The idea that research should become more interdisciplinary has become commonplace. According to influential commentators, the unprecedented complexity of problems such as climate change or the social implications of biomedicine demand interdisciplinary efforts integrating both the social and natural sciences. In this context, the question of whether a given knowledge practice is too disciplinary, or interdisciplinary, or not disciplinary enough has become an issue for governments, research policy makers and funding agencies. Interdisciplinarity, in short, has emerged as a key political preoccupation; yet the term tends to obscure as much as illuminate the diverse practices gathered under its rubric. This volume offers a new approach to theorising interdisciplinarity, showing how the boundaries between the social and natural sciences are being reconfigured. It examines the current preoccupation with interdisciplinarity, notably the ascendance of a particular discourse in which it is associated with a transformation in the relations between science, technology and society. Contributors address attempts to promote collaboration between, on the one hand, the natural sciences and engineering and, on the other, the social sciences, arts and humanities. From ethnography in the IT industry to science and technology studies, environmental science to medical humanities, cybernetics to art-science, the collection interrogates how interdisciplinarity has come to be seen as a solution not only to enhancing relations between science and society, but the pursuit of accountability and the need to foster innovation. Interdisciplinarity is essential reading for scholars, students and policy makers across the social sciences, arts and humanities, including anthropology, geography, sociology, science and technology studies and cultural studies, as well as all those engaged in interdisciplinary research. It will have particular relevance for those concerned with the knowledge economy, science policy, environmental politics, applied anthropology, ELSI research, medical humanities, and art-science.

Addressing a wide range of improvised art and music forms-from jazz and cinema to dance and literature-this volume's contributors locate improvisation as a key site of mediation between the social and the aesthetic. As a catalyst for social experiment and political practice, improvisation aids in the creation, contestation, and codification of social realities and identities. Among other topics, the contributors discuss the social aesthetics of the Association for the Advancement of Creative Musicians, the Feminist Improvising Group, and contemporary Malian music, as well as the virtual sociality of interactive computer music, the significance of "uncreative" improvisation, responses to French New Wave cinema, and the work of figures ranging from bell hooks and Billy Strayhorn to Kenneth Goldsmith. Across its diverse chapters, Improvisation and Social Aesthetics argues that ensemble improvisation is not inherently egalitarian or emancipatory, but offers a potential site for the cultivation of new forms of social relations. It sets out a new conceptualization of the aesthetic as immanently social and political, proposing a new paradigm of improvisation studies that will have reverberations throughout the humanities. Contributors. Lisa Barg, Georgina Born, David Brackett, Nicholas Cook, Marion Froger, Susan Kozel, Eric Lewis, George E. Lewis, Ingrid Monson, Tracey Nicholls, Winfried Siemerling, Will Straw, Zoe Svendsen, Darren Wershler

Addressing a wide range of improvised art and music forms-from jazz and cinema to dance and literature-this volume's contributors locate improvisation as a key site of mediation between the social and the aesthetic. As a catalyst for social experiment and political practice, improvisation aids in the creation, contestation, and codification of social realities and identities. Among other topics, the contributors discuss the social aesthetics of the Association for the Advancement of Creative Musicians, the Feminist Improvising Group, and contemporary Malian music, as well as the virtual sociality of interactive computer music, the significance of "uncreative" improvisation, responses to French New Wave cinema, and the work of figures ranging from bell hooks and Billy Strayhorn to Kenneth Goldsmith. Across its diverse chapters, Improvisation and Social Aesthetics argues that ensemble improvisation is not inherently egalitarian or emancipatory, but offers a potential site for the cultivation of new forms of social relations. It sets out a new conceptualization of the aesthetic as immanently social and political, proposing a new paradigm of improvisation studies that will have reverberations throughout the humanities. Contributors. Lisa Barg, Georgina Born, David Brackett, Nicholas Cook, Marion Froger, Susan Kozel, Eric Lewis, George E. Lewis, Ingrid Monson, Tracey Nicholls, Winfried Siemerling, Will Straw, Zoe Svendsen, Darren Wershler

Music, Sound and Space is the first collection to integrate research from musicology and sound studies on music and sound as they mediate everyday life. Music and sound exert an inescapable influence on the contemporary world, from the ubiquity of MP3 players to the controversial use of sound as an instrument of torture. In this book, leading scholars explore the spatialisation of music and sound, their capacity to engender modes of publicness and privacy, their constitution of subjectivity, and the politics of sound and space. Chapters discuss music and sound in relation to distinctive genres, technologies and settings, including sound installation art, popular music recordings, offices and hospitals, and music therapy. With international examples, from the Islamic soundscape of the Kenyan coast, to religious music in Europe, to First Nation musical sociability in Canada, this book offers a new global perspective on how music and sound and their spatialising capacities transform the nature of public and private experience.

The idea that research should become more interdisciplinary has become commonplace. According to influential commentators, the unprecedented complexity of problems such as climate change or the social implications of biomedicine demand interdisciplinary efforts integrating both the social and natural sciences. In this context, the question of whether a given knowledge practice is too disciplinary, or interdisciplinary, or not disciplinary enough has become an issue for governments, research policy makers and funding agencies. Interdisciplinarity, in short, has emerged as a key political preoccupation; yet the term tends to obscure as much as illuminate the diverse practices gathered under its rubric. This volume offers a new approach to theorising interdisciplinarity, showing how the boundaries between the social and natural sciences are being reconfigured. It examines the current preoccupation with interdisciplinarity, notably the ascendance of a particular discourse in which it is associated with a transformation in the relations between science, technology and society. Contributors address attempts to promote collaboration between, on the one hand, the natural sciences and engineering and, on the other, the social sciences, arts and humanities. From ethnography in the IT industry to science and technology studies, environmental science to medical humanities, cybernetics to art-science, the collection interrogates how interdisciplinarity has come to be seen as a solution not only to enhancing relations between science and society, but the pursuit of accountability and the need to foster innovation. Interdisciplinarity is essential reading for scholars, students and policy makers across the social sciences, arts and humanities, including anthropology, geography, sociology, science and technology studies and cultural studies, as well as all those engaged in interdisciplinary research. It will have particular relevance for those concerned with the knowledge economy, science policy, environmental politics, applied anthropology, ELSI research, medical humanities, and art-science.

Music, Sound and Space is the first collection to integrate research from musicology and sound studies on music and sound as they mediate everyday life. Music and sound exert an inescapable influence on the contemporary world, from the ubiquity of MP3 players to the controversial use of sound as an instrument of torture. In this book, leading scholars explore the spatialisation of music and sound, their capacity to engender modes of publicness and privacy, their constitution of subjectivity, and the politics of sound and space. Chapters discuss music and sound in relation to distinctive genres, technologies and settings, including sound installation art, popular music recordings, offices and hospitals, and music therapy. With international examples, from the Islamic soundscape of the Kenyan coast, to religious music in Europe, to First Nation musical sociability in Canada, this book offers a new global perspective on how music and sound and their spatialising capacities transform the nature of public and private experience.

Anthropologist Georgina Born presents one of the first ethnographies of a powerful western cultural organization, the renowned Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) in Paris. As a year-long participant-observer, Born studied the social and cultural economy of an institution for research and production of avant-garde and computer music. She gives a unique portrait of IRCAM's composers, computer scientists, technicians, and secretaries, interrogating the effects of the cultural philosophy of the controversial avant-garde composer, Pierre Boulez, who directed the institute until 1992. Born depicts a major artistic institution trying to maintain its status and legitimacy in an era increasingly dominated by market forces, and in a volatile political and cultural climate. She illuminates the erosion of the legitimacy of art and science in the face of growing commercial and political pressures. By tracing how IRCAM has tried to accomodate these pressures while preserving its autonomy, Born reveals the contradictory effects of institutionalizing an avant-garde. Contrary to those who see postmodernism representing an accord between high and popular culture, Born stresses the continuities between modernism and postmodernism and how postmodernism itself embodies an implicit antagonism toward popular culture.

"["Western Music and Its Others] will be taken as an important book signalling a new turn within the field. It takes the best features of traditional, rigorous scholarship and brings these to bear upon contemporary, more speculative questions. The level of theoretical sophistication is high. The studies within it are polemical and timely and of lasting scholarly value."--Will Straw, co-editor of "Theory Rules: Art as Theory/ Theory and Art

"The great value of this collection lies in the wealth of questions that it raises--questions that together crystallize the recent concerns of musicology with force and clarity. But it also lies in the authors' resistance to the easy 'postmodernist' answers that threaten to turn new musicology prematurely grey. The editors' comprehensive, intellectually adventurous introduction exemplifies the sort of eager yet properly skeptical receptivity to scholarly innovation that fosters lasting disciplinary reform. It alone is worth the price of the book." --Richard Taruskin, author of "Stravinsky and the Russian Traditions: A Biography of the Works Through" Mavra"

"When cultural-studies methods first appeared in musicology 15 years ago, they triggered a storm of polemics that sometimes overshadowed the important issues being raised. As the canon wars recede, however, scholars are finding it possible to focus on the concerns that led them to cultural criticism in the first place: the study of music and its political meanings. "Western Music and Its Others brings together leading musicologists, ethnomusicologists, and specialists in film and popular music to explore the ways European and North American musicians have drawn on or identified themselves intension with the musical practices of Others. In a series of essays ranging from examination of the Orientalist tropes of early 20th-century Modernists to the tangled claims for ownership in today's World Music, the authors in this collection greatly advance both our knowledge of specific case studies and our intellectual awareness of the complexity and urgency of these problems. A timely intervention that should help push music studies to the next level." --Susan McClary, author of "Conventional Wisdom: The Content of Musical Form (2000)

"This collection provides a sophisticated model for using theory to interrogate music and music to interrogate theory. The essays both take up and challenge the dominance of notions of representation in cultural theory as they explore the relevance of the concepts of hybridity and otherness for contemporary art music. Sophisticated theory, erudite scholarship and a very real appreciation for the specificities of music make this a powerful and important addition to our understanding of both culture and music." --Lawrence Grossberg, author of "Dancing in Spite of Myself