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Focus: Scottish Traditional Music engages methods from
ethnomusicology, popular music studies, cultural studies, and media
studies to explain how complex Scottish identities and culture are
constructed in the traditional music and culture of Scotland. This
book examines Scottish music through their social and performative
contexts, outlining vocal traditions such as lullabies, mining
songs, Scottish ballads, herding songs, and protest songs as well
as instrumental traditions such as fiddle music, country dances,
and informal evening pub sessions. Case studies explore the key
ideas in understanding Scotland musically by exploring ethnicity,
Britishness, belonging, politics, transmission and performance,
positioning the cultural identity of Scotland within the United
Kingdom. Visit the author's companion website at
http://www.scottishtraditionalmusic.org/ for additional resources.
Focus: Scottish Traditional Music engages methods from
ethnomusicology, popular music studies, cultural studies, and media
studies to explain how complex Scottish identities and culture are
constructed in the traditional music and culture of Scotland. This
book examines Scottish music through their social and performative
contexts, outlining vocal traditions such as lullabies, mining
songs, Scottish ballads, herding songs, and protest songs as well
as instrumental traditions such as fiddle music, country dances,
and informal evening pub sessions. Case studies explore the key
ideas in understanding Scotland musically by exploring ethnicity,
Britishness, belonging, politics, transmission and performance,
positioning the cultural identity of Scotland within the United
Kingdom. Visit the author's companion website at
http://www.scottishtraditionalmusic.org/ for additional resources.
Environmental sustainability and human cultural sustainability are
inextricably linked. Reversing damaging human impact on the global
environment is ultimately a cultural question, and as with
politics, the answers are often profoundly local. Cultural
Sustainabilities presents twenty-three essays by musicologists and
ethnomusicologists, anthropologists, folklorists, ethnographers,
documentary filmmakers, musicians, artists, and activists, each
asking a particular question or presenting a specific local case
study about cultural and environmental sustainability. Contributing
to the environmental humanities, the authors embrace and even
celebrate human engagement with ecosystems, though with a profound
sense of collective responsibility created by the emergence of the
Anthropocene. Contributors: Aaron S. Allen, Michael B. Bakan,
Robert Baron, Daniel Cavicchi, Timothy J. Cooley, Mark F. DeWitt,
Barry Dornfeld, Thomas Faux, Burt Feintuch, Nancy Guy, Mary
Hufford, Susan Hurley-Glowa, Patrick Hutchinson, Michelle Kisliuk,
Pauleena M. MacDougall, Margarita Mazo, Dotan Nitzberg, Jennifer C.
Post, Tom Rankin, Roshan Samtani, Jeffrey A. Summit, Jeff Todd
Titon, Joshua Tucker, Rory Turner, Denise Von Glahn, and Thomas
Walker
Since advent of autism as a diagnosed condition in the 1940s, the
importance of music in the lives of autistic people has been widely
observed and studied. Articles on musical savants, extraordinary
feats of musical memory, unusually high rates of absolute or
"perfect" pitch, and the effectiveness of music-based therapies
abound in the autism literature. Meanwhile, music scholars and
historians have posited autism-centered explanatory models to
account for the unique musical artistry of everyone from Bela
Bartok and Glenn Gould to "Blind Tom" Wiggins. Given the great deal
of attention paid to music and autism, it is surprising to discover
that autistic people have rarely been asked to account for how they
themselves make and experience music or why it matters to them that
they do. In Speaking for Ourselves, renowned ethnomusicologist
Michael Bakan does just that, engaging in deep conversations - some
spanning the course of years - with ten fascinating and very
different individuals who share two basic things in common: an
autism spectrum diagnosis and a life in which music plays a central
part. These conversations offer profound insights into the
intricacies and intersections of music, autism, neurodiversity, and
life in general, not from an autistic point of view, but rather
from many different autistic points of view. They invite readers to
partake of a rich tapestry of words, ideas, images, and musical
sounds (on the companion website) that speak to both the diversity
of autistic experience and the common humanity we all share.
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