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Books > Arts & Architecture > Music > Non-Western music, traditional & classical
To witness war is, in large part, to hear it. And to survive it is,
among other things, to have listened to it-and to have listened
through it. Listening to War: Sound, Music, Trauma, and Survival in
Wartime Iraq is a groundbreaking study of the centrality of
listening to the experience of modern warfare. Based on years of
ethnographic interviews with U.S. military service members and
Iraqi civilians, as well as on direct observations of wartime Iraq,
author J. Martin Daughtry reveals how these populations learned to
extract valuable information from the ambient soundscape while
struggling with the deleterious effects that it produced in their
ears, throughout their bodies, and in their psyches. Daughtry
examines the dual-edged nature of sound-its potency as a source of
information and a source of trauma-within a sophisticated
conceptual frame that highlights the affective power of sound and
the vulnerability and agency of individual auditors. By theorizing
violence through the prism of sound and sound through the prism of
violence, Daughtry provides a productive new vantage point for
examining these strangely conjoined phenomena. Two chapters
dedicated to wartime music in Iraqi and U.S. military contexts show
how music was both an important instrument of the military campaign
and the victim of a multitude of violent acts throughout the war. A
landmark work within the study of conflict, sound studies, and
ethnomusicology, Listening to War will expand your understanding of
the experience of armed violence, and the experience of sound more
generally. At the same time, it provides a discrete window into the
lives of individual Iraqis and Americans struggling to orient
themselves within the fog of war.
." . . extraordinarily far-reaching. . . . highly
accessible."
-"Notes"
"No one has written this way about music in a long, long time.
Lucid, insightful, with real spiritual, political, intellectual,
and emotional grasp of the whole picture. A book about why music
matters, and how, and to whom."
-Dave Marsh, author of "Louie, Louie" and "Born to Run: The Bruce
Springsteen Story"
"This book is urgently needed: a comprehensive look at the various
forms of black popular music, both as music and as seen in a larger
social context. No one can do this better than Craig Werner."
-Henry Louis Gates, Jr., W.E.B. Du Bois Professor of the
Humanities, Harvard University
"[Werner has] mastered the extremely difficult art of writing about
music as both an aesthetic and social force that conveys, implies,
symbolizes, and represents ideas as well as emotion, but without
reducing its complexities and ambiguities to merely didactic
categories."
-"African American Review"
"A Change Is Gonna Come" is the story of more than four decades of
enormously influential black music, from the hopeful, angry
refrains of the Freedom movement, to the slick pop of Motown; from
the disco inferno to the Million Man March; from Woodstock's
"Summer of Love" to the war in Vietnam and the race riots that
inspired Marvin Gaye to write "What's Going On."
Originally published in 1998, "A Change Is Gonna Come" drew the
attention of scholars and general readers alike. This new edition,
featuring four new and updated chapters, will reintroduce Werner's
seminal study of black music to a new generation of readers.
Craig Werner is Professor of Afro-American Studies at the
University of Wisconsin, and author of many books, including
"Playing the Changes: From Afro-Modernism to the Jazz Impulse" and
"Up Around the Bend: An Oral History of Creedence Clearwater
Revival." His most recent book is "Higher Ground: Stevie Wonder,
Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American
Sou"l.
Shortlisted for the 2021 Prime Minister's Literary Award for
Australian History. Representing Australian Aboriginal Music and
Dance 1930-1970 offers a rethinking of recent Australian music
history. In this open access book, Amanda Harris presents accounts
of Aboriginal music and dance by Aboriginal performers on public
stages. Harris also historicizes the practices of non-Indigenous
art music composers evoking Aboriginal music in their works,
placing this in the context of emerging cultural institutions and
policy frameworks. Centralizing auditory worlds and audio-visual
evidence, Harris shows the direct relationship between the limits
on Aboriginal people's mobility and non-Indigenous representations
of Aboriginal culture. This book seeks to listen to Aboriginal
accounts of disruption and continuation of Aboriginal cultural
practices and features contributions from Aboriginal scholars
Shannon Foster, Tiriki Onus and Nardi Simpson as personal
interpretations of their family and community histories.
Contextualizing recent music and dance practices in broader
histories of policy, settler colonial structures, and
postcolonizing efforts, the book offers a new lens on the
development of Australian musical cultures. The ebook editions of
this book are available open access under a CC BY-NC-ND 4.0 license
on bloomsburycollections.com. Open access was funded by Australian
Research Council.
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