Radio, the most widely used medium in the world, is a dominant mediator of musical meaning. Through a combination of critical analysis, interdisciplinary theory and ethnographic writing about community radio, this book provides a novel theorisation of democratic aesthetics, with important implications for the study of old and new media alike.

From advertising to zydeco, this volume provides a guide to scholarly literature on the popular music of the world. It covers non-biographical aspects of the field, including genres, the industry, social and cultural contexts, musical practices, geographical locations and theory and method.

Throughout his life and perhaps even more since his death in 1981 at the age of 36, Bob Marley's music has demonstrated a unique ability to combine with almost any cultural setting, no matter how different the elements might at first appear. Through his adaptable, yet enduring musical messages, he represents an especially articulate type of singer-songwriter. Marley released a large quantity of introspective, autobiographical material at the height of his success and it is thus only in a work such as this—in which the artist is investigated through his recorded output—that one can understand who this great man truly was and what he hoped to achieve through his life and music. Time magazine made Bob Marley's impact strikingly clear when it named Exodus the most important album of the 20th century. Throughout his life and perhaps even more since his death in 1981 at the age of 36, Marley's music has demonstrated a unique ability to combine with almost any cultural setting, no matter how different the elements might at first appear. Through his adaptable, yet enduring musical messages, he represents an especially articulate type of singer-songwriter. Marley released a large quantity of introspective, autobiographical material at the height of his success and it is thus only in a work such as this—in which the artist is investigated through his recorded output—that one can understand who this great man truly was and what he hoped to achieve through his life and music. The Words and Music of Bob Marley investigates Marley's creative output chronologically and provides complementary biographical information where it is relevant and helpful. Themes discussed throughout the book include protest, revolution, love, hate, biblical concepts, and Rastafari culture.

This book offers a comprehensive assessment of the music of George Harrison, revealing him as one of the most gifted and authentic singer-songwriters of his generation. The Words and Music of George Harrison is an in-depth appreciation of this often underappreciated musician, following Harrison's development as a singer-songwriter from his earliest songs with The Beatles through his final album, Brainwashed, released after his 2001 death from brain cancer. The Words and Music of George Harrison sheds new light on Harrison's 40-year career, examining his music output in the context of the enormous personal and professional changes he underwent, from the early days in Liverpool and the global explosion of Beatlemania through a solo career marked by spiritual concerns, political activism, and high-profile collaborations. As the book shows, at every stage, George Harrison's songs posed questions, provided commentaries, and looked for solutions, with results that add up to a remarkable music legacy.

The Oxford Handbook of Preservice Music Teacher Education in the United States identifies the critical need for change in Pre-K-12 music education. Collectively, the handbook's 56 contributors argue that music education benefits all students only if educators actively work to broaden diversity in the profession and consistently include diverse learning strategies, experiences, and perspectives in the classroom. In this handbook, contributors encourage music teachers, researchers, policy makers, and music teacher educators to take up that challenge. Throughout the handbook, contributors provide a look at ways music teacher educators prepare teachers to enter the music education profession and offer suggestions for ways in which new teachers can advocate for and adapt to changes in contemporary school settings. Building upon students' available resources, contributors use research-based approaches to identify the ways in which educational methods and practices must transform in order to successfully challenge existing music education boundaries.

Demarco was still rambling when Jeremy put one hand up in his face in the gesture of 'talk to the hand' and said sharply, "Look I am so tired of this whole scene right now. Are you going to tell her who I really am or do I need to tell her myself?" Demarco instantly fell silent, his eyes big as saucers as he looked pleadingly at Jeremy. Hearing Jeremy's nasally voice and seeing his suddenly magnified feminine gestures really woke me up with a jolt. Whatever denial I had been experiencing the last few minutes was now gone. I was immediately very aware of the situation that was before me. I looked at Jeremy, then Demarco. I felt my chest start to tighten and my breathing became short and sporadic. I started to back away from them both saying, "Nooooo, noooo this can't be, this is not happening " As I repeatedly shook my head no, I could feel the tears falling down my face. I screamed at Demarco, "You lied You lied to me I asked you if you were gay. You swore to me that you weren't, I can't believe this is happening " Like most little girls I always fantasized about my knight in shining armor riding in on his white horse and carrying me off into the sunset. Instead of my dream man I got a down-low gay man, a cocaine-addicted famous rapper and a psycho maniac stalker. Yes, you read right. I know that there are other women out there who can relate because they may have experienced at least one of these situations. It is very rare and next to impossible to find a woman who has gone through all three situations, but I did. This is the true story of my life with these three men. As you read my autobiographical memoir you will see that due to bad judgment, bad decisions and loving the wrong man time and time again my life has had many mind-blowing and incredulous episodes. I hope that through reading my story I save the next woman from inevitable heartbreak and devastation disguised as true love.

The folk song performer and impresario presents a rollicking account of the historical development and present-day status of an ancient art, including discussions of the contributions of various groups to the American songbag, the principle sources of the American repertory and style, and accounts of the major figures in the American folksong saga.

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Sonic Thinking attempts to extend the burgeoning field of media philosophy, which so far is defined by a strong focus on cinema, to the field of sound. The contributors urge readers to re-adjust their ideas of Sound Studies by attempting to think not only about sound [by external criteria, such as (cultural) meaning], but to think with and through sound. Series editor Bernd Herzogenrath's collection serves two interconnected purposes: in developing an alternative philosophy of music that takes music serious as a 'form of thinking'; and in bringing this approach into a fertile symbiosis with the concepts and practices of 'artistic research': art, philosophy, and science as heterogeneous, yet coequal forms of thinking and researching. Including contributions by both established figures and younger scholars working on cutting edge material, and weaving artistic responses and interventions in between the more theoretical texts, Herzogenrath's collection provides a lively introduction to a fresh debate.

100 years after the Dada soirees rocked the art world, the author investigates the role that music played in the movement. Dada is generally thought of as noisy and unmusical, but The Music of Dada shows that music was at the core of Dada theory and practice. Music (by Schoenberg, Satie and many others) performed on the piano played a central role in the soirees, from the beginnings in Zurich, in 1916, to the end in Paris and Holland, seven years later. The Music of Dada provides a historical analysis of music at Dada events, and asks why accounts of Dada have so consistently ignored music's vital presence. The answer to that question turns out to explain how music has related to the other arts ever since the days of Dada. The music of Dada is the key to understanding intermediality in our time.

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Disability and Music Performance examines discriminatory social practices in music conservatoria, orchestras, music festivals and music competitions, which limit disabled people's access to music performance at a professional level. Of particular interest are the disabling barriers that musicians with an intellectual, physical, sensory or neurological disability-or an acquired brain injury-encounter in the world of Western classical music, both as students and as professional performers. This book collects data in the form of semi-structured interviews and video and audio recordings to explore the voice, concerns and suggestions expressed by musicians with disabilities. It examines their perceptions of both inclusive and discriminatory practices in music institutions as well as the representation of, and audio-visual recordings by, key musical figures with disabilities. Its findings aim to contribute to the wellbeing of musicians with impairments by challenging disabling social practices that see them as inferior. This publication offers performers, teachers and researchers new perspectives for exploring some of the most common social dynamics in encounters between normative audiences, musicians and music critics, and musicians with disabilities. It invites the reader to recognise disability as a rightful identity category in music performance and to dismantle the disabling barriers that limit the participation of disabled people in music-making.

Music is a powerful means of communication. It provides a means by which people can share emotions, intentions, and meanings even though their spoken languages may be mutually incomprehensible. It can also provide a vital lifeline to human interaction for those whose special needs make other means of communication difficult. Music can exert powerful physical effects, can produce deep and profound emotions within us, and can be used to generate infinitely subtle variations of expressiveness by skilled composers and performers. This new addition to the music psychology list brings together leading researchers from a variety of academic and applied backgrounds. It examines how music can be used to communicate and the biological, cognitive, social, and cultural processes which underlie such communication. Taking a broad, interdisciplinary look at all aspects of communication, from the symbolic aspects of musical notation, to the use of music in advertising, the book is the first of its kind. It will be valuable for all those involved in music psychology, music education, and communication studies.

The colonial days of America marked not only the beginnings of a country, but also of a new culture, part of which was the first American music publishers, entrepreneurs, and instrument makers forging musical communities from New England to New Spain. Elements of British, Spanish, German, Scots-Irish, and Native American music all contributed to the many cultures and subcultures of the early nation. While English settlers largely sought to impose their own culture in the new land, the adaptation of native music by Spanish settlers provided an important cultural intersection. The music of the Scots-Irish in the middle colonies planted the seeds of a folk ballad tradition. In New England, the Puritans developed a surprisingly rich--and recreational--musical culture. At the same time, the Regular Singing Movement attempted to reduce the role of the clergy in religious services. More of a cultural examination than a music theory book, this work provides vastly informative narrative chapters on early American music and its role in colonial and Revolutionary culture. Chapter bibliographies, a timeline, and a subject index offer additional resources for readers.

The "American History through Music" series examines the many different types of music prevalent throughout U.S. history, as well as the roles these music types have played in American culture. John Ogasapian's volume on the Colonial and Revolutionary period applies this cultural focus to the music of America's infancy and illuminates the surprisingly complex relationships in music of that time.

Following three years of ethnomusicological fieldwork on the sacred singing traditions of evangelical Christians in North-East Scotland and Northern Isles coastal communities, Frances Wilkins documents and analyses current singing practices in this book by placing them historically and contemporaneously within their respective faith communities. In ascertaining who the singers were and why, when, where, how and what they chose to sing, the study explores a number of related questions. How has sacred singing contributed to the establishment and reinforcement of individual and group identities both in the church and wider community? What is the process by which specific regional repertoires and styles develop? Which organisations and venues have been particularly conducive to the development of sacred singing in the community? How does the subject matter of songs relate to the immediate environment of coastal inhabitants? How and why has gospel singing in coastal communities changed? These questions are answered with comprehensive reference to interview material, fieldnotes, videography and audio field recordings. As one of the first pieces of ethnomusicological research into sacred music performance in Scotland, this ethnography draws important parallels between practices in the North East and elsewhere in the British Isles and across the globe.

for SSAATTBB unaccompanied Commissioned by Sonoro for the second instalment of their Choral Inspirations project, McDowall has composed Crucifixus Reimagined as a response to Lotti's Crucifixus from Credo in F. Use of suspensions, decorated melodies, and counterpoint feel reminiscent of Lotti's original work, while retaining McDowall's distinctive contemporary style.

In this exciting new study of a largely overlooked but nevertheless extremely important figure in American music, author Allen Cohen explores the relationship between theory and practice in the works of Howard Hanson, a prominent twentieth-century composer, conductor, and educator. In Hanson's book Harmonic Materials of Modern Music, he proffered a theory of classification of all possible pitch-class collections in the chromatic scale, showing ways of deriving larger collections from smaller ones, and demonstrating significant relationships among them. This theory anticipated in many ways the standard formulations of music set theory, while also influencing Hanson's own compositions. Following an introduction and biographical overview, Howard Hanson: Theory and Practice summarizes its subject's theoretical writings, examines their usefulness for both musicologists and composers, and analyzes in particular two of Hanson's musical pieces. In this way, Howard Hanson represents an exciting and highly educational look at a man and his work, both unacknowledged for too long.

The Jacksons: Legacy is the first ever official book on the the Royal Family of Pop. This major volume reveals the untold, unseen and utterly unforgettable story behind the legend that is the Jacksons. Four specially commissioned chapters deftly weave together an unprecedented 12 days’ worth of exclusive interviews with the brothers, recounted in their own words, with contributions from key players throughout their careers. The compelling tale unfolds from their childhood days living at 2300 Jackson Street in Gary, Indiana, through the years signed to Motown as the Jackson 5, their radical move to Epic as The Jacksons, the blossoming of their solo careers, the dizzying successes of the Victory tour, and right up to the present day. During unrivalled access to the family archives as well as the private collections of Jackie, Marlon and Tito Jackson, bespoke photography captures a multitude of never-before-seen images, rarities and personal possessions. The result is a mind-blowing collection of visual material: intensely personal family pictures; all-angle shots of the first guitars the boys ever held; top photographer Harrison Funk’s exclusive coverage of their professional lives; photos of Michael Jackson on tour with his brothers during the release of Off The  Wall (1979) and the 1982 phenomenon that was Thriller – the best-selling album of all time; editions of teen and black culture magazines featuring the family; and official merchandise, right down to Jacksons-branded breakfast cereal boxes with giveaway 7” records attached. Published to coincide with their 50th anniversary, The Jacksons: Legacy is the definitive behind-the-scenes chronicle of the Jacksons’ lives and careers, celebrating 50 years of one of the greatest acts of all time.

This early collection of English hymns is both expensive and hard to find in its first edition. It contains a large number of hymns for the Christian calendar complete with sheet music melodies and lyrics. This is thoroughly recommended for anyone with an interest in the Christian musical tradition. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork

This book contains the bulk of Dr. Vaughan Williams' writings on music. The topics of the paper range from Bach to Holst, and all are illuminated by the author's comments.

Griffel has prepared a valuable guide to German opera that can be used profitably by both scholars and amateur devotees of opera. The main body of the dictionary provides a discussion of about 380 operas composed to a German text. The alphabetically organized entries include information on German premieres, as well as first performances in Britain and the US, brief plot summaries, listings of major roles, and occasional historical and analytical remarks. . . . "Operas in German" will, no doubt, serve as one of the major reference sources for any type of research on German opera. Highly recommended. "Choice"

Although a sizable number of opera dictionaries and encyclopedias are available, those devoted to operas in a single language are extremely rare. The present dictionary addresses itself wholly to operas written to a German text. The main body of this dictionary comprises entries on the operas themselves, permitting thorough treatment of some 350 operas. This section is augmented by an appendix of some 800 additional opera titles and annotated listings of composers and librettists. Almost all of the composers represented here were born in German-speaking countries. Among the notable exceptions is the Italian-born Ferruccio Busoni, whose operas were all written to German texts and received premieres in German-speaking cities. Composers such as Kurt Weill who wrote operas in more than one language are represented by their German works only.

The operas are listed alphabetically, excluding the article, which is placed at the end of the title. Each entry includes the title, with the English translation and alternate titles in parentheses; descriptive terms as needed; the number of acts; the composer's name; the librettist's name, the original language, and the original source of the text; the date, place, and cast of the first performance; similar information for the first United States and United Kingdom performances, if applicable; a brief plot summary; the main characters with vocal ranges; citations of especially important or noteworthy numbers; additional information such as comments on special musical problems, techniques, or other significant aspects; and other settings of the text, including non-German ones and/or operas involving the same story or characters. The entry also has a bibliography, a discography, and, in the few instances where they are available, information on video recordings. In addition to the aforementioned appendix, this dictionary contains an alphabetical listing of composers with their places and years of birth and death and an index of their operas included in this volume. The third appendix lists librettists and provides information similar to that in the composer appendix. The fourth and fifth appendices provide characters and performers, respectively, included in the main entries. The volume is completed by a bibliography. This first dictionary devoted exclusively to operas in German belongs in the reference section of music libraries and will also be of interest to scholars and aficionados of opera.