Books on the topic 'Music professional development'

The textbook reveals the theoretical foundations of the use of music education technologies in secondary schools. The ways of implementing technologies in various types of musical activity are described and characterized, the main methods of diagnosing the musical development of schoolchildren are revealed, the ways of interaction of musical and theatrical pedagogy in regular and extracurricular activities are revealed, the multifunctional nature of the professional activity of a teacher-musician based on the use of integrated theatrical technologies is shown. The manual includes six chapters, including a workshop on the development of pedagogical game technology, methodological developments of integrated music lessons. It is addressed to undergraduate students studying in the areas of training 44.03.01 "Pedagogical education" (profile 44.03.01.07 "Music") and 44.03.05 "Pedagogical education (with two training profiles)" (profiles: 44.03.05.28 "Preschool education and music", 44.03.05.39 "Music and additional education (teacher-organizer)").

The textbook combines all the main types and forms of practical work in the disciplines of the musical and theoretical cycle, as well as the main topics on musical literacy and music theory, forms of control papers (exam papers), which, as a rule, are presented in such publications separately, without following an integrated approach. The forms of planning and methods of implementation of independent work of students are elaborated and presented in detail. The proposed principle of systematic learning helps in the practical development of disciplines, contributes to the acquisition of the necessary professional knowledge, skills and abilities. It is intended for use in the classroom work of students of performing and theoretical departments of music colleges, as well as advanced students of the senior classes of SSMSH, DMSh and DSHI. It can be used for independent work of students of various specialties of secondary vocational education institutions and areas of higher education: 53.02.03 "Instrumental performance (by types of instruments)", 53.03.03 "Vocal art", 53.03.04 "The Art of folk singing", as well as for preparing applicants for entrance exams.

Becoming a practitioner in music therapy occurs at multiple levels. At an individual level the student’s processes and learning are part of thisbecoming. At an interpersonal level the interactions between students as a group and in collaboration with their educators, fieldwork supervisors, and clients shape and frame the development of professional competencies. At the wider systemic level the values and processes of training are influenced by the provider institution, usually a university, and the management and department in which the music therapy training programme is housed. This systemic level also includes the external regulator such as state or national accreditation structures and the requirements of the relevant professional body. This chapter presents how the profession of music therapy has considered aspects of professionalism, professional practice, and accreditation.

The development of formal systems of professional recognition for music therapy within Europe has taken many decades and is still not complete. The European Music Therapy Confederation (EMTC) was established in 1990 with a primary goal being the pursuit of recognition for the profession. This ambition is complicated by the fact that there are so many associations across Europe and not all are in the EMTC. In this chapter the quest for formal professional recognition is outlined. The process by which some countries have achieved recognition, that is in Latvia, UK, and Netherlands, is presented.

This chapter provides an overview of the wide and complex territory of Community Music Therapy, orientating readers to the key events, arguments, and practices of this international movement. Characterizing CoMT as a “social movement” helps explain the particular pattern of its emergence and development, and the varying reactions to it. This also indicates how the movement critically refracts dimensions of the practice, discipline, and profession of international music therapy more generally in its late-modern phase—showing how it is adapting to the demands and opportunities of globalization, cultural plurality, economic crisis, and the restructuring and revisioning of health and social care services. In its short history CoMT has functioned variously as an inspiration for broader and more flexible practice, as a critique of traditional theory, as a platform for exploring fresh interdisciplinary theory, and as an instigator of inter-professional dialogue and dispute.

New students of music therapy soon find that the most common inquiry about their field of study is “What is music therapy?” They may also be asked questions such as “Does that work?” Even experienced practitioners in the field can find these questions annoyingly routine in meeting new colleagues. In answering these questions, providing a definition of music therapy is important. There are multiple constructs through which the functions and capacities of music therapy can be usefully discussed. Five of these areas are elaborated in theOxford Handbook of Music Therapy; music therapy contexts and populations across the lifespan, music therapy models and approaches, music therapy methods, music therapy research, and music therapy training and professional issues. This chapter elaborates these areas and discusses the contribution to the development of music therapy in each of these sectors of inquiry and practice.

Many young people are involved in music making activities that may be considered as “leisure,” such as playing in bands, making recordings, or live performance. Music making, when considered as a leisure activity, is a cultural or social phenomenon that enjoys an interesting and complex relationship with education and industry. First, this chapter explores the ways in which young people engage with popular music making as leisure and leisure-education by considering the nature of musical activities that are self-directed, self-funded, and fuelled principally by the enthusiasm and autodidacticism of the participants. Second, consideration is given to the ecology of informal music making among young people with specific focus on the development of skills, competencies and creativities, and the economic, commercial, and professional pressures to monetise musical activity.

Based on educational theory and on recognized music teaching methods, Theory and Practice of Technology-Based Music Instruction develops a framework for examining music teaching that uses technology to introduce, reinforce, and assess skills and concepts. The framework guides in-depth discussions about theoretical and philosophical foundations of technology-based music instruction (TBMI), materials for teaching, teaching behaviors, and assessment of student work, teacher work, and fit of technology into the music program. The book includes examples of TBMI lessons from real teachers, and analyses of the successful and developing parts of these lessons. The book also addresses issues of accountability and standards; recommendations for professional development; and the future of the field, embodied in emerging technologies, alternative ensembles, and social issues. It will be a key volume for teachers implementing new curricular offerings and for music teacher educators as a foundation for teaching with technology beyond a focus on software and hardware.

Few aspects of daily existence are untouched by technology. The learning and teaching of music is no exception, and arguably has been impacted as much or more than other areas of life. Digital technologies have come to affect music learning and teaching in profound ways, influencing everything from how we create, listen, share, consume, interact, and conceptualize musical practices and the musical experience. For a discipline as entrenched in tradition as music education, this has brought forth myriad views on what does and should constitute music learning and teaching. In order to tease out and elucidate some of the salient problems, interests, and issues, this volume sought to critically situate technology in relation to music education from a variety of perspectives: historical, philosophical, socio-cultural, pedagogical, musical, economic, policy, and so on, organized around four broad themes: (1) Emergence and Evolution, (2) Locations and Contexts: Social and Cultural Issues, (3) Experiencing, Expressing, Learning and Teaching, and (4) Competence, Credentialing, and Professional Development. The editors solicited essays from 22 “Core Perspective” and 19 “Further Perspective” authors based on their potential to contribute a diversity of perspectives on technology and music education in terms of gender, theoretical perspective, geographical distribution, and relationship to the field. The overall thrust was to provide contrasting perspectives and conversational voices rather than reinforce traditional narratives and prevailing discourses. The website http://ohotame.musedlab.org/ provides opportunities to participate and sustain the dialogue relating to technology and music education.

Music therapy is an evidence-based profession. Music therapy research aims to provide information about outcomes that support music therapy practice including contributing to theoretical perspectives that can explain why changes occur during treatment. Music therapy research has been conducted in a range of health, education, and community contexts throughout the world. Initially many music therapy developments in the university sector occurred through the establishment of training programmes that were developed and delivered by music therapists with professional experience in leading services in education and health care. Now many music therapy training programmes are led by people with practice experience along with research qualifications, and some universities offer music therapy doctoral pathways. Music therapy research capacity has expanded through a notable increase in PhD graduates as well as an increase in funded research in music therapy. This chapter covers: (1) traditions, (2) trends, and (3) contexts for music therapy research.

Young people in challenging circumstances have been a key participant group in, and for, interventionist community music practice for several decades. In the United Kingdom, hundreds of projects receive funding every year to work with these children and young people, often with a clear agenda to focus on personal and social transformation, as well as musical development. While the benefits of this work have been well documented, it is only within the last decade that anything approaching a systematic, rigorous, and strategic approach has been attempted. Drawing on their professional backgrounds and data from their collective work on three, large-scale, national projects, the authors describe the essential components for a strategic approach to community music with children and young people in challenging circumstances—considering strategy first at the national policy level (what community music development should seek to achieve), and then at the level of community music pedagogy (what approaches would enable the desired musical, social, and personal goals to be achieved).

Abstract Music, Communities, Sustainability traces the genesis of the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (ICH) and its impact on music practices across the globe at a time when diversity and vitality are often at risk. Social, cultural, and technological changes—as well as intolerance, displacement, and ecological threats—challenge the resilience of many communities and their music. With insights from emerging and established scholars involved with UNESCO programs in various ways, this volume documents the rise in awareness that approaching music as ICH has brought. In three parts, it traces the rationale and development of the Convention, explores its effects on the ground in various cultural settings, and identifies gaps in its implementation. In doing so, this volume provides essential background for scholars and other professionals involved with music and cultural sustainability by describing the largest global effort to support musical diversity to date, critiquing discrepancies between ideologies and realities, and offering perspectives for more effective policies and practices.

This book addresses the development of children’s artistry in the music classroom and children’s chorus. It unveils children’s artistry, identifying its characteristic behaviors, its progression of development and necessary components for growth, and guides the practical application of principles addressed. The book addresses the development of children’s artistry from the perspective of both the choral art and the process of music learning, with each informing the other, rooting artistry in music learning and developing artistry in an ongoing manner throughout childhood. It presents the musical mind as the gateway to children’s artistry. It discusses the power of movement in the embodiment of children’s artistry. It examines song and its role in the development of children’s artistry, demonstrating how rhythm, melody, and text—independently and together—influence children’s developing artistry musically, expressively, and vocally, at all ages and stages. Musical examples throughout demonstrate principles presented, provide professional development with tonalities, meters, movement, and songs, and offer a multitude of songs of increasing difficulty for the music classroom and children’s chorus that compel the musical mind, prompt artistic expression, and enable vocal technique. Practices and techniques that facilitate the development of children’s artistry are included, and the book can be used with any methodology. This book leads teachers to draw artistry out of every child and draw every child into the choral art. Content is intended for application with children from kindergarten through seventh grade, though it is also appropriate with older singers in the process of developing artistry.

This article discusses how learning and teaching in music are shaped by processes outside the individual, not least because of the influences of group membership (allied to age and gender), performance expectations and practices, and professional and institutional cultures. The process of individual induction into the characteristics of a particular musical culture by teachers and institutions influences the formation of identities in music, for better or for worse, at least in terms of dominant models within the culture. Indeed, the development of music teachers themselves can be seen within an activity system, i.e. the teacher's understanding of their role is developed both by informal personal reflection of the experience of performance and their own learning, and, more systematically, through their own induction process by attendance at a specialist, pedagogically focused institution.

The ancient practice of yoga, which has exploded in popularity in the United States over the past two decades, has the potential to help music students learn to practice more mindfully and reach peak performance more quickly. This book explores how professional musicians and music teachers of all instruments and levels can use yoga postures (asana) and breath work (pranayama) to enhance artistry. It begins with an overview of yoga philosophy and history before delving into principles of movement, alignment, anatomy, and breath. Following a research-oriented chapter illustrating the cognitive, physical, and emotional benefits of yoga, each chapter explores the unique benefits of yoga for a particular population of students, describing specific poses, modifications, sequences, and sample curricula that teachers can immediately implement into private lessons or group classes. Chapter Four describes the developmental benefits of yoga and music education in early childhood and includes a sample eight-week preschool music curriculum. Chapter Five on the adolescent student explains how yoga can alleviate stress related to social and performance anxiety, enhance mindfulness, and increase peer support in a music studio. Chapter Six, for professional musicians and college students, describes how yoga can prevent or alleviate repetitive stress injuries and other physical symptoms. The final chapter offers ideas for appropriate modifications for the retired adult along with a sample eight-week curriculum to combine yoga with Recreational Music Making. Throughout the book, yoga is presented as a tool for reducing physical tension and anxiety while simultaneously improving body awareness, enhancing cognition, and helping music students to achieve peak performance.

This chapter presents an overview of the developments of feminist perspectives in music therapy. The authors outline the history of feminist thought in music therapy and how this framework applies to the discipline and profession of music therapy. Basic tenets of feminism are described including the importance placed on valuing women’s perspectives, egalitarianism, examining social constructs, examining discursive practices, and empowerment. Additionally, systems of oppression are considered with reference to inequalities that exist within the field of music therapy. The chapter ends with an examination of ways in which a feminist framework can inform assessment, clinical practice, research, ethics, and pedagogy in music therapy.

The type of community music defined as an ‘active intervention’ can suggest a political, usually left-leaning, flavor to the practice. But the trajectory of the work in the United Kingdom over the last half-century suggests that government policies, rather than politics, have been the driver for the development of much community music work. Moreover, the practice adapts well to frequent changes in such policies. From an original stance of opposition to authority, through to a confidence in its own authoritativeness, the practice's instrumentality and focus on its participants have been key ingredients in helping community music in the United Kingdom to mature as a profession and continue to thrive.

This chapter presents eleven models and approaches in music therapy practice. The inclusion criteria is that each forms the basis, or is part, of an existing training, and at least one monograph exists. The distinction betweenmodelsand approaches is made such that models refer to developments which evolved from music therapy practice, andapproachesare music therapy techniques and methods overlaid on an existing model of therapy or theoretical principles. Music therapy training requires learning about theory within the parameters of at least one model or approach, and this engagement must be thorough and intensive. Trainees can struggle with having to do so much thinking and analyzing of their own reactions and integration of key theoretical concepts while concurrently focusing on improving their techniques and methods. Ultimately good enough training allows students to first comprehend and eventually internalize, the theoretical basis of their professional thinking in practice.

Music therapy in special education aims to address the learning goals for students with disabilities in group or individual sessions. Music therapy practice has a long history of service within special education, and has a developing evidence base to support the benefits of music therapy. This chapter describes how music therapy is included within a special school setting which provides education services to students with disabilities. Music therapists work alongside allied health and education professionals to assist students to achieve learning targets in areas of communication, social, emotional, cognitive, and physical development. Planning and evaluation are important in order to chart progress and adapt programmes to ensure they are optimizing outcomes for participants.

Commodore’s C64 was a musical powerhouse. Its on-board sound chip, the Sound Interface Device, gave it the functionality of a professional three-channel digital synthesizer. This chapter explores the development of the machine and how its feature set was determined by a corporate battle over cheap calculator chips. The power of the Sound Interface Device, however, made it very complex and difficult to use. Even seasoned developers needed time to explore all of its intricacies, and it took time to unlock its full potential. In the days before graphical editors, writing music on the Commodore required a high degree of musicality and a deep understanding of the low-level hardware architecture. As a result, it was on the Commodore 64 that the role of video composer became more specialized and more professionalized and the craft of writing music drivers, code to perform digital music, really became established.

The complexity of assessing musical performance as a nonverbal art form is well known within the field of professional practice. This chapter addresses key issues including the tension between assessing craftsmanship and artistry. It surveys the strong tradition of expert panel assessment that continues to be the hallmark of musical performance assessment in many contexts, in relation to both solo and ensemble performance. It also explores how such practices may intersect with the development of self-assessment and self-reflection as core professional skills for performers, as well as the processes of formative and summative assessment. Finally, it argues that the making of musicians is a lifelong process in which assessment and examination have an important role but are by no means the only factor in determining whether or not a music student’s eventual career will be successful.

Carole King’s Tapestry is both an anthemic embodiment of second-wave feminism and an apotheosis of the Laurel Canyon singer-songwriter sound and scene. And these two elements of the album’s historic significance are closely related insofar as the professional autonomy of the singer-songwriter is an expression of the freedom and independence women of King’s generation sought as the turbulent sixties came to a close. Aligning King’s own development from girl to woman with the larger shift in the music industry from teen-oriented singles by girl groups to albums by adult-oriented singer-songwriters, this volume situates Tapestry both within King’s original vision as the third in a trilogy (preceded by Now That Everything’s Been Said and Writer) and as a watershed in musical and cultural history, challenging the male dominance of the music and entertainment industries and laying the groundwork for female dominated genres such as women’s music and Riot Grrrl punk.

The book shows how metaphors are closely connected to sonic experience and make sense within a larger historical context of technological developments and changing discourses of recorded sound. The book traces written discourses of recorded sound, discussing how everyday listeners and audio professionals describe their experiences of sound in recorded music. Building on cognitive sciences and ideas of embodied cognition, the book provides new theoretical and methodological approaches to sound perception and conceptualization with particular relevance to recorded music. It expands on existing histories of studio music technologies from production to reproduction to reception, but it also provides analytical and practical tools—including an encyclopedia of selected sound terminology—to aid in the understanding and communication of sound.

The paucity of improvisation over the last 150 years of western art music is an anomaly. This chapter discusses why and how classical musicians today might incorporate more improvisation into their practice and performance. Examples from professional musicians demonstrate innovative approaches to classical improvisation as well as methods for renewing historical practices in modern contexts. As a developmental tool, improvisation can be used to deepen understanding of traditional repertoire, improve technique and aural skills, expand expressive possibilities, discover a personal voice, and lessen performance anxiety. Methods for increasing improvisation in public performance are also illustrated, including the preparation of improvised cadenzas in canonical repertoire, the exploration of multiple possible score interpretations, the practice of functional improvisation for church services, and the adventure of boundary-challenging creative acts. The chapter concludes by addressing challenges and constraints faced by potential improvisers in today’s classical music culture, especially in relation to education (when important enabling skill sets are left underdeveloped), career pressures (when deviations from convention are risky) and value systems (when improvisation is considered wrong and the creative capacity of performers is deemed inferior). Classical performers are encouraged to take some of their training into their own hands and assert their right for greater artistic autonomy.

The promotion of mental well-being is an overarching aim of music therapy as a psychosocial practice. Music therapy is offered from a key principle that central to a person’s well-being is their need for meaningful relating. Music therapy can offer an alternative pathway of expression and connection with others that can help develop one’s capacity to engage with and maintain relationships outside of the therapeutic work. Music therapy can be offered as a stand-alone therapeutic process or as an adjunct to other standard mental health treatment. In the early years of music therapy’s development as a profession in Europe, Australia, and the US, it was introduced in large institutions through programmes that focused on the treatment of mental illness. Music therapy has now become a diverse practice that encompasses preventative care through community based models, wellness programmes, as well as continuing to provide services within mental health care contexts.

This text explores varied perspectives on teaching, learning, and performing choral music. Authors are academic scholars and researchers as well as active choral conductors. Topics include music programming and the selection of repertoire; the exploration of singer and conductor identity; choral traditions in North America, Western Europe, South America, and Africa; and the challenges conductors meet as they work with varied populations of singers. Chapters consider children’s choirs, world music choirs, adult community choirs, gospel choirs, jazz choirs, professional choruses, collegiate glee clubs, and choirs that meet the needs of marginalized singers. Those who contributed chapters discuss a variety of theoretical frameworks including critical pedagogy, constructivism, singer and conductor agency and identity, and the influences of popular media on the choral art. The text is not a “how to” book. While it may be appropriate in various academic courses, the intention is not to explain how to conduct or to organize a choral program. While there is specific information about vocal development and vocal health, it is not a text on voice science. Instead, the editors and contributing authors intend that the collection serve as a resource to inform, provoke, and evoke discourse and dialogue concerning the complexity of pedagogy in the domain of the choral art.

Between Beats: The Jazz Tradition and Black Vernacular Dance explores the complex intersections between jazz music and popular dance over the last hundred-plus years. It aims to show how popular entertainment and cultures of social dancing were crucial to jazz music’s formation and development, but it also investigates the processes through which jazz music came to earn a reputation as a “legitimate” art form better suited for still, seated listening. Through the concept of “choreographies of listening,” the book explores amateur and professional jazz dancers’ relationships with jazz music and musicians as jazz’s soundscapes and choreoscapes were forged through close contact and mutual creative exchange. The book’s later chapters also critically unpack the aesthetic and political negotiations through which jazz music supposedly distanced itself from dancing bodies. As musicians and critics sought to secure institutional space for jazz within America’s body-averse academic and high-art cultures, an intentional severance from the dancing body proved crucial to jazz’s re-positioning as a form of autonomous, elite art. Fusing little-discussed material from diverse historical and contemporary sources with the author’s own years of experience as a social jazz dancer, this book seeks to advance participatory dance and embodied practice as central topics of analysis in jazz studies. As it explores the fascinating history of jazz as popular dance music, this book also exposes how American anxieties about bodies and a broad cultural privileging of the cerebral over the corporeal have shaped efforts to “elevate” expressive forms such as jazz to elite status.

This unique and accessibly written study discusses the relationship between the blues, rock, folk, jazz, and poetry in the twentieth and twenty-first centuries, but it is anchored in the 1960s, when a concentration of artists transformed modes of popular music from entertainment to art-that-entertains. The authors (a professional musician and a literary historian) synthesize a wide range of writing about music—biographies, histories, articles in popular magazines, personal reminiscences, and a selective smattering of academic studies—and examine the development of a relatively new literary genre that they call poetic song verse. Poetic song verse was nurtured in the 50s and early 60s by the blues and in Beat coffee houses, and matured in the mid-to-late 60s in the art of Bob Dylan, the Beatles, the Rolling Stones, the Doors, Jimi Hendrix, Joni Mitchell, Leonard Cohen, Gil Scott-Heron, and others who used voice, instrumentation, arrangement, and production to foreground semantically textured, often allusive, and evocative lyrics that resembled and engaged poetry. Among the topics Mattison and Suarez consider are: What, exactly, is this new genre? What were its origins? And how has it developed? How do we study and assess it? To answer these questions, the authors engage in an extended discussion of the roots of the relationship between blues-based music and poetry, and address how it developed into a distinct literary genre. The book balances historical details and analysis of particular songs with readability to create a lively, intelligent, and cohesive narrative that will provide a wide range of readers with an overarching perspective on the development of an exciting, relatively new literary genre.

This book shows how changes in music software design in the first decades of the twenty-first century shaped the production techniques and performance practices of artists across media, from hip-hop and electronic dance music to video games and mobile apps. Emerging alongside developments in digital music distribution such as peer-to-peer file sharing and the MP3 format, digital audio workstations (DAWs) such as FL Studio and Ableton’s Live encouraged rapid music-creation workflows through flashy, user-friendly interfaces. Meanwhile, software such as Avid’s Pro Tools attempted to protect its status as the industry-standard “professional” DAW by incorporating design elements from predigital technologies. Other software, such as Cycling ’74’s Max, asserted its alterity to “commercial” DAWs by offering users just a blank screen. The book examines the social, cultural, and political values designed into music software and how those become embodied by musical communities through production and performance. It reveals ties between maximalist design in FL Studio, skeuomorphic design in Pro Tools, and gender inequity in the music products industry. It connects the computational thinking required by Max and iZotope’s innovations in artificial intelligence with the cultural politics of Silicon Valley’s “design thinking.” Finally, it examines what happens when software becomes hardware and users externalize their screens using musical instrument digital interface (MIDI) controllers, mobile media, and video-game controllers. Amid the perpetual upgrade culture of music technology, Push the book provides a model for understanding software as a microcosm for the increasing convergence of globalization, neoliberal capitalism, and techno-utopianism that has come to define our digital lives.

This article presents a number of key themes relating to the concept of musical identities. It provides a definition of identity, with a discussion of why identity is a timely topic for consideration. The article then presents an overview of a series of studies investigating musical identities of jazz musicians. These highlight the utility of qualitative techniques, and in particular focus-group and semi-structured interview methods, for understanding how professional musicians construct their identities in relation to both their musical activities and wider psychological and cultural issues. The article looks next at how theories of motivation and the self can help to explain some of the behavioural aspects of musical identities. It provides evidence that children's self-concepts, and in particular their levels of confidence (both of which are related to musical identities), can influence the rate of musical development and musical achievement, drawing briefly on a study which compares the views of pupils, parents, and teachers about what it is to be ‘good at music’.

How does one deal with the digitalisation of an industry when practice is overtaking itself so quickly, as the music industry has experienced in the past twenty years? On the one hand, by questioning the causes of change and, on the other hand, by describing and reflecting on practice. Both are done in this book. The music industry is understood as a complex system based on the division of labour, in which artist development, content production, content marketing and rights management go hand in hand. Special attention is therefore paid to these operative fields of action. The practice-oriented explanations are complemented by a description of the normative and cultural framework conditions to which the music production, distribution and reception system is subject. The articles are written by music industry experts from academia and practice and focus in particular on digital competencies and industry structures. In this respect, this book is not only interesting for (future) professionals in the music and creative industries. Academics can also benefit from these practical reports and future theses on the digital transformation of the music industry. With contributions by Christian Baierle, Sophie Brüggemann, Florian Drücke, Alexander Endreß, Frank Fenslau, Hanno Fierdag, Jörg Fukking, Dirk Geibel, Steffen Geldner, René Houareau, Lucas Holczinger, Ralf Kitzberger, Peter Knees, David Maier, Armin Oldendorf, Matthias Rauch, Ryan Rauscher, Tim Renner, Markus Rennhack, Julien Schaffhauser, Nina Schneider, Stefan Schulte-Holthaus, Jeong-Won Sin, Kolja Spohn, Nina Christin Stehr, Peter Tschmuck, Hubert Wandjo, Heiko Wandler, Stefan Weinacht, Asterix David Westphal, Peter Wicke and David-Emil Wickström.

Thinking Outside the Voice Box: Adolescent Voice Change in Music Education is different from other books on voice change in that it encourages new and holistic ways of thinking about the female and male adolescent changing voice. It gives choral music educators (or anyone interested in the changing voice) the opportunity to step away from typical considerations of voice change and explore the experience within the bigger picture of adolescence. Female and male adolescent voice change are addressed at length, but special efforts have been made to bring new attention to female voice change to boost considerations of females in choral music education. Holistic considerations encompass the importance of understanding physical development during adolescence, including the body, brain, and auditory system; vocal anatomy and physiology in general, as well as during male and female voice change; the impact of hormones on the adolescent voice, especially for female singers; ideas of resolve and perseverance that are essential to adolescent navigation of voice change; and exploration of portrayals of voice change that have contributed to a situated reality not based in fact, but accepted in pop culture. Choral educators are also given a larger scope of voice classification systems and other foundational ideas in choral music education through examination of some of the most eminent works in the profession. Emerging considerations of adolescent voice change beyond classification systems provide new food for thought about working with the adolescent changing voice.

Musicians are continually ‘in the making’, tapping into their own creative resources while deriving inspiration from teachers, friends, family members and listeners. Amateur and professional performers alike tend not to follow fixed routes in developing a creative voice; instead, their artistic journeys are personal, often without foreseeable goals. The imperative to assess and reassess one’s musical knowledge, understanding and aspirations is nevertheless a central feature of life as a performer. Musicians in the Making explores the creative development of musicians in both formal and informal learning contexts. It promotes a novel view of creativity, emphasizing its location within creative processes rather than understanding it as an innate quality. It argues that such processes may be learned and refined, and furthermore that collaboration and interaction within group contexts carry significant potential to inform and catalyze creative experiences and outcomes. The book also traces and models the ways in which creative processes evolve over time. Performers, music teachers and researchers will find the rich body of material assembled here engaging and enlightening. The book’s three parts focus in turn on ‘Creative learning in context’, ‘Creative processes’ and ‘Creative dialogue and reflection’. In addition to sixteen extended chapters written by leading experts in the field, the volume includes ten ‘Insights’ by internationally prominent performers, performance teachers and others.

The Program MAIS: Manifestações de Arte Integradas à Saúde, initiated in 2007 at ‘Hospital das Clínicas (HC) – Universidade Federal de Pernambuco (UFPE)’, is an art therapeutic oriented program that aims to support the treatment and rehabilitation of patients and to strengthen the humanization of healthcare, reducing stress and improving the quality of life in hospital environments. This program results from an action cooperation agreement between the Health Sciences Center (CCS) through the Dept. of Pathology and the Services of Pathology, Dermatology and Dentistry; the Art and Communication Center (CAC) through the Dept. of Music, Dept. of Arts, Dept. of Information Science and Dept. of Social Communication; as well as the Biosciences Center (CB) through the Dept. of Biophysics, Dept. of Mycology, Technology and Geosciences Center (CTG) and Philosophy and Human Sciences Center (CFCH). Through the development of musical and theatrical activities, storytelling, arts and crafts workshops, clown therapy, reading mediation, art therapy workshops, painting and photography exhibitions, dance, choral singing and vocal performances, production of ‘cordel literature’, poetic/literary soirees and puppetry, the program has promoted no less than 10,000 artistic interventions in various spaces of ‘Hospital das Clínicas’, including wards, outpatient clinics, dialysis rooms, intensive care and chemotherapy units, promoting relief, comfort, entertainment and thus improving the work rate of healthcare professionals and accelerating the healing process of patients. The target public is represented by the community of ‘Hospital das Clínicas’ – patients, caregivers, healthcare professionals and students.

This book is the first published biography of the tap dancer, singer, actor, and comedian John W. Bubbles. From an impoverished childhood in Nashville, Bubbles rose to prominence in the world of entertainment, fashioning a long and varied career in vaudeville, Broadway, movies, and television. Along the way he invented a new style of tap dancing (now called rhythm tap) and created the role of Sportin’ Life for George Gershwin’s classic opera Porgy and Bess. With pianist Buck Washington he formed the team Buck and Bubbles, one of the greatest acts in the history of vaudeville. As a tap dancer in the 1920s and 1930s, Bubbles not only inspired a generation of dancers but also probably influenced the development of jazz music as well. Through it all he had to contend with the soul-crushing barriers of a country built on white supremacy. Although his dancing innovations provided a model for white movie stars such as Fred Astaire and Eleanor Powell, Bubbles himself was denied success in Hollywood because of his skin color. Even in vaudeville, his natural element, the powers-that-be artificially restricted his advancement so as not to overwhelm his white competitors. These injustices were the greatest sorrows of a heady and tumultuous life, one marked by dazzling professional achievements as well as corrosive personal addictions. Drawing from a wealth of newly discovered primary sources, this book places that life in the context of its time.

Throughout the first three decades of the twentieth century, alumni and students from historically black colleges and universities contributed to the American Protestant mission movement in West Africa. Those contributions extended beyond the manual labor endeavors promoted by Booker T. Washington and the Phelps Stokes Fund; African American missionaries also adapted classical studies and self-help ideology to a transnational context. This book analyzes the effects and significance of black education strategies through the ministries of Althea Brown and Alonzo Edmiston from 1902 to 1941. Brown specialized in language, music, and cultural analysis while her husband engaged in preaching, agricultural research, and mediation on behalf of the American Presbyterian Congo Mission in what became the Belgian Congo. Personal and professional partnership motivated the two missionaries to interpret their responsibilities as a combination of training from Fisk University, Tuskegee Institute, and Stillman Institute. Each of these institutions held a symbolic meaning in the contexts of the Southern Presbyterian Church and European colonialism in Africa. Denominational administrators and colonial officials understood African American missionaries as leaders with the potential to challenge racial hierarchies. This perception influenced the shifting relations between African Christians and black missionaries during the development of village churches. The Edmistons’ pedagogical interest in adapting to local conditions encouraged Presbyterian converts and students to promote their interests and their authority within the Congo Mission. At the same time, occasional segregation and expulsion of African American missionaries from overseas ministry enabled them to influence early civil rights activities in the American South.

Nationalism: Past as Prologue began as a single volume being compiled by Ad Akande, a scholar from South Africa, who proposed it to me as co-author about two years ago. The original idea was to examine how the damaging roots of nationalism have been corroding political systems around the world, and creating dangerous obstacles for necessary international cooperation. Since I (Bruce E. Johansen) has written profusely about climate change (global warming, a.k.a. infrared forcing), I suggested a concerted effort in that direction. This is a worldwide existential threat that affects every living thing on Earth. It often compounds upon itself, so delays in reducing emissions of fossil fuels are shortening the amount of time remaining to eliminate the use of fossil fuels to preserve a livable planet. Nationalism often impedes solutions to this problem (among many others), as nations place their singular needs above the common good. Our initial proposal got around, and abstracts on many subjects arrived. Within a few weeks, we had enough good material for a 100,000-word book. The book then fattened to two moderate volumes and then to four two very hefty tomes. We tried several different titles as good submissions swelled. We also discovered that our best contributors were experts in their fields, which ranged the world. We settled on three stand-alone books:” 1/ nationalism and racial justice. Our first volume grew as the growth of Black Lives Matter following the brutal killing of George Floyd ignited protests over police brutality and other issues during 2020, following the police assassination of Floyd in Minneapolis. It is estimated that more people took part in protests of police brutality during the summer of 2020 than any other series of marches in United States history. This includes upheavals during the 1960s over racial issues and against the war in Southeast Asia (notably Vietnam). We choose a volume on racism because it is one of nationalism’s main motive forces. This volume provides a worldwide array of work on nationalism’s growth in various countries, usually by authors residing in them, or in the United States with ethnic ties to the nation being examined, often recent immigrants to the United States from them. Our roster of contributors comprises a small United Nations of insightful, well-written research and commentary from Indonesia, New Zealand, Australia, China, India, South Africa, France, Portugal, Estonia, Hungary, Russia, Poland, Kazakhstan, Georgia, and the United States. Volume 2 (this one) describes and analyzes nationalism, by country, around the world, except for the United States; and 3/material directly related to President Donald Trump, and the United States. The first volume is under consideration at the Texas A & M University Press. The other two are under contract to Nova Science Publishers (which includes social sciences). These three volumes may be used individually or as a set. Environmental material is taken up in appropriate places in each of the three books. * * * * * What became the United States of America has been strongly nationalist since the English of present-day Massachusetts and Jamestown first hit North America’s eastern shores. The country propelled itself across North America with the self-serving ideology of “manifest destiny” for four centuries before Donald Trump came along. Anyone who believes that a Trumpian affection for deportation of “illegals” is a new thing ought to take a look at immigration and deportation statistics in Adam Goodman’s The Deportation Machine: America’s Long History of Deporting Immigrants (Princeton University Press, 2020). Between 1920 and 2018, the United States deported 56.3 million people, compared with 51.7 million who were granted legal immigration status during the same dates. Nearly nine of ten deportees were Mexican (Nolan, 2020, 83). This kind of nationalism, has become an assassin of democracy as well as an impediment to solving global problems. Paul Krugman wrote in the New York Times (2019:A-25): that “In their 2018 book, How Democracies Die, the political scientists Steven Levitsky and Daniel Ziblatt documented how this process has played out in many countries, from Vladimir Putin’s Russia, to Recep Erdogan’s Turkey, to Viktor Orban’s Hungary. Add to these India’s Narendra Modi, China’s Xi Jinping, and the United States’ Donald Trump, among others. Bit by bit, the guardrails of democracy have been torn down, as institutions meant to serve the public became tools of ruling parties and self-serving ideologies, weaponized to punish and intimidate opposition parties’ opponents. On paper, these countries are still democracies; in practice, they have become one-party regimes….And it’s happening here [the United States] as we speak. If you are not worried about the future of American democracy, you aren’t paying attention” (Krugmam, 2019, A-25). We are reminded continuously that the late Carl Sagan, one of our most insightful scientific public intellectuals, had an interesting theory about highly developed civilizations. Given the number of stars and planets that must exist in the vast reaches of the universe, he said, there must be other highly developed and organized forms of life. Distance may keep us from making physical contact, but Sagan said that another reason we may never be on speaking terms with another intelligent race is (judging from our own example) could be their penchant for destroying themselves in relatively short order after reaching technological complexity. This book’s chapters, introduction, and conclusion examine the worldwide rise of partisan nationalism and the damage it has wrought on the worldwide pursuit of solutions for issues requiring worldwide scope, such scientific co-operation public health and others, mixing analysis of both. We use both historical description and analysis. This analysis concludes with a description of why we must avoid the isolating nature of nationalism that isolates people and encourages separation if we are to deal with issues of world-wide concern, and to maintain a sustainable, survivable Earth, placing the dominant political movement of our time against the Earth’s existential crises. Our contributors, all experts in their fields, each have assumed responsibility for a country, or two if they are related. This work entwines themes of worldwide concern with the political growth of nationalism because leaders with such a worldview are disinclined to co-operate internationally at a time when nations must find ways to solve common problems, such as the climate crisis. Inability to cooperate at this stage may doom everyone, eventually, to an overheated, stormy future plagued by droughts and deluges portending shortages of food and other essential commodities, meanwhile destroying large coastal urban areas because of rising sea levels. Future historians may look back at our time and wonder why as well as how our world succumbed to isolating nationalism at a time when time was so short for cooperative intervention which is crucial for survival of a sustainable earth. Pride in language and culture is salubrious to individuals’ sense of history and identity. Excess nationalism that prevents international co-operation on harmful worldwide maladies is quite another. As Pope Francis has pointed out: For all of our connectivity due to expansion of social media, ability to communicate can breed contempt as well as mutual trust. “For all our hyper-connectivity,” said Francis, “We witnessed a fragmentation that made it more difficult to resolve problems that affect us all” (Horowitz, 2020, A-12). The pope’s encyclical, titled “Brothers All,” also said: “The forces of myopic, extremist, resentful, and aggressive nationalism are on the rise.” The pope’s document also advocates support for migrants, as well as resistance to nationalist and tribal populism. Francis broadened his critique to the role of market capitalism, as well as nationalism has failed the peoples of the world when they need co-operation and solidarity in the face of the world-wide corona virus pandemic. Humankind needs to unite into “a new sense of the human family [Fratelli Tutti, “Brothers All”], that rejects war at all costs” (Pope, 2020, 6-A). Our journey takes us first to Russia, with the able eye and honed expertise of Richard D. Anderson, Jr. who teaches as UCLA and publishes on the subject of his chapter: “Putin, Russian identity, and Russia’s conduct at home and abroad.” Readers should find Dr. Anderson’s analysis fascinating because Vladimir Putin, the singular leader of Russian foreign and domestic policy these days (and perhaps for the rest of his life, given how malleable Russia’s Constitution has become) may be a short man physically, but has high ambitions. One of these involves restoring the old Russian (and Soviet) empire, which would involve re-subjugating a number of nations that broke off as the old order dissolved about 30 years ago. President (shall we say czar?) Putin also has international ambitions, notably by destabilizing the United States, where election meddling has become a specialty. The sight of Putin and U.S. president Donald Trump, two very rich men (Putin $70-$200 billion; Trump $2.5 billion), nuzzling in friendship would probably set Thomas Jefferson and Vladimir Lenin spinning in their graves. The road of history can take some unanticipated twists and turns. Consider Poland, from which we have an expert native analysis in chapter 2, Bartosz Hlebowicz, who is a Polish anthropologist and journalist. His piece is titled “Lawless and Unjust: How to Quickly Make Your Own Country a Puppet State Run by a Group of Hoodlums – the Hopeless Case of Poland (2015–2020).” When I visited Poland to teach and lecture twice between 2006 and 2008, most people seemed to be walking on air induced by freedom to conduct their own affairs to an unusual degree for a state usually squeezed between nationalists in Germany and Russia. What did the Poles then do in a couple of decades? Read Hlebowicz’ chapter and decide. It certainly isn’t soft-bellied liberalism. In Chapter 3, with Bruce E. Johansen, we visit China’s western provinces, the lands of Tibet as well as the Uighurs and other Muslims in the Xinjiang region, who would most assuredly resent being characterized as being possessed by the Chinese of the Han to the east. As a student of Native American history, I had never before thought of the Tibetans and Uighurs as Native peoples struggling against the Independence-minded peoples of a land that is called an adjunct of China on most of our maps. The random act of sitting next to a young woman on an Air India flight out of Hyderabad, bound for New Delhi taught me that the Tibetans had something to share with the Lakota, the Iroquois, and hundreds of other Native American states and nations in North America. Active resistance to Chinese rule lasted into the mid-nineteenth century, and continues today in a subversive manner, even in song, as I learned in 2018 when I acted as a foreign adjudicator on a Ph.D. dissertation by a Tibetan student at the University of Madras (in what is now in a city called Chennai), in southwestern India on resistance in song during Tibet’s recent history. Tibet is one of very few places on Earth where a young dissident can get shot to death for singing a song that troubles China’s Quest for Lebensraum. The situation in Xinjiang region, where close to a million Muslims have been interned in “reeducation” camps surrounded with brick walls and barbed wire. They sing, too. Come with us and hear the music. Back to Europe now, in Chapter 4, to Portugal and Spain, we find a break in the general pattern of nationalism. Portugal has been more progressive governmentally than most. Spain varies from a liberal majority to military coups, a pattern which has been exported to Latin America. A situation such as this can make use of the term “populism” problematic, because general usage in our time usually ties the word into a right-wing connotative straightjacket. “Populism” can be used to describe progressive (left-wing) insurgencies as well. José Pinto, who is native to Portugal and also researches and writes in Spanish as well as English, in “Populism in Portugal and Spain: a Real Neighbourhood?” provides insight into these historical paradoxes. Hungary shares some historical inclinations with Poland (above). Both emerged from Soviet dominance in an air of developing freedom and multicultural diversity after the Berlin Wall fell and the Soviet Union collapsed. Then, gradually at first, right wing-forces began to tighten up, stripping structures supporting popular freedom, from the courts, mass media, and other institutions. In Chapter 5, Bernard Tamas, in “From Youth Movement to Right-Liberal Wing Authoritarianism: The Rise of Fidesz and the Decline of Hungarian Democracy” puts the renewed growth of political and social repression into a context of worldwide nationalism. Tamas, an associate professor of political science at Valdosta State University, has been a postdoctoral fellow at Harvard University and a Fulbright scholar at the Central European University in Budapest, Hungary. His books include From Dissident to Party Politics: The Struggle for Democracy in Post-Communist Hungary (2007). Bear in mind that not everyone shares Orbán’s vision of what will make this nation great, again. On graffiti-covered walls in Budapest, Runes (traditional Hungarian script) has been found that read “Orbán is a motherfucker” (Mikanowski, 2019, 58). Also in Europe, in Chapter 6, Professor Ronan Le Coadic, of the University of Rennes, Rennes, France, in “Is There a Revival of French Nationalism?” Stating this title in the form of a question is quite appropriate because France’s nationalistic shift has built and ebbed several times during the last few decades. For a time after 2000, it came close to assuming the role of a substantial minority, only to ebb after that. In 2017, the candidate of the National Front reached the second round of the French presidential election. This was the second time this nationalist party reached the second round of the presidential election in the history of the Fifth Republic. In 2002, however, Jean-Marie Le Pen had only obtained 17.79% of the votes, while fifteen years later his daughter, Marine Le Pen, almost doubled her father's record, reaching 33.90% of the votes cast. Moreover, in the 2019 European elections, re-named Rassemblement National obtained the largest number of votes of all French political formations and can therefore boast of being "the leading party in France.” The brutality of oppressive nationalism may be expressed in personal relationships, such as child abuse. While Indonesia and Aotearoa [the Maoris’ name for New Zealand] hold very different ranks in the United Nations Human Development Programme assessments, where Indonesia is classified as a medium development country and Aotearoa New Zealand as a very high development country. In Chapter 7, “Domestic Violence Against Women in Indonesia and Aotearoa New Zealand: Making Sense of Differences and Similarities” co-authors, in Chapter 8, Mandy Morgan and Dr. Elli N. Hayati, from New Zealand and Indonesia respectively, found that despite their socio-economic differences, one in three women in each country experience physical or sexual intimate partner violence over their lifetime. In this chapter ther authors aim to deepen understandings of domestic violence through discussion of the socio-economic and demographic characteristics of theit countries to address domestic violence alongside studies of women’s attitudes to gender norms and experiences of intimate partner violence. One of the most surprising and upsetting scholarly journeys that a North American student may take involves Adolf Hitler’s comments on oppression of American Indians and Blacks as he imagined the construction of the Nazi state, a genesis of nationalism that is all but unknown in the United States of America, traced in this volume (Chapter 8) by co-editor Johansen. Beginning in Mein Kampf, during the 1920s, Hitler explicitly used the westward expansion of the United States across North America as a model and justification for Nazi conquest and anticipated colonization by Germans of what the Nazis called the “wild East” – the Slavic nations of Poland, the Baltic states, Ukraine, and Russia, most of which were under control of the Soviet Union. The Volga River (in Russia) was styled by Hitler as the Germans’ Mississippi, and covered wagons were readied for the German “manifest destiny” of imprisoning, eradicating, and replacing peoples the Nazis deemed inferior, all with direct references to events in North America during the previous century. At the same time, with no sense of contradiction, the Nazis partook of a long-standing German romanticism of Native Americans. One of Goebbels’ less propitious schemes was to confer honorary Aryan status on Native American tribes, in the hope that they would rise up against their oppressors. U.S. racial attitudes were “evidence [to the Nazis] that America was evolving in the right direction, despite its specious rhetoric about equality.” Ming Xie, originally from Beijing, in the People’s Republic of China, in Chapter 9, “News Coverage and Public Perceptions of the Social Credit System in China,” writes that The State Council of China in 2014 announced “that a nationwide social credit system would be established” in China. “Under this system, individuals, private companies, social organizations, and governmental agencies are assigned a score which will be calculated based on their trustworthiness and daily actions such as transaction history, professional conduct, obedience to law, corruption, tax evasion, and academic plagiarism.” The “nationalism” in this case is that of the state over the individual. China has 1.4 billion people; this system takes their measure for the purpose of state control. Once fully operational, control will be more subtle. People who are subject to it, through modern technology (most often smart phones) will prompt many people to self-censor. Orwell, modernized, might write: “Your smart phone is watching you.” Ming Xie holds two Ph.Ds, one in Public Administration from University of Nebraska at Omaha and another in Cultural Anthropology from the Chinese Academy of Social Sciences, Beijing, where she also worked for more than 10 years at a national think tank in the same institution. While there she summarized news from non-Chinese sources for senior members of the Chinese Communist Party. Ming is presently an assistant professor at the Department of Political Science and Criminal Justice, West Texas A&M University. In Chapter 10, analyzing native peoples and nationhood, Barbara Alice Mann, Professor of Honours at the University of Toledo, in “Divide, et Impera: The Self-Genocide Game” details ways in which European-American invaders deprive the conquered of their sense of nationhood as part of a subjugation system that amounts to genocide, rubbing out their languages and cultures -- and ultimately forcing the native peoples to assimilate on their own, for survival in a culture that is foreign to them. Mann is one of Native American Studies’ most acute critics of conquests’ contradictions, and an author who retrieves Native history with a powerful sense of voice and purpose, having authored roughly a dozen books and numerous book chapters, among many other works, who has traveled around the world lecturing and publishing on many subjects. Nalanda Roy and S. Mae Pedron in Chapter 11, “Understanding the Face of Humanity: The Rohingya Genocide.” describe one of the largest forced migrations in the history of the human race, the removal of 700,000 to 800,000 Muslims from Buddhist Myanmar to Bangladesh, which itself is already one of the most crowded and impoverished nations on Earth. With about 150 million people packed into an area the size of Nebraska and Iowa (population less than a tenth that of Bangladesh, a country that is losing land steadily to rising sea levels and erosion of the Ganges river delta. The Rohingyas’ refugee camp has been squeezed onto a gigantic, eroding, muddy slope that contains nearly no vegetation. However, Bangladesh is majority Muslim, so while the Rohingya may starve, they won’t be shot to death by marauding armies. Both authors of this exquisite (and excruciating) account teach at Georgia Southern University in Savannah, Georgia, Roy as an associate professor of International Studies and Asian politics, and Pedron as a graduate student; Roy originally hails from very eastern India, close to both Myanmar and Bangladesh, so he has special insight into the context of one of the most brutal genocides of our time, or any other. This is our case describing the problems that nationalism has and will pose for the sustainability of the Earth as our little blue-and-green orb becomes more crowded over time. The old ways, in which national arguments often end in devastating wars, are obsolete, given that the Earth and all the people, plants, and other animals that it sustains are faced with the existential threat of a climate crisis that within two centuries, more or less, will flood large parts of coastal cities, and endanger many species of plants and animals. To survive, we must listen to the Earth, and observe her travails, because they are increasingly our own.