This expansive collection sets the stage for the next generation of Hip Hop scholarship as we approach the fiftieth anniversary of the movement's origins. Celebrating 50 years of Hip Hop cultural history, Freedom Moves travels across generations and beyond borders to understand Hip Hop's transformative power as one of the most important arts movements of our time. This book gathers critically acclaimed scholars, artists, activists, and youth organizers in a wide-ranging exploration of Hip Hop as a musical movement, a powerful catalyst for activism, and a culture that offers us new ways of thinking and doing freedom. Rooting Hip Hop in Black freedom culture, this state-of-the-art collection presents a globally diverse group of Black, Indigenous, Latinx, Asian American, Arab, European, North African, and South Asian artists, activists, and thinkers. The "knowledges" cultivated by Hip Hop and spoken word communities represent emerging ways of being in the world. Freedom Moves examines how educators, artists, and activists use these knowledges to inform and expand how we understand our communities, our histories, and our futures.

From prehistoric bone flutes to Confucian bell-sets, from ancient divination to his beloved qin, this book presents translations of thirteen seminal essays on musical subjects by Jao Tsung-i. In language as elegant and refined as the ancient texts he so admired, his journey takes readers through Buddhist incantation, the philosophy of musical instruments, acoustical numerology, lyric poetry, historical and sociological contexts, manuscript studies, dance choreography, repertoire formulation, and opera texts. His voice is authoritative and intimate, the expert crafting his arguments, both accessible and sophisticated, succinct and richly tapestried; and concealed within a deft modesty is a thinker privileging us with his most profound observation. The musician's musician, the scholar's scholar, bold yet cautious, flamboyant yet restrained, a man for all seasons, a harmoniousness of time and place.

The British musical in its formative years has appeared in strikingly different guises: from the lasting hits of Oliver!, and Me and My Girl, to the successes of The Dancing Years, Bless the Bride and Expresso Bongo. This authoritative study traces what made these shows successes in the West End and how their qualities define a uniquely British interpretation of the genre. Cultural, sociological and political influences entwine with close reading of the dramatic and musical elements of this repertory to reveal a fascinating web of connections and contrasts between the times, the shows and the people who made them. Through detailed case studies, such as of The Boy Friend and Bitter Sweet, the rich individuality of each West End work is spotlighted, posing vital questions and intriguing answers as to what a British musical can be. Interdisciplinary in nature, this study brings together all the core materials to discover this period in the story of the British musical. Reviewing the Situation is insightful and lively, an invaluable resource for students and scholars of musical theatre and all those theatregoers drawn to the power of these classic British shows.

How did "voice" become a metaphor for selfhood in the Western imagination? The Lyric Myth of Voice situates the emergence of an ideological connection between voice and subjectivity in late eighteenth-century Italy, where long-standing political anxieties and new notions of cultural enlightenment collided in the mythical figure of the lyric poet-singer. Ultimately, music and literature together shaped the singing voice into a tool for civilizing modern Italian subjects. Drawing on a range of approaches and frameworks from historical musicology to gender studies, disability studies, anthropology, and literary theory, Jessica Gabriel Peritz shows how this ancient yet modern myth of voice attained interpretable form, flesh, and sound. The publisher gratefully acknowledges the generous support of the AMS 75 PAYS Fund of the American Musicological Society, supported in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.