Efforts within the past decade to address the HIV/AIDS pandemic in sub-Saharan Africa have dealt with HIV/AIDS principally as a medical concern-despite the fact that doctors continue to be confronted with the complex relationship of the disease to broader social issues. When medical and governmental institutions fail, artists step in. Contemporary performances in Uganda often focus on gender and health-related issues specific to women and youths, in which song texts warn against risky sexual environments or unprotected sexual behavior. Music, dance, and drama are principal tools of local initiatives that disseminate information, mobilize resources, and raise societal consciousness regarding issues related to HIV/AIDS. Through case studies, song texts, interviews, and testimonies, Singing for Life: HIV/AIDS and Music in Uganda examines the links between the decline in Uganda's infection rate and grassroots efforts that make use of music, dance, and drama. Only when supported and encouraged by such performances drawing on localized musical traditions have medical initiatives taken root and flourished in local healthcare systems. Gregory Barz shows how music can be both a mode of promoting health and a force for personal therapy, presenting a cultural analysis of hope and healing.

The Culture of AIDS in Africa enters into the many worlds of expression brought forth across this vast continent by the ravaging presence of HIV/AIDS. Africans and non-Africans, physicians and social scientists, journalists and documentarians share here a common and essential interest in understanding creative expression in crushing and uncertain times. They investigate and engage the social networks, power relationships, and cultural structures that enable the arts to convey messages of hope and healing, and of knowledge and good counsel to the wider community. And from Africa to the wider world, they bring intimate, inspiring portraits of the performers, artists, communities, and organizations that have shared with them their insights and the sense they have made of their lives and actions from deep within this devastating epidemic.
Covering the wide expanse of the African continent, the 30 chapters include explorations of, for example, the use of music to cope with AIDS; the relationship between music, HIV/AIDS, and social change; visual approaches to HIV literacy; radio and television as tools for "edutainment;" several individual artists' confrontations with HIV/AIDS; various performance groups' response to the epidemic; combating HIV/AIDS with local cultural performance; and more. Source material, such as song lyrics and interviews, weaves throughout the collection, and contributions by editors Gregory Baz and Judah M. Cohen bookend the whole, to bring together a vast array of perspectives and sources into a nuanced and profoundly affective portrayal of the intricate relationship between HIV/AIDS and the arts in Africa.

Efforts within the past decade to address the HIV/AIDS pandemic in sub-Saharan Africa have dealt with HIV/AIDS principally as a medical concern-despite the fact that doctors continue to be confronted with the complex relationship of the disease to broader social issues. When medical and governmental institutions fail, artists step in. Contemporary performances in Uganda often focus on gender and health-related issues specific to women and youths, in which song texts warn against risky sexual environments or unprotected sexual behavior. Music, dance, and drama are principal tools of local initiatives that disseminate information, mobilize resources, and raise societal consciousness regarding issues related to HIV/AIDS. Through case studies, song texts, interviews, and testimonies, Singing for Life: HIV/AIDS and Music in Uganda examines the links between the decline in Uganda's infection rate and grassroots efforts that make use of music, dance, and drama. Only when supported and encouraged by such performances drawing on localized musical traditions have medical initiatives taken root and flourished in local healthcare systems. Gregory Barz shows how music can be both a mode of promoting health and a force for personal therapy, presenting a cultural analysis of hope and healing.

Drawing on ethnographic research and often deeply personal experiences with musical cultures, Queering the Field: Sounding out Ethnomusicology unpacks a history of sentiment that veils the treatment of queer music and identity within the field of ethnomusicology. The thematic structure of the volume reflects a deliberate cartography of queer spaces in the discipline-spaces that are strongly present due to their absence, are marked by direct sonic parameters, or are called into question by virtue of their otherness. As the first large-scale study of ethnomusicology's queer silences and queer identity politics, Queering the Field directly addresses the normativities currently at play in musical ethnography (fieldwork, analysis, performance, transcription) as well as in the practice of musical ethnographers (identification, participation, disclosure, observation, authority). While rooted in strong narrative convictions, the authors frequently adopt radicalized voices with the goal of queering a hierarchical sexual binary. The essays in the volume present rhetorical and syntactical scenarios that challenge us to read in prescient singular ways for future queer writing and queer thought in ethnomusicology.

Medical Ethnomusicology is a new field of integrative and holistic research and applied practice that approaches music, health, and healing anew, engaging the biological, psychological, emotional, social, and spiritual domains of human life that frame and inform our experiences of health and healing, illness and disease, life and death. The power of music to create health and healing at the individual, community, and societal levels is not only linked to these domains of human life, but is intimately interwoven with the ever present and multifaceted frame of culture, which is often where meaning lies, and is a key factor that creates or inhibits efficacy.
l The Oxford Handbook of Medical Ethnomusicology appeals to all those interested in music, medicine, and culture, and represents a new stage of collaborative discourse among researchers and practitioners who embrace and incorporate knowledge from a diversity of fields. Importantly, such knowledge, by definition, spans the globe of traditional cultural practices of music, spirituality, and medicine, including biomedical, integrative, complementary, and alternative models; is rooted in new physics, philosophy, psychology, sociology, cognitive science, linguistics, medical anthropology, and of course, music, dance, and all the healing arts.
The book is more than the first collected volume to establish the discipline of medical ethnomusicology and express its broad potential; it is also an expression of a wider paradigm shift of innovative thinking and collaboration that fully embraces both the health sciences and the healing arts. The authors encourage the development of this new paradigm through an openness to and engagement ofknowledge from diverse research areas and domains of human life conventionally viewed as disparate, yet laden with potential benefits for an improved or vibrant quality of life, prevention of illness and disease, even cure and healing.

Drawing on ethnographic research and often deeply personal experiences with musical cultures, Queering the Field: Sounding out Ethnomusicology unpacks a history of sentiment that veils the treatment of queer music and identity within the field of ethnomusicology. The thematic structure of the volume reflects a deliberate cartography of queer spaces in the discipline-spaces that are strongly present due to their absence, are marked by direct sonic parameters, or are called into question by virtue of their otherness. As the first large-scale study of ethnomusicology's queer silences and queer identity politics, Queering the Field directly addresses the normativities currently at play in musical ethnography (fieldwork, analysis, performance, transcription) as well as in the practice of musical ethnographers (identification, participation, disclosure, observation, authority). While rooted in strong narrative convictions, the authors frequently adopt radicalized voices with the goal of queering a hierarchical sexual binary. The essays in the volume present rhetorical and syntactical scenarios that challenge us to read in prescient singular ways for future queer writing and queer thought in ethnomusicology.

The Culture of AIDS in Africa enters into the many worlds of expression brought forth across this vast continent by the ravaging presence of HIV/AIDS. Africans and non-Africans, physicians and social scientists, journalists and documentarians share here a common and essential interest in understanding creative expression in crushing and uncertain times. They investigate and engage the social networks, power relationships, and cultural structures that enable the arts to convey messages of hope and healing, and of knowledge and good counsel to the wider community. And from Africa to the wider world, they bring intimate, inspiring portraits of the performers, artists, communities, and organizations that have shared with them their insights and the sense they have made of their lives and actions from deep within this devastating epidemic.
Covering the wide expanse of the African continent, the 30 chapters include explorations of, for example, the use of music to cope with AIDS; the relationship between music, HIV/AIDS, and social change; visual approaches to HIV literacy; radio and television as tools for "edutainment;" several individual artists' confrontations with HIV/AIDS; various performance groups' response to the epidemic; combating HIV/AIDS with local cultural performance; and more. Source material, such as song lyrics and interviews, weaves throughout the collection, and contributions by editors Gregory Baz and Judah M. Cohen bookend the whole, to bring together a vast array of perspectives and sources into a nuanced and profoundly affective portrayal of the intricate relationship between HIV/AIDS and the arts in Africa.

Medical Ethnomusicology is a new field of integrative and holistic research and applied practice that approaches music, health, and healing anew, engaging the biological, psychological, emotional, social, and spiritual domains of human life that frame and inform our experiences of health and healing, illness and disease, life and death. The power of music to create health and healing at the individual, community, and societal levels is not only linked to these domains of human life, but is intimately interwoven with the ever present and multifaceted frame of culture, which is often where meaning lies, and is a key factor that creates or inhibits efficacy.
The Oxford Handbook of Medical Ethnomusicology appeals to all those interested in music, medicine, and culture, and represents a new stage of collaborative discourse among researchers and practitioners who embrace and incorporate knowledge from a diversity of fields. Importantly, such knowledge, by definition, spans the globe of traditional cultural practices of music, spirituality, and medicine, including biomedical, integrative, complementary, and alternative models; is rooted in new physics, philosophy, psychology, sociology, cognitive science, linguistics, medical anthropology, and of course, music, dance, and all the healing arts.
The book is more than the first collected volume to establish the discipline of medical ethnomusicology and express its broad potential; it is also an expression of a wider paradigm shift of innovative thinking and collaboration that fully embraces both the health sciences and the healing arts. The authors encourage the development of this new paradigm through an openness to and engagement of knowledge from diverse research areas and domains of human life conventionally viewed as disparate, yet laden with potential benefits for an improved or vibrant quality of life, prevention of illness and disease, even cure and healing.

Now Edited, In The Original Syriac, From Manuscripts In The British Museum, With An English Translation And Notes.

Now Edited, In The Original Syriac, From Manuscripts In The British Museum, With An English Translation And Notes.

Now Edited, In The Original Syriac, From Manuscripts In The British Museum, With An English Translation And Notes.

Now Edited, In The Original Syriac, From Manuscripts In The British Museum, With An English Translation And Notes.