This edited volume explores the role of arts and meditation within educational settings, and looks in particular at the preventive and developmental function of the arts in educational contexts through different theoretical perspectives. Encompassing research from an array of disciplines including theatre, psychology, neuroscience, music, psychiatry, and mindfulness, the book draws insights relevant to a broad spectrum of interdisciplinary fields. Chapters are divided into thematic sections, each outlining praxes and emphasising how educating within and through the arts can provide tools for critical thinking, creativity and a sense of agency, consequently fulfilling the need of well-being and contributing towards human flourishing. Ultimately, the book focuses on the role the arts have played in our understanding of physical and mental health, and demonstrates the new-found significance of the discipline in the wake of the COVID-19 pandemic. With its interdisciplinary and timely nature, this book will be essential reading for scholars, academics, and post-graduate researchers in the field of arts education, creative therapies, neuroscience, psychology, and mindfulness.

This book interrogates the meeting point between Afrofuturism and Black Sound Studies. Whereas Afrofuturism is often understood primarily in relation to science fiction and speculative fiction, it can also be examined from a sonic perspective. The sounds of Afrofuturism are deeply embedded in the speculative - demonstrated in mythmaking - in frameworks for songs and compositions, in the personas of the artists, and in how the sounds are produced. In highlighting the place of music within the lived experiences of African Americans, the author analyses how the perspectives of Black Sound Studies complement and overlap with the discussion of sonic Afrofuturism. Focusing upon blackness, technology, and sound, this unique text offers key insights in how music partakes in imagining and constructing the future. This innovative volume will appeal to students and scholars of sound studies, musicology and African American studies.

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First time in Paperback! Noel Coward and Cole Porter's fascinating lives celebrated. Fresh on the heels of the popular motion picture based on Cole Porter's life called De-Lovely, Noel and Cole presents a fresh and often surprising portrait of these two geniuses. The author provides insight into both men's private lives - including a frank discussion of their homosexuality - while illuminating their musical achievements. Born an ocean apart - one in Indiana, the other in England - Cole Porter and Noel Coward have come to represent the ultimate in sophistication and urbanity. Noel and Cole will be an essential reference as well as a fascinating dual biography of two men who brought style and dazzle to the art of popular entertainment. * Based on access to previously unpublished manuscripts, lyrics, scores, and letters, plus dozens of interviews * Includes a chronology and a fifty-page section devoted to the analysis of select works

This book addresses the gap between formal music education curricula and the knowledge and skills necessary to enter the professional music industry. It uses extensive data from a long-running research project where high school students were invited to start their own business venture, Youth Music Industries. Not only did this act as a business venture, but it also functioned as a learning environment informed by the concepts of Communities of Practice and social capital. Exploring how entrepreneurial qualities were developed, their learning was subsequently captured and distilled into a set of design principles: in this way, a pedagogical approach was developed that can be transferred across the creative industries more broadly. This book will be of interest and value to scholars of music education, as well as those preparing students for the creative industries.

Based on fieldwork in Kinshasa and Paris, Breaking Rocks examines patronage payments within Congolese popular music, where a love song dedication can cost 6,000 dollars and a simple name check can trade for 500 or 600 dollars. Tracing this system of prestige through networks of musicians and patrons - who include gangsters based in Europe, kleptocratic politicians in Congo, and lawless diamond dealers in northern Angola - this book offers insights into ideologies of power and value in central Africa's troubled post-colonial political economy, as well as a glimpse into the economic flows that make up the hidden side of the globalization.

The young John Zaradin felt driven to make his life in music against all 'sensible' career advice offered by his peers and parents. An interest in philosophy led him to a circle of creative people dedicated to self-development. They demonstrated to him that a life in the arts was indeed possible, if he worked with some tried and tested guidelines. These included - in addition to all aspects of music, its performance and the business of survival - a rigorous self-examination and a continual re-focusing on his stated aim. His choice to both listen and act on what he was absorbing helped him to make his first steps on the way to living and shaping his life as a musician. Many years later, a conversation with a friend resulted in the writing of his Personal Journey, in which he reveals the story of how he transformed his own life and developed his career as musician, guitarist and composer.

This comprehensive reference book provides succinct information on almost thirteen hundred musical stage works written and produced from the 1870s to the 1990s involving contributions by black librettists, lyricists, composers, musicians, producers, or performers or containing thematic materials relevant to the black experience. Organized alphabetically, they include tent and outdoor shows, vaudeville, operas and operettas, comedies, farces, spectacles, revues, cabaret and nightclub shows, children's musicals, skits, one-act musicals, one-person shows, and even a musical without songs. In addition to the hundreds of shows independently created, produced, and performed by black writers and theatrical artists, it presents hundreds more representing a collaboration of black and white talents. An appendix organizes the shows chronologically and highlights those that were most significant in the history of the black American musical stage. An extensive bibliography and indexes of names, songs, and subjects complete the work.

Genetic Soul Brothers is an adventure into a human unknown. It is a story about a baby boy being carried by and born to four different women in four different places at the same time, and raised separately by these 'mothers'. The/se baby/s has/have the same identical genes and share a common or multi-soul. As the child/ren grow/s and has/have dreams of an identical youth playing in non-recognizable settings, he/they begin/s to realize that he/they is/are one of four IDENTICALS. He/they each grow/s up in very different environments, develop professions, marry, and have children. Eventually, after a long, difficult, and frustrating quest which includes a unique night time spirit/soul communication, they find each other. As they learn how they came to be, four identical quadruplets from four different mothers, the question arises: should they take the culprit fertility clinic to court for causing this tragedy? - they are giant freaks. Should they do nothing; or should they sue the clinic for big money and become famous, which would certainly disgrace their 'parents' and friends. If they reach a four family agreement concerning anonymity or notoriety, but before the final decision is implemented one or more dies or is killed, then what happens to their common soul, or are there partial souls? Where does/do it/they go? Is there a waiting area near heaven or hell for partial souls? Is it possible that all of these 'lives' and 'arrangements' are totally controlled by soul maestros? And if so, why and how do they do this?

Sound waves propagate through various media, and allow communication or entertainment for us, humans. Music we hear or create can be perceived in such aspects as rhythm, melody, harmony, timbre, or mood. All these elements of music can be of interest for users of music information retrieval systems. Since vast music repositories are available for everyone in everyday use (both in private collections, and in the Internet), it is desirable and becomes necessary to browse music collections by contents. Therefore, music information retrieval can be potentially of interest for every user of computers and the Internet. There is a lot of research performed in music information retrieval domain, and the outcomes, as well as trends in this research, are certainly worth popularizing. This idea motivated us to prepare the book on Advances in Music Information Retrieval.

It is divided into four sections: MIR Methods and Platforms, Harmony, Music Similarity, and Content Based Identification and Retrieval. Glossary of basic terms is given at the end of the book, to familiarize readers with vocabulary referring to music information retrieval.

During his lifetime, Henry F. Gilbert was regarded as one of the foremost composers of the day and a trailblazer in America's rich musical heritage. Often called the Mark Twain of American Music, Gilbert was one of American music's nonconformists. He was a maverick who became a true prophet of American music as a composer, writer, editor, and lecturer. This volume contains a short biography of Gilbert, a listing of his compositions, including the different versions of the works and the holding libraries. A discography is included, which puts emphasis on the inclusion of excerpts from contemporary performances. This book captures much of the new material on Gilbert that has surfaced since the Henry F. Gilbert Papers were presented to Yale.

The volume is divided into six sections. The first is the biography, which includes a sketch of Gilbert's life, and his importance in establishing an American school of composition. The Works and Performances section provides the name of the work, publisher, and date and revisions of the work. Scoring for the compositions is also given along with cross-references to Gilbert's program notes and reviews. An annotated Bibliography of writings by Gilbert summarizes his philosophy of American music, and illuminates his own compositional style. A discography, general bibliography, and a bibliography of works and performances are also concluded. This bio-bibliography will appeal to musicians and American enthusiasts alike.

Is contemporary Black British gospel music a coloniality? What theological message is really conveyed in these songs? In this book, Robert Beckford shows how the Black British contemporary gospel music tradition is in crisis because its songs continue to be informed by colonial Christian ideas about God. Beckford explores the failure of both African and African Caribbean heritage Churches to Decolonise their faith, especially the doctrine of God, biblical interpretation and Black ontology. This predicament has left song leaders, musicians and songwriters with a reservoir of ideas that aim to disavow engagement with the social-historical world, black Biblical interpretation and the necessity of loving blackness. This book is decolonisation through praxis. Reflecting on the conceptual social justice album ‘The Jamaican Bible Remix’ (2017) as a communicative resource, Beckford shows how to develop production tools to inscribe decolonial theological thought onto Black British music(s). The outcome of this process is the creation of a decolonial contemporary gospel music genre. The impact of the album is demonstrated through case studies in national and international contexts.

What are the main music preferences of young people in Argentina? How do these preferences fit into Argentinean society, culture, and politics? The essays in this volume show how issues of religion, class, ethnicity, and gender are constructed and negotiated through a variety of musical practices. Rock, cumbia, and romantic music are all examined as elaborations of gender, sexual, class, and ethnic identities for young people, whose socio-musical lives go beyond the traditional stereotypes of Argentina, tango, and passion.

A Framework for Teaching Music Online defines the current online learning landscape of music in higher education and then presents a cyclical teaching framework that describes how to practically develop an online music course. Each part of the framework takes the reader through the three main components of developing an online music course: communication, design, and assessment. Research-informed and practical, ideas and tools for faculty and students to implement into their current or future online teaching practice are explored. Johnson also considers future innovations, exploring knowledge sharing and professional learning networks.

'I can be scratching around at home on an acoustic guitar, or singing a funny little idea into my phone, and all of a sudden, it becomes a beautiful fully fledged song. And I'm asking myself, how did we do that again? I still find that fascinating. It's magic.' - PAUL WELLER In Magic: A Journal of Song, Paul Weller talks about his life and music through a personally curated selection of over 100 songs spanning his entire musical career. As one of the most innovative and remarkable songwriters of the last 50 years, Paul Weller has proved to be the ultimate shapeshifter, moving from The Jam's punk sensibilities to the genre-defying Style Council, and later through a remarkable 30-year solo career. Alongside Lennon and McCartney, Weller is one of few artists that has attained a UK number one album over five consecutive decades, and has also received career defining awards from the BRITs (Lifetime Achievement Award), NME Awards (Godlike Genius Award) and a GQ Award for Songwriter of the Year. Magic: A Journal of Song is the definitive book of Weller's songwriting career from founding The Jam in his teenage years, to creating The Style Council, through to his years as a solo musician. Offering unprecedented insight into Weller's creative process, his lyrics are accompanied by more than 450 photographs and items of memorabilia, and an illuminating commentary of over 25,000 words. As told to journalist and author, Dylan Jones, Magic is Paul Weller's most candid and intimate account of his musical life to date. 'Paul Weller has proved that he is not only beyond reproach, in some senses he is quite possibly without equal.' - DYLAN JONES OBE 'The thing I have discovered is that music in its truest sense is beyond any trend or movement or category.' - PAUL WELLER

Still the most influential and popular songwriting team in the history of the American Musical Theatre, Richard Rodgers and Oscar Hammerstein represent Broadway musicals at their finest. The team revolutionized the musical play with Oklahoma! in 1943 and then went on to explore territory never put on the musical stage before in such beloved shows as Carousel, South Pacific, The King and I and The Sound of Music. The team also worked in film, as with State Fair, and in the new medium of television, with Cinderella. For the first time, the lives, careers, works, songs, and themes of Rodgers and Hammerstein have been gathered together in an encyclopedia that covers the many talents of these men. In addition to their plays and films together, every work that each man did with other collaborators is also discussed. Hundreds of their songs are described, and there are entries on the many actors, directors, and other creative artists who they worked with. A complete list of awards, recordings, and books about the team are included, as well as a chronology of everything either man wrote. But The Rodgers and Hammerstein Encyclopedia is not just about facts. It explains their work, explores themes in their musicals, and illustrates why they remain a driving force in the American Theatre. This is the first encyclpoedia to look specifically at the careers and works of Rodgers and Hammerstein, covering all their musicals together for stage, screen and televsion, but also everything they wrote with others. The purpose is to create a comprehensive guide to the American Musical Theatres foremost collaboration. The encyclopedia is (1) comprehensve, describing the works, the people involved in thoseworks, and many of their famous songs; ( 2) up-to-date, including the most recent revivals of their works and new recordings of their scores; and (3) easy to use, being alphabetically arranged with cross-reference listings, chronological lists, lists of awards and recordings, and bibliographic information for further reading.

This comprehensive survey examines Latin American music, focusing on popular-as opposed to folk or art-music and containing more than 200 entries on the concepts and terminology, ensembles, and instruments that the genre comprises. The rich and soulful character of Latin American culture is expressed most vividly in the sounds and expressions of its musical heritage. While other scholars have attempted to define and interpret this body of work, no other resource has provided such a detailed view of the topic, covering everything from the mambo and unique music instruments to the biographies of famous Latino musicians. Encyclopedia of Latin American Popular Music delivers scholarly, authoritative, and accessible information on the subject, and is the only single-volume reference in English that is devoted to an encyclopedic study of the popular music in this genre. This comprehensive text-organized alphabetically-contains roughly 200 entries and includes a chronology, discussion of themes in Latin American music, and 37 biographical sidebars of significant musicians and performers. The depth and scope of the book's coverage will benefit music courses, as well as studies in Latin American history, multicultural perspectives, and popular culture. Roughly 200 entries on concepts and terminology, ensembles, genres, and instruments 37 biographical sidebars of significant musicians and performers A chronology for Latin American popular music

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

Musicians today need more than talent and luck to become financially successful. They need a starting place. And the first step in virtually any successful musician's career is to play in a cover band. Cover bands are proven, lucrative avenues for musicians to establish themselves as serious performers and achieve repeated exposure in local venues - leading to important "word of mouth" publicity. Written in straightforward language by professional gigging musicians, Making Money Making Music guides artists through every aspect of achieving financial success through cover gigs. This easy-to-use reference shows readers how to start or join a cover band, choose the right cover songs, land the first gigs or get better ones, handle marketing and promotion, use proper sound and lighting systems, and much more.

Fleetwood Mac's distinctive sound, first really captured in the 1977 record Rumours, launched the group into the commercial stratosphere, and over the past three decades they have never looked back. All along the way their dysfunctional relationships have informed their professional success, as well as their personal downfalls. By writing and singing about their problems, Fleetwood Mac has transformed what breaks them apart into what keeps them together. They have turned their dark relationship dilemmas into glittering entertainment. In this highly entertaining chronicle, author Donald Brackett provides readers with a special opportunity to review the band's complicated history and reconsider the personal, dynamic sources of their classic albums and enduring hits. The band drummer Mick Fleetwood and bassist John McVie started in 1967 has gone through more personnel changes and stylistic innovations than any other pop group in our cultural history. The story of the group began when John Mayall and Alexis Korner, the band's mentors, launched a mid-'60s British blues revival. Ex-Mayall players Fleetwood and McVie then went on to form an incendiary band of psychedelic blues under the name Fleetwood Mac. But it was not until hearing a little-known 1973 record from Lindsey Buckingham and Stevie Nicks that Mick Fleetwood heard the future sound and true pop potential of his own group.