaptations, hybridizations, and appropriations involved.

Owning Our Voices offers a unique, first-hand account of working within the Wolfsohn-Hart tradition of extended voice work by Margaret Pikes, an acclaimed voice teacher and founder member of the Roy Hart Theatre. This dynamic publication fuses Pikes' personal account of her own vocal journey as a woman within this, at times, male-dominated tradition, alongside an overview of her particular pedagogical approach to voice work, and is accompanied by digital footage of Pikes at work in the studio with artist-collaborators and written descriptions of scenarios for teaching. For the first time, Margaret Pikes' uniquely holistic approach to developing the expressive voice through sounding, speech, song and movement has been documented in text and on film, offering readers an introduction to both the philosophy and the practice of Wolfsohn-Hart voice work. Owning Our Voices is a vital book for scholars and students of voice studies and practitioners of vocal performance: it represents a synthesis of a life's work exploring the expressive potential of the human voice, illuminating an important lineage of vocal training, which remains influential to this day.

This book is the first major study that explores the intrinsic connection between music and myth, as Nietzsche conceived of it in The Birth of Tragedy (1872), in three great works of modern literature: Romain Rolland's Nobel Prize winning novel Jean-Christophe (1904-12), James Joyce's modernist epic Ulysses (1922), and Thomas Mann's late masterpiece Doctor Faustus (1947). Juxtaposing Nietzsche's conception of the Apollonian and Dionysian with narrative depictions of music and myth, Josh Torabi challenges the common view that the latter half of The Birth of Tragedy is of secondary importance to the first. Informed by a deep knowledge of Nietzsche's early aesthetics, the book goes on to offer a fresh and original perspective on Ulysses and Doctor Faustus, two world-famous novels that are rarely discussed together, and makes the case for the significance of Jean-Christophe, which has been unfairly neglected in the Anglophone world, despite Rolland's status as a major figure in twentieth-century intellectual and literary history. This unique study reveals new depths to the work of our most enduring writers and thinkers.

The second edition of The Bloomsbury Handbook of Religion and Popular Music provides an updated, state-of-the-art analysis of the most important themes and concepts in the field, combining research in religious studies, theology, critical musicology, cultural analysis, and sociology. It comprises 30 updated essays and six new chapters covering the following areas: · Popular Music, Religion, and Performance · Musicological Perspectives · Popular Music and Religious Syncretism · Atheism and Popular Music · Industrial Music and Noise · K-pop The Handbook continues to provide a guide to methodology, key genres and popular music subcultures, as well as an extensive updated bibliography. It remains the essential tool for anyone with an interest in popular culture generally and religion and popular music in particular.