This volume focuses on the singing voice in contemporary cinema from 1945 to the present day, and rather than being restricted to one particular genre, considers how the singing voice has helped define and/or confuse genre classification. Typically heard in song, the singing voice is arguably the most expressive of all musical instruments. This volume celebrates the ways in which singing features in film. This includes the singing voice as protagonist, as narrator, as communicator, as entertainer, and as comedic interlude. Whether the singing voice in film is personally expressive, reflexive and distant, or synchronized for entertainment, there is typically interplay between the voice and visual elements. Extending beyond the body of literature on 'the musical', the volume is not about musicals per se. Rather, The Singing Voice in Contemporary Cinema discusses the singing voice as a distinct genre that focuses on the conceptualization and synchronization of the singing voice in the post-War era. It explores the relationship between screen, singing, singer and song; it celebrates the intersection of the singing voice and popular culture. In doing so, the volume will cross multiple disciplines including vocal studies, film studies, film sound studies, and music production (vocal processing).

This research-based book outlines career models for artists, methods of creative engagement, artistic options including individuality and branding, production practices, the realities of being a musician in the new industries, and implications for popular music education. Due to the profound effects of the digitisation of music, the music industries have undergone rapid transformation. The former record label dominated industry has been supplanted by new industries, including digital aggregators, strategists and online platforms. These new music industries now facilitate 'direct' access to both artists and their music. While such accessibility and the potential for artist exposure have never been greater, the challenge to stand out or to even navigate a musical career pathway is formidable. A useful resource for musicians and educators, this text highlights the ways in which the new music industries facilitate increased opportunities for 21st Century popular musicians to collaborate, communicate and interact with others interested in their music.

Within the field of psychology, community psychology specifically challenges traditional ways of thinking by considering people as embedded in ecological systems. It also recognizes that the links between persons and settings may be as important as either factor alone. Many of the important writings in this field have been presented in the American Journal of Community Psychology, as such, theintellectual history of community psychology has been presented in this journal.

During the past quarter century, community psychologists have worked to make relevant contributions to human welfare in community settings and to effect social change. Working with and in schools, neighborhood organizations, religious institutions, social programs, and government agencies, the community psychologist has come to understand how social settings and social policy influence behavior and foster change that promotes individual health and well-being. Using a social ecological paradigm as their guiding framework, they focus on the interactions between persons and their environments, cultural diversity, and local empowerment for understanding organizational, community, and social change.

Community psychologists have relied on multiple methods of obtaining data but more often, they have had to develop new methodologies or adapt existing ones. These innovative methods have been recorded in the American Journal of Community Psychology throughout the years of its history and have changed the way that researchers in the field have gathered data. Some of the areas covered in this volume include:

- intervention;
- prevention research;
- ecological assessment; and
- culturally anchored research. This volume will be of interest to community, developmental, social and clinical psychologists, public health and behavioral medicine researchers, cultural intervention researchers, and community mental health and health workers.

This research-based book outlines career models for artists, methods of creative engagement, artistic options including individuality and branding, production practices, the realities of being a musician in the new industries, and implications for popular music education. Due to the profound effects of the digitisation of music, the music industries have undergone rapid transformation. The former record label dominated industry has been supplanted by new industries, including digital aggregators, strategists and online platforms. These new music industries now facilitate 'direct' access to both artists and their music. While such accessibility and the potential for artist exposure have never been greater, the challenge to stand out or to even navigate a musical career pathway is formidable. A useful resource for musicians and educators, this text highlights the ways in which the new music industries facilitate increased opportunities for 21st Century popular musicians to collaborate, communicate and interact with others interested in their music.

During the past quarter century, community psychologists have worked to make relevant contributions to human welfare in community settings and to effect social change. Working with and in schools, neighborhood organizations, religious institutions, social programs, and government agencies, the community psychologist has come to understand how social settings and social policy influence behavior and foster change that promotes individual health and well-being. Using a social ecological paradigm as their guiding framework, they focus on the interactions between persons and their environments, cultural diversity, and local empowerment for understanding organizational, community, and social change.

Community psychologists have relied on multiple methods of obtaining data but more often, they have had to develop new methodologies or adapt existing ones. These innovative methods have been recorded in the American Journal of Community Psychology throughout the years of its history and have changed the way that researchers in the field have gathered data.

This volume focuses on the singing voice in contemporary cinema from 1945 to the present day, and rather than being restricted to one particular genre, considers how the singing voice has helped define and/or confuse genre classification. Typically heard in song, the singing voice is arguably the most expressive of all musical instruments. This volume celebrates the ways in which singing features in film. This includes the singing voice as protagonist, as narrator, as communicator, as entertainer, and as comedic interlude. Whether the singing voice in film is personally expressive, reflexive and distant, or synchronized for entertainment, there is typically interplay between the voice and visual elements. Extending beyond the body of literature on 'the musical', the volume is not about musicals per se. Rather, The Singing Voice in Contemporary Cinema discusses the singing voice as a distinct genre that focuses on the conceptualization and synchronization of the singing voice in the post-War era. It explores the relationship between screen, singing, singer and song; it celebrates the intersection of the singing voice and popular culture. In doing so, the volume will cross multiple disciplines including vocal studies, film studies, film sound studies, and music production (vocal processing).

This work contains original research from the first 25 years of the American Journal of Community Psychology, selected to reflect community psychology's rich tradition of theory, empirical research, action, and innovative methods. This volume will be of interest to community mental health workers, social science and social work researchers, health care professionals, policymakers, and educators in the fields of community and preventative psychology.