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.

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.

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.

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.

Through personal journeys both interior and across the globe, Alden Jones investigates what motivates us to travel abroad in search of the unfamiliar. By way of explorations to Costa Rica, Bolivia, Nicaragua, Cuba, Burma, Cambodia, Egypt, and around the world on a ship, Jones chronicles her experience as a young American traveler while pondering her role as an outsider in the cultures she temporarily inhabits. Her wanderlust fuels a strong, high-adventure story and, much in the vein of classic travel literature, Jones's picaresque tale of personal evolution informs her own transitions, rites of passage, and understandings of her place as a citizen of the world. With sharp insight and stylish prose, Jones asks: Is there a right or wrong way to travel? The Blind Masseuse concludes that there is, but that it's not always black and white.

Former students often thank their music teachers for what they were taught about music and about life. Play it from the Heart uses stories and concepts from music education as models for success. Making music together requires exceptional cooperation, and ensembles are the ultimate cooperative organizations. J. Steven Moore relates what he and his students have learned about excellence, leadership, responsibility, cooperation, and passion from being in the band. Calling on personal experience, student feedback, and resources ranging from Tim Lautzenheiser to Mahatma Gandhi, Moore shares the lessons of playing from the heart.

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.

The practice of blurring the line between score and sound design has transformed contemporary film soundscape by challenging not only the long-established hierarchical relationships between dialogue, music, and sound effects, but also the modes of perception shaped by classical soundtrack practices. The methods of this new trend rely on the language of contemporary popular and art music, producing soundtracks in which it is difficult to tell the difference between score and ambient sound, where pieces of electroacoustic music are merged with diegetic sound, sound effects are absorbed into the score or treated as music, and diegetic sound is treated as musique concrete. In Sound Design is the New Score, Kulezic-Wilson explores theoretical, aesthetic, and sensuous dimensions of this new trend, providing a multifaceted portrait of a practice which recognizes the interconnectedness of all soundtrack elements and emphasizes their inherent musicality. The aesthetic concerns of this practice are illuminated through the concept of the aesthetics of reticence which rejects classical narrative and scoring conventions and uses integrated soundtrack strategies to create the space for mystery in art and for individuality in the cinematic experience. The book's emphasis on sensuous and musical aspects of this practice, informed by the feminist discourse on the erotics of art, challenges popular notions about sensory cinema, demonstrating that the sensuousness of film form and its soundscapes is more sophisticated than simply being the result of excessive sensory stimulation facilitated by the use of digital technology or the "intensified" aesthetics it inspires. The discussion is supported by a wide range of case studies from American Independent, Asian, Australian, and European cinemas, including films by Shane Carruth, Claire Denis, Hou Hsiao-Hsien, Harmony Korine, David Michod, Gus Van Sant, and Peter Strickland.

Made in Nusantara serves as a comprehensive introduction to the history, sociology, ethnography, and musicology of historical and contemporary popular music in maritime Southeast Asia. Each essay covers major figures, styles, and social contexts of genres of a popular nature in the Nusantara region including Malaysia, Indonesia, Brunei, Singapore, and the Philippines. Through a critical investigation of specific genres and their spaces of performance, production, and consumption, the volume is organised into four thematic areas: 1) issues in Nusantara popular music; 2) history; 3) artists and genres; and 4) national vs. local industries. Written by scholars working in the region, Made in Nusantara brings local perspectives to the history and analysis of popular music and critically considers conceptualisations developed in the West, rendering it an intriguing read for students and scholars of popular and global music.

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.

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.

Jazz trombonist Jack Teagarden once referred to Ruby Braff as the "Ivy League's Louis Armstrong." That legacy of great trumpet performance and recording is brought to readers in Thomas Hustad's Born to Play: The Ruby Braff Discography and Directory of Performances. Braff's uncompromising standards, musical taste, and creative imagination informed his consummate artistry in creating music beautifully played. He achieved swiftly what few musicians accomplish in a lifetime by developing a unique and immediately recognizable style. For a reminder of that we need but play any of the more than 150 released recordings on which he appears. These records span a total of 54 years, from 1949 to 2002, a feat almost unmatched in jazz recording. This was five years longer than even Louis Armstrong. Although prepared in discographical style, capturing information about both commercial recordings and previously undocumented performances, Born to Play serves as a biography of the artist, detailing the path he paved as a performer and featuring personal recollections of his musical career with commentary from other figures. Images over the course of his half century of playing fill out this comprehensive survey of Braff's performing and recording career. This bio-discography of the man who jazz drumming legend Buddy Rich declared "one of my favorite trumpeters" and singing giant Tony Bennett described as "my great friend who now holds the reigning position of the best cornet player in the world" is sure to be of interest to jazz fans and scholars alike.

From its infancy, television networks and studios explore others avenues to increase their revenues. Conveniently enough, several film studios and production companies-MGM, MTM, Columbia/Screen Gems, Talent Associates, Warner Brothers-had their own record label divisions. The obvious benefit was cross promotion: a television series could be plugged on the record and the record could be promoted on the TV show. Though few and far between, several television performers went on to become major recording stars. Ricky Nelson started as a child actor on The Adventures of Ozzie and Harriet before dominating rock and pop charts. Johnny Crawford of The Rifleman, Walter Brennan of The Real McCoys, and even Bruce Willis of Moonlighting all scored Top Ten hit singles. But these were just the standouts from the hundreds of TV actors who recorded songs, and the stories behind their records are simply fascinating. In From Small Screen to Vinyl: A Guide to TV Stars Who Made Records 1950-2000, author Bob Leszczak offers a look at hundreds of stars who performed double duty: as a television performer as well as a recording artist. He looks not only at the show and the performer but the behind-the-scenes dramas that unfolded as each attempted to tackle the two different mediums. Through his interviews with many of these multitaskers, the author has uncovered new, and mostly never before known facts about those who sought to conquer the world of vinyl. As Leszczak stresses, most eagerly embraced the opportunity to record, while others saw it as a necessary evil-the result of contractual obligations or industry pressures. Entries are listed alphabetically from Nick Adams (of The Rebel) to Efrem Zimbalist, Jr. (of 77 Sunset Strip). Also included are over 80 photos of these rare releases taken from the author's private collection. For a new look at your old favorites, From Small Screen to Vinyl, will let you see that just because one is a TV star does not mean that he or she does not have the ability to expand beyond their acting prowess. Baby boomers, fans of classic hits radio, and devotees of classic TV programs will find From Small Screen to Vinyl a treasure trove of TV and record trivia-and no TV or music library can be considered complete without it.

Insightful account of the life and works of two of the most important figures in twentieth-century British cultural life. This dual biography of Ivor Gurney and Marion Scott tells the dramatic story of two geniuses who met at the Royal College of Music in 1911 and formed an unlikely partnership that illuminated and enriched the musical and literary worlds in which they moved. Gurney's poetry and songs have taken their place as part of the inheritance of England. Scott, Gurney's strongest advocate, emerges from his shadow for the first time. Her own remarkable achievements as a pioneering music critic, musicologist, advocate of contemporary music and women musicians place her among the most influential and respected women of her generation. Based on original research, this is thefirst biography of Gurney since 1978 and the only biography of Scott. It offers new, in-depth perspectives on Gurney's attempts to create music and poetry while struggling to overcome the bipolar illness that eventually derailed his genius, and restores Marion Scott's rightful place in music history. Pamela Blevins is a former journalist and managing editor of Signature, a magazine about women in classical music. She has publishedwidely on British composers and poets.

The genesis and genius of Bartok's Concerto was mingled with his love for Stefi Geyer. As Hungarian Tristan pursuing his Isolde, he sounds allusions to Wagner's paean of unfulfilled love. In transposing the ideal into the real, Bartok enlists folk sources voicing pristine truths of peasants. While biography and Tristan allusions supply the keys to Stefi's Concerto, the Tristan grief motif serves as bridge from idealized romance to the pentatonic simplicity of peasant realism. In these tensions private love and public life, and esoteric romance and raw worldliness are provoked and reconciled. The rise and fall of living romance and its musical mirroring against peasant scales and rhythms is background to "Tristan" ruling a score that incites and resolves the clash of two conflicting worlds

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.

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.

for SATB and organ or orchestra or strings or brass Melody from Piae Cantiones. Material is available on hire.

A collection of pieces of about grades 2 to 3.

A collection of pieces of about grades 4 to 5.

Contents:

• Bach: Bourrée
• Couperin: 'La Lutine'
• Dvorak: Slavonic Dance
• Mendelssohn: Christmas Piece
• Mozart: Minuet
• Schubert: Adagio
• Schumann: A Piece (in the style of a folk tune)
• Shield: Theme and Variations
• Tchaikowsky: Waltz
• Weber: Romance

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.