The Operatic Archive: American Opera as History extends the growing interdisciplinary conversation in opera studies by drawing on new research in performance studies and the philosophy of history. Moving beyond traditional aesthetic conceptions of opera, this book argues for opera's powerful potential for historical impact and engagement in late twentieth- and twenty-first-century works by American composers. Considering opera's ability to serve as a vehicle for memory, historical experience, affect, presence, and the historical sublime, this volume demonstrates how opera's ability to represent and evoke historical events and historical experience differs fundamentally from the representations and recreations of other modes (specifically, literary and dramatic representations). Building on the work of performance scholars such as Joseph Roach, Rebecca Schneider, and Diana Taylor, and in consultation with recent debates in the philosophy of history, the book will be of interest to a wide range of scholars and researchers, particularly those working in the areas of opera studies and performance studies.

The Operatic Archive: American Opera as History extends the growing interdisciplinary conversation in opera studies by drawing on new research in performance studies and the philosophy of history. Moving beyond traditional aesthetic conceptions of opera, this book argues for opera's powerful potential for historical impact and engagement in late twentieth- and twenty-first-century works by American composers. Considering opera's ability to serve as a vehicle for memory, historical experience, affect, presence, and the historical sublime, this volume demonstrates how opera's ability to represent and evoke historical events and historical experience differs fundamentally from the representations and recreations of other modes (specifically, literary and dramatic representations). Building on the work of performance scholars such as Joseph Roach, Rebecca Schneider, and Diana Taylor, and in consultation with recent debates in the philosophy of history, the book will be of interest to a wide range of scholars and researchers, particularly those working in the areas of opera studies and performance studies.

Music education today requires an approach rooted in care and kindness that coexists alongside the dismantling of systems that fail to serve our communities in higher education. But, as the essayists in Sound Pedagogy show, the structural aspects of music study in higher education present obstacles to caring and kindness like the entrenched master-student model, a neoliberal individualist and competitive mindset, and classical music’s white patriarchal roots. The editors of this volume curate essays that use a broad definition of care pedagogy, one informed by interdisciplinary scholarship and aimed at providing practical strategies for bringing transformative learning and engaged pedagogies to music classrooms. The contributors draw from personal experience to address issues including radical kindness through universal design; listening to non-human musicality; public musicology as a forum for social justice discourse; and radical approaches to teaching about race through music. Contributors: Molly M. Breckling, William A. Everett, Kate Galloway, Sara Haefeli, Eric Hung, Stephanie Jensen-Moulton, Mark Katz, Nathan A. Langfitt, Matteo Magarotto, Mary Natvig, Frederick A. Peterbark, Laura Moore Pruett, Colleen Renihan, Amanda Christina Soto, John Spilker, Reba A. Wissner, and Trudi Wright

Music education today requires an approach rooted in care and kindness that coexists alongside the dismantling of systems that fail to serve our communities in higher education. But, as the essayists in Sound Pedagogy show, the structural aspects of music study in higher education present obstacles to caring and kindness like the entrenched master-student model, a neoliberal individualist and competitive mindset, and classical music’s white patriarchal roots. The editors of this volume curate essays that use a broad definition of care pedagogy, one informed by interdisciplinary scholarship and aimed at providing practical strategies for bringing transformative learning and engaged pedagogies to music classrooms. The contributors draw from personal experience to address issues including radical kindness through universal design; listening to non-human musicality; public musicology as a forum for social justice discourse; and radical approaches to teaching about race through music. Contributors: Molly M. Breckling, William A. Everett, Kate Galloway, Sara Haefeli, Eric Hung, Stephanie Jensen-Moulton, Mark Katz, Nathan A. Langfitt, Matteo Magarotto, Mary Natvig, Frederick A. Peterbark, Laura Moore Pruett, Colleen Renihan, Amanda Christina Soto, John Spilker, Reba A. Wissner, and Trudi Wright

Bringing together established authorities and new voices, this book takes off the 'protective arm' around Britten. Benjamin Britten Studies brings together established authorities and new voices to offer a fresh perspective on previous scholarship models and a re-contextualization of previously held beliefs about Britten. Using the mostrecent and innovative historical, musicological, sociological, psychological, and theoretical methodologies, the authors take off the 'protective arm' around Britten and disclose an unprecedented amount of previously unpublishedand disregarded primary source materials. The collection considers difficult questions of identity such as Britten's retreat to America, his re-entry into the British musical scene, and late-life revisions of his American works; scrutinizes the fraught establishing of the English Opera Group contemporaneous with the founding of the Aldeburgh Festival of Music and the Arts; explores his break with Boosey & Hawkes and inspects international copyright concerns in the Soviet Union' investigates sensitive issues of intimacy and Britten's relationships; and combines closer analysis of Britten's musico-rhythmic, harmonic, and compositional practices with a description of the more overtlypolitical context within which he found himself. Benjamin Britten Studies ends by asking what we can actually know about the composer in a reconsideration of the materials he left behind. All of this coalesces into avolume that not only serves as a model of on-going and future Britten research but which generates a greater understanding of the overall trends within the ever-synthesizing and interdisciplinary musicological field of the twenty-first century. VICKI P. STROEHER is Professor of Music History at Marshall University. JUSTIN VICKERS is Assistant Professor of Voice at Illinois State University. Contributors: Byron Adams, Nicholas Clark, Jenny Doctor, Paul Kildea, Christopher Mark, Thornton Miller, Louis Niebur, Philip Reed, Colleen Renihan, Philip Rupprecht, Kevin Salfen, Vicki P. Stroeher, Justin Vickers, Lucy Walker, Danielle Ward-Griffin, Lloyd Whitesell