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Sound Pedagogy - Radical Care in Music
Colleen Renihan, John Spilker, Trudi Wright; Foreword by William Cheng; Contributions by Molly M Breckling, …
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R704
Discovery Miles 7 040
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Ships in 12 - 17 working days
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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
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Sound Pedagogy - Radical Care in Music
Colleen Renihan, John Spilker, Trudi Wright; Foreword by William Cheng; Contributions by Molly M Breckling, …
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R2,922
Discovery Miles 29 220
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Ships in 12 - 17 working days
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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
Can music feel pain? Do songs possess dignity? Do symphonies have
rights? Of course not, you might say. Yet think of how we
anthropomorphize music, not least when we believe it has been
somehow mistreated. A singer butchered or mangled the
"Star-Spangled Banner" at the Super Bowl. An underrehearsed cover
band made a mockery of Led Zeppelin's classics. An orchestra didn't
quite do justice to Mozart's Requiem. Such lively language upholds
music as a sentient companion susceptible to injury and in need of
fierce protection. There's nothing wrong with the human instinct to
safeguard beloved music . . . except, perhaps, when this instinct
leads us to hurt or neglect fellow human beings in turn: say, by
heaping outsized shame upon those who seem to do music wrong; or by
rushing to defend a conductor's beautiful recordings while failing
to defend the multiple victims who have accused this maestro of
sexual assault. Loving Music Till It Hurts is a capacious
exploration of how people's head-over-heels attachments to music
can variously align or conflict with agendas of social justice. How
do we respond when loving music and loving people appear to clash?
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.
Modern academic criticism bursts with what Eve Kosofsky Sedgwick
oncetermed paranoid readings—interpretative feats that aim to
prove a point,persuade an audience, and subtly denigrate anyone who
disagrees.Driven by strategies of negation and suspicion, such
rhetoric tendsto drown out softer-spoken reparative efforts, which
forego forcefulargument in favor of ruminations on pleasure, love,
sentiment, reform,care, and accessibility. Just Vibrations: The
Purpose of Sounding Good calls for a time-out inour serious games
of critical exchange. Charting the divergent paths ofparanoid and
reparative affects through illness narratives, academicwork, queer
life, noise pollution, sonic torture, and other touchy
subjects,William Cheng exposes a host of stubborn norms in our
daily orientationstoward scholarship, self, and sound. How we
choose to think aboutthe perpetration and tolerance of critical and
acoustic offenses mayultimately lead us down avenues of ethical
ruin—or, if we choose, repair.With recourse to experimental
rhetoric, interdisciplinary discretion,and the playful wisdoms of
childhood, Cheng contends that reparativeattitudes toward music and
musicology can serve as barometers of betterworlds.
Video games open portals into fantastical worlds where imaginative
play prevails. The virtual medium seemingly provides us with ample
opportunities to behave and act out with relative safety and
impunity. Or does it? Sound Play explores the aesthetic, ethical,
and sociopolitical stakes of our engagements with gaming's audio
phenomena-from sonic violence to synthesized operas, from
democratic music-making to vocal sexual harassment. Author William
Cheng shows how the simulated environments of games empower
designers, composers, players, and scholars to test and tinker with
music, noise, speech, and silence in ways that might not be prudent
or possible in the real world. In negotiating utopian and alarmist
stereotypes of video games, Sound Play synthesizes insights from
across musicology, sociology, anthropology, communications,
literary theory, and philosophy. With case studies that span Final
Fantasy VI, Silent Hill, Fallout 3, The Lord of the Rings Online,
and Team Fortress 2, this book insists that what we do in there-in
the safe, sound spaces of games-can ultimately teach us a great
deal about who we are and what we value (musically, culturally,
humanly) out here.
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