Sociology and Music Education addresses a pressing need to provide a sociological foundation for understanding music education. The music education community, academic and professional, has become increasingly aware of the need to locate the issues facing music educators within a broader sociological context. This is required both as a means to deeper understanding of the issues themselves and as a means to raising professional consciousness of the macro issues of power and politics by which education is often constrained. The book outlines some introductory concepts in sociology and music education and then draws together seminal theoretical insights with examples from practice with innovative applications of sociological theory to the field of music education. The editor has taken great care to select an international community of experienced researchers and practitioners as contributors who reflect current trends in the sociology of music education in Europe and the UK. The book concludes with an Afterword by Christopher Small.

This anthology addresses the modern musical culture of interwar Osaka and its surrounding Hanshin region. Modernity as experienced in this locale, with its particular historical, geographic and demographic character, and its established traditions of music and performance, gave rise to configurations of the new, the traditional and the hybrid that were distinct from their Tokyo counterparts. The Taisho and early Showa periods, from 1912 to the early 1940s, saw profound changes in Japanese musical life. Consumption of both traditional Japanese and Western music was transformed as public concert performances, music journalism, and music marketing permeated daily life. The new bourgeoisie saw Western music, particularly the piano and its repertoire, as the symbol of a desirable and increasingly affordable modernity. Orchestras and opera troupes were established, which in turn created a need for professional conductors, and both jazz and a range of hybrid popular music styles became viable bases for musical livelihood. Recording technology proliferated; by the early 1930s, record players and SP discs were no longer luxury commodities, radio broadcasts reached all levels of society, and 'talkies' with music soundtracks were avidly consumed. With the perceived need for music that suited 'modern life', the seeds for the pre-eminent position of Euro-American music in post-Second-World war Japan were sown. At the same time many indigenous musical genres continued to thrive, but were hardly immune to the effects of modernization; in exploring new musical media and techniques drawn from Western music, performer-composers initiated profound changes in composition and performance practice within traditional genres. This volume is the first to draw together research on the interwar musical culture of the Osaka region and addresses comprehensively both Western and non-Western musical practices and genres, questions the common perception of their being wholly separate domains

This Festschrift honors the career of Charles P. Schmidt on the occasion of his retirement from the Indiana University Jacobs School of Music. His main research focus has been the social-psychology of music education, including the subtopics of motivation in music learning, applied music teaching behaviors, and personality and cognitive styles in music teaching and learning. The chapters in this volume recognize the influence of Schmidt as a researcher, a research reviewer, and a research mentor, and contribute to the advancement of the social-psychological model and to research standards in music education. These themes are developed by a stunning cast of music education scholars, including Hal Abeles, Don Coffman, Mary Cohen, Robert Duke, Patricia Flowers, Donna Fox, Victor Fung, Joyce Gromko, Jere Humphreys, Estelle Jorgensen, Anthony Kemp, Barbara Lewis, Clifford Madsen, Lissa May, Peter Miksza, Rudolf Radocy, Joanne Rutkowski, Wendy Sims, Keith Thompson, Kevin Watson, and Stephen Zdzinski. Their writings are presented in three sections: Social-Psychological Advances in Music Education, Social Environments for Music Education, and Advancing Effective Research in Music Education. This collection, edited by Patrice Madura Ward-Steinman, will prove invaluable for students and faculty in search of important research questions and models of research excellence.

Understanding the Classical Music Profession is an essential resource for educators, practitioners and researchers who seek to understand the careers of classically-trained musicians, and the extent to which professional practice is reflected within existing classical performance-based music education and training. Taking Australia as a case-study, Dawn Bennett outlines how Australia is now a service economy, and an important component of service provision is in the culture and recreation industries. Despite this, employment in culture and recreation is poorly understood and a lack of cultural intelligence contributes to a less than satisfactory environment that inhibits the creative potential of cultural practitioners. Musicians in the twenty-first century require a broad and evolving base of skills and knowledge to sustain their careers as cultural practitioners. Bennett maintains that a musician cannot be simply defined as a performer, but that a musician is someone who works within the profession of music in one or more specialist fields. The perception of a musician as a multi-skilled professional working within a portfolio career has significant implications for policy, funding, education and training, and for practitioners and students seeking to achieve sustainable careers. This indispensable book provides a comprehensive analysis of life as a musician, from education and training to professional practice as well as revealing the structure of the Australian cultural industries. Although Australia is the focus of the book, the basis of the research originates from many different places and most of the issues discussed relate directly to other countries throughout the world.

What is it about the history, geographical position and cultures of the Middle East, North Africa and Central Asia that has made music such a potent and powerful agent? This volume presents the first direct look at the complex relationship between music and power across a range of musical genres and countries. Discourses of power in the region centre on some of the most contested social issues, most notably in relation to nationhood, gender and religion. Individual chapters examine the ways in which music serves as a forum for playing out issues of power, ideology, resistance and subversion. How does music become a space for promoting - or conversely, resisting or subverting - particular ideologies or positions of authority? How does it accrue symbolic power in ways that are very particular, perhaps unique? And how does music become a site of social control or, alternatively, a vehicle for agency and empowerment, at times overt and at others highly subtle? What is it about music that facilitates, and sometimes disrupts, the exercise and flows of power? Who controls such flows, how and for what purposes? In asking such questions in the context of countries such as Afghanistan, Egypt, Iran, Tunisia and Tajikistan, the book draws on a wide range of relevant theoretical and critical ideas, and many disciplines including ethnomusicology, anthropology, sociology, politics, Middle Eastern studies, globalization studies, gender studies and cultural and media studies. The countries and areas explored share a great deal in historical and cultural terms, including a legacy of colonial and neo-colonial encounters and predominantly Judeo-Muslim religious traditions. It is hoped that the volume will contribute ultimately to a richer understanding of the role that music plays in these societies.

This book examines contemporary issues in music teaching and learning throughout the lifespan, illuminating an emerging nexus of trends shaping modern research in music education. In the past, most music learning opportunities and research were focused upon the pre-adult population. Yet, music education occurs throughout the lifespan, from birth until death, emerging not only through traditional formal ensembles and courses, but increasingly through informal settings as well. This book challenges previous assumptions in music education and offers theoretical perspectives that can guide contemporary research and practice. Exploring music teaching and learning practices through the lens of human development, sections highlight recent research on topics that shape music learning trajectories. Themes uniting the book include human development, assessment strategies, technological applications, professional practices, and cultural understanding. The volume deconstructs and reformulates performance ensembles to foster mutually rewarding collaborations across miles and generations. It develops new measures and strategies for assessment practices for professionals as well as frameworks for guiding students to employ effective strategies for self-assessment. Supplemental critical thinking questions focus the reader on research applications and provide insight into future research topics. This volume joining established experts and emerging scholars at the forefront of this multifaceted frontier is essential reading for educators, researchers, and scholars, who will make the promises of the 21st century a reality in music education. It will be of interest to a range of fields including music therapy, lifelong learning, adult learning, human development, community music, psychology of music, and research design.

This book is the first rigourous and detailed exploration of exactly how blues singers used formulas to create songs, and it more than amply fills the gap in the the study of the blues, where the structure and content of the lyrics have been less fully explored than the musical form. Focusing on the songs recorded by African-American singers for pre-World War Two commercial recording companies, this is an excellent structural analysis of the formulaic composistion of blues lyrics. This book gives a step-by-step description of the rules implicit in this formulaic structure and inspires new discussion of lyric structures. A wide array of readers will find this insightful and informative: from students of African-American music, cultural studies, history and linguistics, to Blues fans fascinated by exactly how the lyrics of this influential music style are written.

First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

Son Jarocho was born as the regional sound of Veracruz but over time became a Mexican national genre, even transnational, genre-a touchstone of Chicano identity in the United States. Mario Barradas and Son Jarocho traces a musical journey from the Gulf Coast to interior Mexico and across the border, describing the transformations of Son Jarocho along the way. This comprehensive cultural study pairs ethnographic and musicological insights with an oral history of the late Mario Barradas, one of Son Jarocho's preeminent modern musicians. Chicano musician Francisco Gonzalez offers an insider's account of Barradas's influence and Son Jarocho's musical qualities, while Rafael Figueroa Hernandez delves into Barradas's recordings and films. Yolanda Broyles-Gonzalez examines the interplay between Son Jarocho's indigenous roots and contemporary role in Mexican and US society. The result is a nuanced portrait of a vital and evolving musical tradition.

The all new, must-read memoir by legendary Kinks guitarist Dave Davies 'BOOK OF THE DAY' - Guardian 'This powerful tell-all from the Kinks guitarist puts the spotlight on his own bad behaviour, dalliances with the occult and his recovery from a stroke.' - Observer 'Heartfelt, hilarious, revealing, insightful and astonishingly candid. Boy, you really got me Dave. I can't wait to read it again.' - Mark Hamill Dave Davies is the co-founder and lead guitarist of epoch-defining band the Kinks, a group with fifty million record sales to their name. In his autobiography, Davies revisits the glory days of the band that spawned so much extraordinary music, and which had such a profound influence on bands from The Clash and Van Halen to Oasis and Blur. Full of tales of the tumultuous times and the ups-and-downs of his relationship with his brother Ray, along with encounters with the likes of John Lennon and Jimi Hendrix, this will be a glorious read for Kinks fans and anyone who wants to read about the heyday of rock 'n' roll.

Peter Doherty's is the last of the great rock 'n' roll stories - bad boy and public enemy. To his devoted fans, he is a cult hero, a modern-day Rimbaud. Musically, he has defined the past twenty years of indie rock with his sound, lyrics, lifestyle and aesthetic. Since The Libertines rose to international fame, Doherty has proved endlessly fascinating. A whirlwind of controversy and scandal has tailed him ever since the early 2000s, so much so that all too often his talents as a songwriter and performer have been overlooked; for every award and accolade, there is a scathing review. Hard drugs, tiny gigs on the hoof, huge stadium shows, collaborations, obliterations, gangsters and groupies - Doherty has led a life of huge highs and incredible lows. With his wildest days behind him, Doherty candidly explores - with sober and sometimes painful insight - some of his greatest and darkest moments, taking us inside the creative process, decadent parties, substance-fuelled nights, his time in prison and tendency for self-destruction. With his trademark wit and humour, Doherty also details his childhood years, key influences, pre-fame London shenanigans, and reflects on his era-defining relationship with Libertines co-founder Carl Barât and other significant people in his life. There is humour, warmth, insight, baleful reflection and a defiant sense of triumph. A Likely Lad is Doherty's version of the story - the genuine man behind the fame and infamy. This is a rock memoir like no other.

First published in 1969, The Sisters d' Aranyi traces the careers, personalities and musical development of Jelly d' Aranyi and Adila Fachiri, outstanding violinists in Britain and Hungarian great nieces of Josef Joachim, with insight and a wealth of anecdote and description. The book contains fresh lights on figures such as Joachim himself, Elgar, Ravel and Vaughan Williams, Casals, Suggia, and Myra Hess, Aldous Huxley, Einstein and Schweitzer, Balfour, Asquith and Neville Chamberlain. There are illuminating comments on music from Bach to the present day, and also a chapter on the mysterious affair of the Imprisoned Schumann Violin Concerto, and how it was found and liberated. These two consummate musicians were, however, part of a movement towards greater sincerity in music- a tendency not yet sufficiently recorded by musicologists. To set them in their time, this biography contains a most readable history of music in Britain with some original observations on the nature of music itself in performance. This book is an essential read for students of music, music history, literature, performance studies, for violin players and also for general music lovers.

In Music Teachers' Values and Beliefs, Dwyer investigates the relationships between teachers, learners and music in music classrooms. Using Bourdieu's concepts of habitus and doxa as an interpretive lens, the book explores the values and beliefs of four music teachers, depicted in richly detailed narratives. The narratives are contextualised through the examination of traditions of music and contemporary approaches. In the past, music education has been shaped by elitist tendencies regarding the types of music worthy of study, the ways in which music should be learnt, and the purpose of such learning. Contemporary approaches to music education have enacted significant change in some regions and systems, while others have been slower to leave behind deeply entrenched values, beliefs and practices. These approaches have been blamed for low rates of participation and engagement in school music education, despite the fact that the majority of young people listen to and enjoy music outside of school. This innovative book provides music education researchers and practitioners with a new understanding of the impact of teachers' personal values, beliefs and experiences of music and music education on classroom practice, and the impact this has on students' experiences of music education.

Examining and illustrating the art scene surrounding the birth of modernism and its simultaneous rise among the burgeoning working class Mod scene of the Sixties, Paul Anderson's Mod Art is the definitive work on the visual culture of Mod. With interviews from key artists, scene members and a rich understanding of the how the collision of high art and mass culture formed, Mod Art will appeal to fans of history, music, fashion and art. Gorgeously illustrated with a treasure trove of hundreds of colour photographs of famous, rediscovered and rare images from the era Mod, Art will be read and re-read for years to come. Paul Anderson's previous book, Mods: The New Religion, has sold over nine thousand copies since publication.

To celebrate its 30th anniversary of publication, a brand new edition of the ultimate combination of traditional hymns and modern worship songs. ‘Mission Praise’ is a much-loved hymn book, and has remained so since its outset in 1984. Initially used for Billy Graham’s Mission England rallies – where thousands of people converted to Christianity – it has become a staple of worship throughout the UK and across the world. It was the first hymn book of its kind, introducing more modern styles of music into worship yet retaining the best of traditional hymnody loved by churchgoers of every age. This new, expanded edition of the complete ‘Mission Praise’ includes the whole of the existing collection of over 1000 songs and hymns, and adds the best new songs in various styles from the past few years. This brand new edition has been put together by ‘Mission Praise’’s original editorial team of Peter Horrobin and Greg Leavers, and contains – in this 30th anniversary year – over 100 new songs and has, by popular request, been split into two volumes in order to be more user-friendly.

Go from singing in the shower to taking your audience's breath away Whether you picture yourself as the next Ariana Grande or just feel like picking up a new hobby, Singing For Dummies walks you through the surprisingly straightforward steps you'll need to take to develop your voice. It's a practical guide to every important aspect of singing, from vocal techniques to performance tips. You'll learn exercises and practice songs that gradually improve your craft and receive instruction on the latest technology and recording devices to capture and play back your songs. Singing For Dummies also shows you how to: Understand and use important singing techniques, improve your tone, upgrade your posture, and maximize your breath Maintain your voice with preventative self-care that keeps your vocal cords in tiptop shape Sing with instrumental accompaniment or with a partner in a duet Perfect for men, women, boys, and girls, Singing For Dummies is the most intuitive and accessible resource on the market for anyone who hopes to find their voice.

It's over forty years since The Jam inspired a new generation with their All Mod Cons album - released in the dying months of 1978. But the Mod revival was far more than just a one-band phenomenon inspired by the arrival of the film version of The Who's Quadrophenia. A succession of groups including The Purple Hearts, The Jolt, The Chords and Secret Affair amongst many others added to Weller's powerful songs with great tunes. It was a movement that had been growing organically for more than a year and was a fitting answer to the increasingly grim post-punk scene with hits such as: 'David Watts', 'The Modern World', 'Down in the Tube Station at Midnight', 'Eton Rifles', 'That's Entertainment', 'Going Underground'...

When Music Migrates uses rich material to examine the ways that music has crossed racial faultlines that have developed in the post-Second World War era as a consequence of the movement of previously colonized peoples to the countries that colonized them. This development, which can be thought of in terms of diaspora, can also be thought of as postmodern in that it reverses the modern flow which took colonizers, and sometimes settlers, from European countries to other places in the world. Stratton explores the concept of 'song careers', referring to how a song is picked up and then transformed by being revisioned by different artists and in different cultural contexts. The idea of the song career extends the descriptive term 'cover' in order to examine the transformations a song undergoes from artist to artist and cultural context to cultural context. Stratton focuses on the British faultline between the post-war African-Caribbean settlers and the white Britons. Central to the book is the question of identity. For example, how African-Caribbean people have constructed their identity in Britain can be considered through an examination of when 'Police on My Back' was written and how it has been revisioned by Lethal Bizzle in its most recent iteration. At the same time, this song, written by the Guyanese migrant Eddy Grant for his mixed-race group The Equals, crossed the racial faultline when it was picked up by the punk-rock group, The Clash. Conversely, 'Johnny Reggae', originally a pop-ska track written about a skinhead by Jonathan King and performed by a group of studio artists whom King named The Piglets, was revisioned by a Jamaican studio group called The Roosevelt Singers. After this, the character of Johnny Reggae takes on a life of his own and appears in tracks by Jamaican toasters as a Rastafarian. Johnny's identity is, then, totally transformed. It is this migration of music that will appeal not only to those studying popular music, but

First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.

Beyond the Sound Barrier examines twentieth-century fictional representations of popular music-particularly jazz-in the fiction of James Weldon Johnson, F. Scott Fitzgerald, Langston Hughes, and Toni Morrison. Kristin K. Henson argues that an analysis of musical tropes in the work of these four authors suggests that cultural "mixing" constitutes one of the central preoccupations of modernist literature. Valuable for any reader interested in the intersections between American literature and the history of American popular music, Henson situates the literary use of popular music as a culturally amalgamated, boundary-crossing form of expression that reflects and defines modern American identities.

Ray Charles stands as an influential pop musician of the last half of the 20th century. This biography covers his early life of poverty in the deep South and looks at his relationships, professional and romantic, as well as examining his influence on other singers.

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Bruce Springsteen: Two Hearts is the definitive biography of one of the most important songwriters and performers of the last three decades. Critic Dave Marsh has traced Springsteen's career from its beginning, and has earned the singer's respect through his careful documentation and critical description of Springsteen's work. This biography brings together for the first time Marsh's two previous biographies, Born To Run (which covered Springsteen's early career through the mid-'70s) and Glory Days (which took him through the mid-'80s). Both were widely praised for their insightful and near definitive coverage of Springsteen's life and music. For this book, Marsh has written a new chapter covering major developments in Springsteen's career to today, particularly focusing on his album The Rising and its impact on American culture.

This revised edition of Garland's 1989 publication updates the core bibliography on Gustave Mahler (as well as his spouse and fellow composer Alma Mahler) by incorporating new research gathered over the past dozen years on his life and professional works. Gustave Mahler, renowned conductor and composer of symphonies and song cycles, is one of the foremost musical figures of the late nineteenth and early twentieth centuries. His symphonies continue to be widely performed and studied through the twenty-first century. Organized in sections according to subject matter, references are arranged alphabetically by the names of authors or editors. Filler's research has produced sources for musicologists and students in nineteen languages, offering a resource that expands traditional English-language music scholarship.