Ethical musicality addresses the crossroads between music and ethics, combining philosophical knowledge, theoretical reflection, and practical understanding. When tied together, music and ethics link profoundly, offering real-life perspectives that would otherwise be inaccessible to us. The first part elucidates music and ethics through some influential and selected scholars ranging from antiquity via modern philosophy to contemporary voices. In the second part, different roles and arenas are illustrated and explored through various music practices in real-life encounters for the musician, the music educator, the music therapist, the musicologist, the 'lay' musician, and the music researcher. The third part unfolds an ethical musicality focusing on the body, relationship, time, and space. Following these fundamental existentials, ethical musicality expands our lifeworld, including context, involvement, power, responsibility, sustainability, and hope. Such an ethical musicality meets us with a calling to humanity-offering hope of a 'good life'.

As more and more music literature is published each year, librarians, scholars, and bibliographers are turning to music bibliography to retain control over the flood of information. Based on the Conference of Music Bibliography, this timely book provides vital information on the most important aspects of the scholarly practice of music bibliography. Foundations in Music Bibliography provides librarians with great insight into bibliographic issues they face every day including bibliographic control of primary and secondary sources, the emergence of enumerative and analytical bibliography, bibliographic instruction, and bibliographic lacunae.Foundations in Music Bibliography features the perspectives of prominent scholars and music librarians on contemporary issues in music bibliography often encountered by music librarians. It offers practical insights and includes chapters on teaching students how to use microcomputer programs to search music bibliographies, organizing a graduate course in music bibliography, and researching film music bibliography. The book also provides a supplement to Steven D. Westcott 's A Comprehensive Bibliography of Music for Film and Television. This insightful volume demonstrates the many ways that bibliography relates music publications to each other and endows grander meaning to individual scholarly observations. Some of the fascinating topics covered by Foundations in Music Bibliography include: the history of thematic catalogs indexing Gregorian chant manuscripts general principles of bibliographic instruction analyses of Debussy discographies musical ephemera and their importance in various types of musicological research bibliographical lacunae (i.e. lack of access to visual sources, failure to control primary sources, and lack of communication with the rest of the performing arts)Foundations in Music Bibliography shows librarians how bibliography can be used to help music students and researchers find the information they need among the innumerable available sources. It is an indispensable asset to the shelves of all music reference libraries that wish to provide their patrons with the latest bibliographic tools.

American Music Librarianship is a biographical and historical review of the musical situation in American libraries from its roots in the late 19th century to the 1980s. Beginning with the period from 1854-55 when the Boston Public Library began to buy music for its collections, Bradley tracks the development of the Music Division in the Library of Congress under the guidance of chief librarian Oscar Senneck.

The opening section examines the professional careers of America's first music librarians and the subsequent development of music libraries, taken from information provided in their papers; documentation in their libraries; and from oral interviews with the librarians, their spouses and their successors. In the second and third sections, Bradley covers the librarians involved in the formulation of classification schemes and rules for cataloguing. The fourth section covers the colleagues of these pioneer librarians who are noteworthy for their own efforts on behalf of music in American libraries. The Music Library Association is reviewed in the final section, from its inception in 1931 through the activities of its professionals, to current goals. The book's appendices include tables and plates illustrative of various aspects discussed in the body of the book. A detailed index comprehends personal names, names of libraries, titles of publications, concepts and subjects. This book is a source book for all music libraries and librarians, school libraries, and music research collections.

How do people make music? What is the relationship between live music and the music we hear in music videos? How has the digital revolution affected music-making in industrialized and developing nations?
"Media Policy and Music Activity" explores the relationships between policies governing the output of the music media and music activity in society. Investigating musical activity in six smaller nations -- Jamaica, Trinidad, Kenya, Tanzania, Sweden, and Wales -- Wallis and Malm include interviews with a wide range of musicians, policy-makers, and media and music industry employees. They discover that, all too often, media policies designed to encourage local industries fail due to non-implementation.
Combining case study material with a broad theoretical framework, "Media Policy and Music Activity" provides a unique introduction to media policy and its relation to cultural production. It will be of interest not only to students and researchers, but to policymakers, media practitioners, and anyone interested in the role music plays in our everyday lives.

(Book). The Grand Budapest Hotel recounts the adventures of Gustave H (Ralph Fiennes), a legendary concierge at a famous European hotel between the wars, and Zero Moustafa (Tony Revolori), the lobby boy who becomes his most trusted friend. Acting as a kind of father figure, M. Gustave leads the resourceful Zero on a journey that involves the theft and recovery of a priceless Renaissance painting; the battle for an enormous family fortune; a desperate chase on motorcycles, trains, sledges and skis; and the sweetest confection of a love affair all against the backdrop of a suddenly and dramatically changing Continent. Inspired by the writings of Stefan Zweig, The Grand Budapest Hotel recreates a bygone era through its arresting visuals and sparkling dialogue. The charm and vibrant colors of the film gradually darken with a sense of melancholy as the forces of history conspire against our hero and his vanishing way of life. Written and directed by Wes Anderson, whose films include The Royal Tenenbaums, Moonrise Kingdom, and Fantastic Mr. Fox . The film also stars Jude Law, Tilda Swinton, Edward Norton, Jeff Goldblum, Harvey Keitel, Adrian Brody, Saoirse Ronan, Lea Seydoux, Bill Murray and Owen Wilson.

The aesthetics of imperfection emphasises spontaneity, disruption, process and energy over formal perfection and is often ignored by many commentators or seen only in improvisation. This comprehensive collection is the first time imperfection has been explored across all kinds of musical performance, whether improvisation or interpretation of compositions. Covering music, visual art, dance, comedy, architecture and design, it addresses the meaning, experience, and value of improvisation and spontaneous creation across different artistic media. A distinctive feature of the volume is that it brings together contributions from theoreticians and practitioners, presenting a wider range of perspectives on the issues involved. Contributors look at performance and practice across Western and non-Western musical, artistic and craft forms. Composers and non-performing artists offer a perspective on what is ‘imperfect’ or improvisatory within their work, contributing further dimensions to the discourse. The Aesthetics of Imperfection in Music and the Arts features 39 chapters organised into eight sections and written by a diverse group of scholars and performers. They consider divergent definitions of aesthetics, employing both 18th-century philosophy and more recent socially and historically situated conceptions making this an essential, up-to-date resource for anyone working on either side of the perfection-imperfection debate.

Long before anyone ever heard of 'protest music', people in America were singing about their struggles. They sang for justice and fairness, food and shelter, and equality and freedom; they sang to be acknowledged. Sometimes they also sang to oppress. This book uncovers the history of these people and their songs, from the moment Columbus made fateful landfall to the start of the Second World War, when 'protest music' emerged as an identifiable brand. Cutting across musical genres, Will Kaufman recovers the passionate voices of America itself. We encounter songs of the mainland and the conquered territories of Hawai'i, Cuba, Puerto Rico, and the Philippines; we hear Indigenous songs, immigrant songs and Klan songs, minstrel songs and symphonies, songs of the heard and the unheard, songs of the celebrated and the anonymous, of the righteous and the despicable. This magisterial book shows that all these songs are woven into the very fabric of American history.

Pioneering work on the musical material from the archives of the English court was undertaken by Nagel (1894), Lafontaine (1909) and Stokes (in the Musical Antiquary 1903-1913). Records of English Court Music (a series of seven volumes covering the period 1485-1714) is the first attempt to compile a systematic calendar of such references. It aims to revise these earlier studies where necessary, adding significant details which researchers omitted, clarifying the context of documents and substituting current call-marks for defunct references. Volume V is primarily concerned with the post-Restoration years already partially covered in volumes I and II. The material from the Exchequer and Declared Accounts of the Treasurer of the Chamber has been revised to include references to trumpeters and drummers. Other sections are devoted to material outside the Lord Chamberlain's papers: the Signet Office Docquet Books, Secret Service accounts and more from the Exchequer; the Corporation of Musick (controlled by the Court musicians) and to the range of music material from accounts of the Receivers General. Samples from the comprehensive records of the Lord Steward's department (including those of the Cofferer of the Household) are also provided. Andrew Ashbee was the winner of the Oldman Prize in 1987 for Volume II in the series of 'Records of English Court Music', awarded by the UK branch of the International Association of Music Libraries for the year's best book on music librarianship, bibliography and reference.

Pioneering work on the musical material from the archives of the English court was undertaken by Nagel (1894), Lafontaine (1909) and Stokes (in the Musical Antiquary 1903-1913). Records of English Court Music (a series of seven volumes covering the period 1485-1714) is the first attempt to compile a systematic calendar of such references. It aims to revise these earlier studies where necessary, adding significant details which researchers omitted, clarifying the context of documents and substituting current call-marks for defunct references. Volume V is primarily concerned with the post-Restoration years already partially covered in volumes I and II. The material from the Exchequer and Declared Accounts of the Treasurer of the Chamber has been revised to include references to trumpeters and drummers. Other sections are devoted to material outside the Lord Chamberlain's papers: the Signet Office Docquet Books, Secret Service accounts and more from the Exchequer; the Corporation of Musick (controlled by the Court musicians) and to the range of music material from accounts of the Receivers General. Samples from the comprehensive records of the Lord Steward's department (including those of the Cofferer of the Household) are also provided. Andrew Ashbee was the winner of the Oldman Prize in 1987 for Volume II in the series of 'Records of English Court Music', awarded by the UK branch of the International Association of Music Libraries for the year's best book on music librarianship, bibliography and reference.

The result of years of research by its authors, this discography strives to identify and trace the recorded development of the musical style now known as western swing from its early years through World War II. The style developed from the Texas string band tradition, growing from a fiddle and guitar duo into full swing band groups, and along the way, it drew from and absorbed a variety of other musical styles, thus making it one of the most diverse genres in American music. Until now, studies have been limited to a few book-length biographies, but through exhaustive research and interviews, Ginell and Coffey have provided the most complete and comprehensive listing of pre-War western swing and hot string band recordings to date.

Accessible through a variety of indexes, the information included here comprises four sections. The reader can easily find cross-referenced information on which musicians played with which bands on which songs. Easy-to-follow linear and chronological development of the music is provided as well.

This book examines the American Sixties, and how that period's socio-political essence was reflected and refracted in certain forms of the period's music. Its five main chapters bear the names of familiar musical categories: 'Folk,' 'Rock,' 'Jazz,' 'Avant-Garde,' 'Classical.' But the book's real subject matter-treated at length in the Prologue and the Epilogue but spread throughout all that comes between-is the Sixties' tangled mess of hopes and frustrations, of hungers as much for self-identity as for self-indulgence, of crises of conscience that bothered Americans of almost all ages and regardless of political persuasion.

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.

Using the case study of "Eddie" as his framework, Professor Miller challenges the prevailing notion that musical savants are essentially phenomenal tape recorders and deals with the issue of "idiot savants" in a detailed, empirical investigation. Through "Eddie" the author discusses, in specific and in general, topics including the background and historical context of musical savants; other cases; data regarding the nature of the skills exhibited and the associated developmental deficits; and descriptions of a series of experiments used to define Eddie's talent. Finally, the author considers more general issues raised by savant behavior, particularly functions served by savant behavior, theories regarding its etiology, and its role in general development.

French and Soviet Musical Diplomacies in Post-War Austria, 1945-1955 investigates how promoting 'national' music and musicians was used as an important asset by France and the USSR in post-Nazi Austria, covering music's role in international relations at various levels, within changing power frameworks. Bridging international relations, musical sociology, media studies, and Cold War history, four incisive chapters examine the crossroads of Soviet, French, and Austrian cultural politics and discourse-building, presented in two parts - institutions of musical diplomacy: Soviet and French cultural diplomats in comparison; sounds of music coming to Austria: Soviet and French musicians on tour. Using a communication- and media-oriented approach, this study casts new light, firstly, on the interpretative power of 'receiving' publics and, secondly, on the role of cultural transmitters at different levels. This is a valuable study for those specialising in Russian and East European music and music and politics. It will also appeal to cultural historians and all those interested in the intersections between music, international relations, and Cold War history.

UNIVERSALLY ACCLAIMED AS A MUSICAL GENIUS, MILES DAVIS WAS ONE OF THE MOST IMPORTANT AND INFLUENTIAL MUSICIANS IN THE WORLD. HERE, MILES SPEAKS OUT ABOUT HIS EXTRAORDINARY LIFE.

"M""iles: The Autobiography, "like Miles himself, holds nothing back. He speaks frankly and openly about his drug problem and how he overcame it. He condemns the racism he encountered in the music business and in American society generally. And he discusses the women in his life. But above all, Miles talks about music and musicians, including the legends he has played with over the years: Bird, Dizzy, Monk, Trane, Mingus, and many others.

The man who gave us some of the most exciting music of the twentieth century here gives us a compelling and fascinating autobiography, featuring a concise discography and thirty-two pages of photographs.

This book brings together a range of hip hop scholars, artists and activists working on Hip Hop in the Global North and South with the goal of advancing Hiphopographic research as a critical methodology with critical fieldwork methods that can provide a critical perspective of our world. The authors’ focus in this volume is to present an anthology of essays that expand the remit of Hiphopography as an approach to the study of Hip Hop that is not only sensitive to the social, economic, political and cultural lives of Hip Hop Culture participants as interpreters and theorists, but one that continues to humanize the “whole person� behind the decks, on the mic, rocking on the linoleum floor, painting in front of a wall, and seeking that Knowledge of Self. This book will be relevant to Hip Hop scholars in fields such as cultural studies and history, sociolinguistics, linguistic anthropology and ethnography, and race studies, while Hip Hop heads themselves will find parts of this book that represent their culture in ethical and informative ways.

"*One of very few books on religion and popular music *Covers a wide range of musical styles, from heavy metal and rap to country, jazz and Broadway musicals *The essays are written by academics and informed by their enthusiasm for the music Many books have explored the relationship between religion and film, but few have yet examined the significance of religion to popular music. Call Me The Seeker steps into that gap. Michael Gilmour's introductory essay gives a state-of-the-discipline overview of research in the area. He argues that popular songs frequently draw from and "interpret" themes found in the conceptual and linguistic worlds of the major religions and reveal underlying attitudes in those who compose and consume them. He says these "texts" deserve more serious study. The essays in the book start an on-going conversation in this area, bringing a variety of methodologies to bear on selected artists and topics. Musical styles covered range from heavy metal and rap to country, jazz, and Broadway musicals."

Record collectors, archivists, and music historians will welcome the second volume of The Encyclopedic Discography of Victor Recordings, bringing the history and comprehensive catalog of the Victor Talking Machine Company through the year 1907, when the Matrix Numbering system, inaugurated in April, 1903 had reached number 4999. This volume gives full details of all Victor recordings made during this period, including the early records of such artists as Caruso, Melba, Schumann-Heink, Farrar, Scotti, Homer, Sembrich, Calve, Gadski, Plancon, and many others. Also includes are all popular records of songs, light opera, music hall personalities, bands such as Sousa's, dance records, etc. This discography, which is based on the original recording ledgers of the company, and augmented by extensive research in rare Victor publications, catalogs, bulletins, and correspondence as well as information from collectors and archivists, represents the only systematic cataloging of these rare recordings attempted to date.

One of the most extensive repertories of Renaissance sacred music to have come down to us was written for the Cathedral of Treviso. An Allied raid over the city on 7 April 1944 resulted in the destruction of 25 manuscripts of polyphonic music written prior to 1630. In this book, Bonnie Blackburn reconstructs the inventories of two of these lost manuscripts: MS29 and MS30, and explains their puzzling repertory.

- One-stop resource explains culturally responsive teaching conceptually and offers practical ways to apply in the classroom - Specifically addresses culturally responsive teaching in music education context, with vivid first-person examples from music educators - Single-authored narrative makes this book clear and accessible for students

This translation of this classic text contains a balance of cultural and biological considerations. While arguing for the strong influence of exposure and of formal training on the way that music is perceived, Frances draws on the literature concerning the amusias to illustrate his points about the types of cognitive abstraction that are performed by the listener.