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1
Stoquerus, Gaspar. Musica verbali libri duo = : Two books on verbal music. Lincoln : University of Nebraska Press, 1988.
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C, Smith Steven. A Heart at Fire's Center : The life and music of Bernard Herrmann. Berkeley : University of California Press, 1991.
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Rumbold, Ian. Hermann Pötzlinger's Music Book : The St Emmeram Codex and its contexts. Woodbridge : Boydell, 2009.
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Rumbold, Ian. Hermann Pötzlinger's Music Book : The St Emmeram Codex and its contexts. Woodbridge : Boydell, 2009.
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Rumbold, Ian. Hermann Pötzlinger's Music Book : The St Emmeram Codex and its contexts. Woodbridge : Boydell, 2009.
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Rumbold, Ian. Hermann Pötzlinger's Music Book : The St Emmeram Codex and its contexts. Woodbridge : Boydell, 2009.
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Spanish Guitar Centre of Nottingham., dir. The guitarist's repertoire guide : A resource book for the classical guitar. 3e éd. Nottingham : SPG Publications, 1999.
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Gann, Kyle. Music downtown : Writings from The Village voice. Berkeley : University of California Press, 2005.
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Hipgrave, Richard. Fantastic sixties trivia book. London : Arrow, 1985.
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Nauman, Bruce. Bruce Nauman : Artists' Books Collection, Athenaeum Music & Arts Library. La Jolla, CA : Athenaeum Music & Arts Library, 2013.
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Ho, Wai-Chung. Globalization, Nationalism, and Music Education in the Twenty-First Century in Greater China. NL Amsterdam : Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463729932.
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Globalization, Nationalism, and Music Education in the Twenty-First Century in Greater China examines the recent developments in school education and music education in Greater China – Mainland China, Hong Kong, and Taiwan – and the relationship between, and integration of, national cultural identity and globalization in their respective school curriculums. Regardless of their common history and cultural backgrounds, in recent decades, these localities have experienced divergent political, cultural, and educational structures. Through an analysis of the literature, official curriculum documents, approved music textbooks, and a survey questionnaire and in-depth interviews with music teachers, this book also examines the ways in which policies for national identity formation and globalization interact to complement and contradict each other in the context of music education in respect to national and cultural values in the three territories. Wai-Chung Ho’s substantive research interests include the sociology of music, China’s education system, and the comparative study of East Asian music education. Her research focuses on education and development, with an emphasis on the impact of the interplay between globalization, nationalization, and localization on cultural development and school music education.
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Chaddock, Katherine E. The multi-talented Mr. Erskine : Shaping mass culture through great books and fine music. New York : Palgrave Macmillan, 2012.
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Nelson, Beverly Marie. E-Z ''Notation Through Rhythm'' Method : Music Center Book #2. XLIBRIS, 2013.
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Bayert, Danielle. Music Center Handbook : 15 Do-It-Yourself Learning Stations for the Music Classroom, Book and Enhanced CD. Alfred Publishing Company, Incorporated, 2016.
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Stars Don't Stand Still in the Sky : Music and Myth (Dia Center for the Arts Book). New York University Press, 1998.
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(Editor), Karen Kelly, et Evelyn McDonnell (Editor), dir. Stars Don't Stand Still in the Sky : Music and Myth (Dia Center for the Arts Book). New York University Press, 1998.
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Elliot Moose Makes Music (Use This Book with the Piccolo Interactive Discovery Center) (Piccolo : The Touch and Talk Interactive Discovery Center). Kidology, 1999.
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Magaldi, Cristina. Music and Cosmopolitanism. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780199744770.001.0001.
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Abstract The book explores the role of music in fostering cosmopolitanism at the turn of the 20th century, focusing on Rio de Janeiro, the capital of Brazil at the time. It explores the aftermath of the 1888 abolition of slavery and the first two decades of the newly established republican government—roughly from 1889 to 1910, when the city also experienced an urban metamorphosis in terms of architecture and overall landscape, promoted by the new government and meant to “modernize” the city. Of particular interest are the various musics performed in new venues that sprawled throughout the city center and its surroundings and how they opened new spaces for artists, musicians, and audiences, who engaged with a variety of musics and performance practices to express, problematize, and ultimately help shape modernity in the fin-de-siècle city. The book explores case studies of opera, operetta, and the music hall songs, while covering an array of spaces of music-making—from the concert hall to the theater and the music hall, from the movies and the circus to the streets. It shows how Rio de Janeiro’s residents shared with residents of many contemporary cities a sense of world connection and disconnection characteristic of their times, focusing on the sociocultural interrelatedness provided by music and music-making. The work offers a story of musical Rio de Janeiro, a city that, like other contemporary cities, grew to become one place containing many worlds.
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Ledgin, Stephanie P. Discovering Folk Music. ABC-CLIO, LLC, 2010. http://dx.doi.org/10.5040/9798400641183.
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From Ani DiFranco to Bob Dylan to Woodie Guthrie, American folk music comprises a truly diverse and rich tradition—one that's almost impossible to define in broad terms. This book explains why folk music is still highly relevant in the digital age. From indigenous music to Pete Seeger and Bruce Springsteen singing "This Land Is Your Land" side-by-side at the pre-inaugural concert for our first African American president, folk music has been at the center of America's history. Thomas Jefferson wooed his bride-to-be with fiddle playing. Stephen Foster captured the mood of our country in transition. The Carter Family adapted music from across the pond to Appalachia. Paul Robeson carried folk music of many lands to the world stage. Woody Guthrie's dust bowl ballads spoke to the common man, while Sixties protest music put folk on the map, following the Kingston Trio's hit, "Tom Dooley." Folk music has evolved with America's changing landscape, celebrating its multi-cultural traditions. From Irish step dancers to rap, parlor songs to Dixieland, blues to classical, Discovering Folk Music presents the genre as surprisingly diverse, every bit the product of our national melting pot. Demonstrating continuing relevance of folk music in our everyday lives, the book spotlights an amazing array of personalities, with special emphasis on the folk revival era when Dylan, Baez, Odetta, and Peter, Paul and Mary sang out. These and others influenced such contemporary performers as Shawn Colvin and Ani DiFranco. Those on today's "fringes of folk" scene continue to look to these deep roots while embracing alternative sounds. Included are interviews with such legendary artists as Janis Ian, Tom Paxton, and Jean Ritchie. Nora Guthrie, Woody's daughter, also weighs in. Discovering Folk Music is a ground-breaking look at 21st-century folk music in our rapidly changing digital world, family friendly while ripe for rediscovery by the Woodstock generation.
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Upitis, Rena. This Too is Music. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190884956.001.0001.
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This Too Is Music guides and motivates teachers to foster classroom conditions that enable elementary students to thrive as improvisers, critical listeners, performers, and composers. Using anecdotes and illustrated with musical examples, the book explores how these aspects of music making are intertwined and quells any doubts teachers may have regarding their abilities to create an environment where children can improvise, dance, compose, and notate their musical offerings. While the book acknowledges the importance of traditional approaches to teaching notation and performance, its emphasis is on the student’s point of view, illustrating how young musicians can learn when their musical ideas are honored and celebrated. Various teaching ideas are presented; some are exploratory in nature, and others involve direct instruction. Regardless of their nature, all of the activities arise from research on children’s musical development in general and their development of notational systems in particular, and they have been tested in multiple elementary-classroom environments and preservice settings. The activities center on engaging with music through movement, performing, singing, improvising, composing, developing notational skills, and appealing to children across subjects, including language, drama, and mathematics. Activities encompass both small-scale classroom lessons and large-scale productions. This pedagogy has a timeless quality; even in our digital age, this musical environment appeals to children. The book invites readers to adapt the ideas to their own teaching settings, showing both preservice and established teachers that they can teach music creatively to build community and to inspire all who enter there.
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Fung, Victor. A Way of Music Education. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190234461.001.0001.
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A Way of Music Education: Classic Chinese Wisdoms presents a philosophy of music education rooted in Yijing (I-Ching or The Book of Changes), classic Confucianism, and classic Daoism, which matured in the mid-sixth to mid-third century BC China (pre-Qin period). This philosophy puts the human at the center of an organismic world, in which all matters and events are connected, be they musical or non-musical. It is human-centric and dao-centric. Music educational experiences are key attributes to musical well-being throughout one’s lifetime. Concepts of yin and yang, deep harmony, and the teachings of Confucius, Mencius, Laozi, and Zhuangzi are applied to propose a “trilogy”—change, balance, and liberation—as a way of thinking and practicing music education. Music education is viewed as a lifelong endeavor; the philosophy therefore calls for a dynamic flexibility to maintain a balanced life in constantly changing situations. While principles suggested in this philosophy are simple, it is critical to practice them persistently to achieve continuous improvements. Through extended practice in being musically proactive, a musical liberation can be achieved and a humanly human spirit can be preserved and sustained.
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Moore, Robin D., dir. College Music Curricula for a New Century. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.001.0001.
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This volume considers what a more inclusive, dynamic, and socially engaged curriculum of musical study might look like in universities. Its goal is to create dialogue among faculty, administrators, and students about what the future of college music instruction should be and how to transition to new paradigms. Critiques and calls for reform have existed for decades, but few publications have offered concrete suggestions as to how things might be done differently. This book suggests new concepts or guiding principles that might be used to reconceive applied music education at the university level and, based on existing experiments taking place nationally and internationally, how such principles might be implemented in practical terms. The book’s essays concentrate primarily on changes to performance degrees rather than other subdisciplines since the former constitute the center of activity in most institutions. Ethnomusicologists feature prominently among the contributors, but the volume also includes input from those with specialization in music education, theory/composition, professional performance, and administration.
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The Hub : Edinburgh's festival centre : Cafe Hub, ticket centre, music and book shop : [leaflet]. Edinburgh : [The Hub], 1990.
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Maddocks, Fiona. Twentieth-Century Classical Music : A Ladybird Expert Book. Penguin Books, Limited, 2018.
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Gifford, Barry. Cavalry Charges : Writings on Books, Film, and Music. Jackson County Historical Association, 2019.
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Vera, Alejandro. The Sweet Penance of Music. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190940218.001.0001.
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This book provides a fresh, comprehensive view of the musical life and its cultural context in Santiago, Chile, from its foundation in 1541 to the end of the colonial period, roughly in 1810. Combining the study of archival documents, secondary sources, and music scores, it deals with different aspects of musical life in the cathedral (Chapter 1), convents and monasteries (Chapter 2), private houses (Chapter 3), and public spaces (Chapter 4), considering, as well, the life and function of musicians as crucial agents in the music field (Chapter 5). Despite its focus on a particular city of Latin America, it raises this issue from a broad perspective that explores its links with other urban centers (especially Lima), within the globalizing framework of the colonial system. The idea of music as a “sweet penance,” belonging to a nun harpist in a convent of Santiago at the end of the eighteenth century, gives rise to the consideration of duality as an essential trait of the period and its music.
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Hegarty, Paul. Noise Music. Bloomsbury Academic, 2007. http://dx.doi.org/10.5040/9781501382826.
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Noise/Music looks at the phenomenon of noise in music, from experimental music of the early 20th century to the Japanese noise music and glitch electronica of today. It situates different musics in their cultural and historical context, and analyses them in terms of cultural aesthetics. Paul Hegarty argues that noise is a judgement about sound, that what was noise can become acceptable as music, and that in many ways the idea of noise is similar to the idea of the avant-garde. While it provides an excellent historical overview, the book's main concern is in the noise music that has emerged since the mid 1970s, whether through industrial music, punk, free jazz, or the purer noise of someone like Merzbow. The book progresses seamlessly from discussions of John Cage, Erik Satie, and Pauline Oliveros through to bands like Throbbing Gristle and the Boredoms. Sharp and erudite, and underpinned throughout by the ideas of thinkers like Adorno and Deleuze, Noise/Music is the perfect primer for anyone interested in the louder side of experimental music.
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Perone, James E. Music and Technology. ABC-CLIO, LLC, 2022. http://dx.doi.org/10.5040/9798400688492.
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This book introduces readers to the most significant technological developments in music making and listening, including such topics as metronomes and the development of music notation as well as synthesizers, the latest music collaboration apps, and other 21st-century technologies. Rather than focusing on technical and mechanical details, Music and Technology: A Historical Encyclopedia features the sociological role of technological developments by highlighting the roles they have played in society throughout time. Students and music fans alike will gain valuable insight from this alphabetized encyclopedia of the most significant examples of technological changes that have impacted the creation, production, dissemination, recording, and/or consumption of music. The book also contains a chronology of milestone events in the history of music and technology as well as sidebars that focus on several key individual musicians and inventors.
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Gifford, Barry. Cavalry Charges : Writings on Books, Film, and Music, Revised Edition. University Press of Mississippi, 2019.
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Gifford, Barry. Cavalry Charges : Writings on Books, Film, and Music, Revised Edition. University Press of Mississippi, 2019.
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Gifford, Barry. Cavalry Charges : Writings on Books, Film, and Music, Revised Edition. University Press of Mississippi, 2019.
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Gifford, Barry. Cavalry Charges : Writings on Books, Film, and Music, Revised Edition. University Press of Mississippi, 2019.
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Gifford, Barry. Cavalry Charges : Writings on Books, Film, and Music, Revised Edition. Jackson County Historical Association, 2019.
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Heyman, Barbara B. Samuel Barber. 2e éd. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.001.0001.
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Samuel Barber (1910–1981) was one of the most important and honored American composers of the twentieth century. Writing in a great variety of musical forms—symphonies, concertos, operas, vocal music, chamber music—he infused his works with poetic lyricism and gave tonal language and forms new vitality. His rich legacy includes such famous compositions as the Adagio for Strings, the orchestral song Knoxville: Summer of 1915, three concertos, and his two operas, the Pulitzer Prize–winning Vanessa and Antony and Cleopatra, a commissioned work that opened the new Metropolitan Opera House at Lincoln Center in New York. Generously documented by letters, sketchbooks, original musical manuscripts, and interviews with friends, colleagues, and performers with whom he worked, this book covers Barber’s entire career and all of his compositions. The biographical material on Barber is closely interspersed with a discussion of his music, displaying Barber’s creative processes at work from his early student compositions to his mature masterpieces. The book also provides the social context in which this major composer grew: his education; how he built his career; the evolving musical tastes of American audiences; his relationship with Gian Carlo Menotti and such musical giants as Serge Koussevitzky, Arturo Toscanini, Vladimir Horowitz; and the role of radio in the promotion of his music. A testament to the significance of neo-Romanticism, Samuel Barber stands as a model biography of an important American musical figure.
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Orden, Kate van. Music, Authorship, and the Book in the First Century of Print. University of California Press, 2013.
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Erlmann, Veit. Music in Modern African History. Sous la direction de John Parker et Richard Reid. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199572472.013.0024.
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The history of African music during the twentieth century is the result of complex social, cultural, and musical processes. These processes must be seen against the backdrop of the continent’s continuing attempts to come to terms with the colonial legacy; the challenges and conflicts of the postcolonial present; and the changing place of Africa in the global order. Several key factors shaped the broader contours of this history: the growth of cities; the rise of nationalism; the state as promoter and censor; the dominance of state-controlled media during much of the colonial and postcolonial era and their eventual deregulation in the 1990s; the struggles of musicians in times of economic crisis and failing governments; the ‘worldbeat’ boom of the 1980s and 1990s; the impact of global culture on African urban youth; and finally, the resurgence of counter-hegemonic religious movements.
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Harrison, Klisala. Music Downtown Eastside. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197535066.001.0001.
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Music Downtown Eastside explores how human rights are at play in the popular music practices of homeless and street-involved people who feel that music is one of the rare things that cannot be taken away of them. It draws on two decades of ethnographic research in one of Canada’s poorest urban neighborhoods, Vancouver’s Downtown Eastside. Klisala Harrison takes the reader into popular music jams and therapy sessions offered to the poorest of the poor in churches, community centers and health organizations. There she analyzes the capabilities music-making develops, and how human rights are respected, promoted, threatened, or violated in those musical moments. When doing so, she also offers new and detailed insights on the relationships between music and poverty, a type of social deprivation that diminishes people’s human capabilities and rights. The book contributes to the human rights literature by examining critically how human rights can be strengthened in cultural practices. Harrison’s study demonstrates that capabilities and human rights are interrelated. Developing capabilities can be a way to strengthen human rights.
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Stimeling, Travis D. Nashville Cats. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197502815.001.0001.
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Nashville Cats: Record Production in Music City, 1945–1975 is the first history of record production during country music’s so-called Nashville Sound era. This period of country music history produced some of the genre’s most celebrated recording artists, including Country Music Hall of Fame inductees Patsy Cline, Jim Reeves, and Floyd Cramer, and marked the establishment of a recording industry that has come to define Nashville in the national and international consciousness. Yet, despite country music’s overwhelming popularity during this period and the continued legacy of the studios that were built in Nashville during the 1950s and 1960s, little attention has been given to the ways in which recording engineers, session musicians, and record producers shaped the sounds of country music during the time. Drawing upon a rich array of previously unexplored primary sources, Nashville Cats: Record Production in Music City, 1945–1975 is the first book to take a global view of record production in Nashville during the three decades that the city’s musicians established the city as the leading center for the production and distribution of country music.
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Bohlman, Andrea F. Musical Solidarities. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938284.001.0001.
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This book studies the relationship between music making and social movements using the Solidarity movement in 1980s Poland as a case study. Its central argument is that while music offered a means of performing and commemorating the Solidarity movement as unified, the media of the opposition to state socialism also revealed—and continue to reveal—dissonant discourses on citizenship, culture, and history. The story unfolds along crucial sites of political action under state socialism: underground radio networks, the sanctuaries of the Polish Roman Catholic Church, labor strikes and student demonstrations, and commemorative performances. The musics and sounds of the 1980s are traced through a long history of musical nationalism in East Central Europe and across a transnational media network specific to the Cold War and life under state socialism. By revealing the diverse repertories—singer-songwriter verses, religious hymns, large-scale symphonies, experimental music, and popular song—that played a role across the decade, the book challenges paradigmatic visions of a late twentieth-century global protest culture that place song and communitas at the helm of social and political change. Musical Solidarities draws equally on the methods of historical musicology, ethnomusicology, and sound studies to propose a model for understanding popular, art, and sacred musics alongside one another and in the context of singing, shouting, and listening within the study of political action.
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Conway, Colleen M. Teaching Music in Higher Education. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190945305.001.0001.
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This book is designed for faculty and graduate assistants working with undergraduate music majors as well as non-majors in colleges and universities in the United States. It includes suggestions for designing and organizing music courses (applied music as well as academic classes) and strategies for meeting the developmental needs of the undergraduate student. It addresses concerns about undergraduate curricula that meet National Association of School of Music requirements as well as teacher education requirements for music education majors in most states. A common theme throughout the book is a focus on learner-centered pedagogy or trying to meet students where they are and base instruction on their individual needs. The text also maintains a constant focus on the relationship between teaching and learning and encourages innovative ways for instructors to assess student learning in music courses. Teaching is connected throughout the book to student learning and the lecture model of teaching as transmission is discouraged. Activities throughout the book ask instructors to focus on what it means to be an effective teacher for music courses. As there is limited research on teaching music in higher education, the book relies on comprehensive texts from the general education field to help provide the research base for our definition of effective teaching.
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Sheppard, W. Anthony. Revealing Masks : Exotic Influences and Ritualized Performance in Modernist Music Theater (California Studies in 20th-Century Music Book 1). University of California Press, 2001.
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Parsons, Laurel, et Brenda Ravenscroft, dir. Analytical Essays on Music by Women Composers : Concert Music, 1900–1960. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190236984.001.0001.
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Abstract This is the second of four volumes in a multi-authored series of analytical essays on music by women composers from Hildegard of Bingen to the twenty-first century. Volume 2 presents detailed studies of compositions written between 1900 and 1960 by Alma Mahler-Werfel, Rebecca Clarke, Ethel Smyth, Ruth Crawford (Seeger), Florence B. Price, Galina Ustvolskaya, J. M. Beyer, and Peggy Glanville-Hicks. Each chapter opens with a brief biographical sketch of the composer, followed by an in-depth analysis of a single representative composition, occasionally including other works where comparison strengthens the analytical argument. The repertoire explored by the authors includes art song, opera, choral, solo piano, chamber, and orchestral music. To enhance the volume’s accessibility to readers who are not professional music theorists or musicologists, a glossary provides explanations of music-theoretical terms used in the book. The collection is designed to challenge and stimulate a wide range of readers. For academics, these thorough analytical studies can open new paths into unexplored research areas in music theory and musicology. Post-secondary instructors may be inspired by the insights offered here to include new works in graduate or upper-level undergraduate courses in early twentieth-century music or women and music. Finally, for performers, conductors, and music broadcasters, these thoughtful analyses can offer enriched understandings of this repertoire and suggest fresh, new programming possibilities to share with listeners—an endeavor of discovery for all those interested in twentieth-century music.
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Smith, Catherine Parsons. Making Music in Los Angeles : Transforming the Popular (Roth Family Foundation Music in America Books). University of California Press, 2007.
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Smith, Frederick K. Nordic Art Music. Praeger, 2002. http://dx.doi.org/10.5040/9798400691959.
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The five countries that make up Northern Europe—Denmark, Sweden, Norway, Finland, and Iceland—have, over the course of the last several centuries, developed and unique and viable art music history that easily rivals that of their continental neighbors.Nordic Art Music: From the Middle Ages to the Third Millenniumprovides an informative and accessible overview of the fascinating historical and aesthetic developments of this music and its creators, from the Middle Ages and the Renaissance, through the Baroque, Classical, and Romantic eras, to the beginning of this new century. Though some Nordic composers, including Edvard Grieg, Carl Nielsen, and Jean Sibelius, have found great acclaim in all parts of the world, author Frederick Key Smith lays the foundation for their work in his discussion of the many composers relatively unknown outside of Northern Europe. Smith ably discusses the composers, styles, and representative works of each era in language that makes for a highly readable musical history as well as a superior reference guide. The first English-language book of its type in nearly 40 years, Smith's study brings into focus this broad and exciting aspect of music history.
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Mirka, Danuta. Hypermetric Manipulations in Haydn and Mozart. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548905.001.0001.
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This book presents a systematic discussion of hypermeter and phrase structure in eighteenth-century music. It combines perspectives from historical and modern music theory with insights from the cognitive study of music and introduces a dynamic model of hypermeter that allows the analyst to trace the effect of hypermetric manipulations in real time. This model is applied in analyses of string chamber music by Haydn and Mozart. The analyses shed a new light upon this celebrated musical repertory, but the aim of this book goes far beyond an analytical survey of specific compositions. Rather, it is to give a comprehensive account of the ways in which phrase structure and hypermeter were described by eighteenth-century music theorists, conceived by eighteenth-century composers, and perceived by eighteenth-century listeners.
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Wolkowicz, Vera. Inca Music Reimagined. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197548943.001.0001.
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The Latin American centennial celebrations of independence (ca. 1909–1925) constituted a key moment in the consolidation of national symbols and emblems while also producing a renewed focus on transnational affinities that generated a series of discourses about continental unity. At the same time, a boom in archaeological explorations, within a climate of scientific positivism, provided Latin Americans with new information about their “grandiose” former civilizations, such as the Inca and the Aztec, which some argued as tantamount to ancient Greek and Egyptian cultures. These discourses were at first political, before transitioning to the cultural sphere. Artists and particularly musicians thus began to move away from European techniques and themes, to produce a distinctive and self-consciously Latin American art. Inca Music Reimagined explores Inca discourses as a source for the creation of “national” and “continental” art music during the first decades of the twentieth century, with a concentration on opera by composers from Peru, Ecuador, and Argentina. To understand this process, the author analyzes early twentieth-century writings on Inca music and its origins, describing how certain composers transposed “Inca” techniques into their own works, to conclude with how this music was perceived by local audiences. Ultimately, it is argued that, faced with the difficulties of constructing national unity at the time, the turn to Inca culture and music in pursuit of such unity could only succeed within particular intellectual circles, and that the idea that the inspiration of the Inca could produce a “music of America” would remain utopian.
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Whitmore, Aleysia K. World Music and the Black Atlantic. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083946.001.0001.
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In the mid-twentieth century, African musicians took up Cuban music as their own. They claimed it as a marker of black Atlantic connections and of cosmopolitanism untethered from European colonial relations. Today, Cuban/African bands popular in Africa in the 1960s and ’70s have moved into the world music scene in Europe and North America, and world music producers and musicians have created new West African–Latin American collaborations expressly for this market niche. This book follows two of these bands, Orchestra Baobab and AfroCubism, and the industry and audiences that surround them—from musicians’ homes in West Africa, to performances in Europe and North America, to record label offices in London. This book examines the intensely transnational experiences of musicians, industry personnel, and audiences as they collaboratively produce, circulate, and consume music in a specific post-colonial era of globalization. Musicians, industry personnel, and audiences work with and push against one another as they engage in personal collaborations imbued with histories of global travel and trade. They move between and combine Cuban and Malian melodies, Norwegian and Senegalese markets, and histories of slavery and independence as they work together to create international commodities. Understanding the unstable and dynamic ways these peoples, musics, markets, and histories intersect elucidates how world music actors assert their places within, and produce knowledge about, global markets, colonial histories, and the black Atlantic. This book offers a nuanced view of a global industry that is informed and deeply marked by diverse transnational perspectives and histories of transatlantic exchange.
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DeLorenzo, Lisa C., et Marissa Silverman. Music Lesson Plans for Social Justice. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197581476.001.0001.
Texte intégralRésumé :
As a new approach to teaching general music, this book is a collection of lesson plans and units that artfully blend music making with relevant issues of social justice. Particularly accessible to middle and high school classroom music teachers, the book includes a companion website with links to all of the music listening and videos. Student-centered lessons include discussion prompts, experiences with diverse genres and styles of music, and music making projects with an integration of technology that activate students’ creativity and empathy. Unit topics—ranging from “War” to “Climate Change”—include cross-disciplinary lessons with the arts playing a central role. Well-researched introductory materials as well as “how-to” guides for topics, such as “composing in the classroom,” enhance its practicality. This book is a resource, with ready-to-go lessons and classroom materials, offering music teachers a lens for engaging students in purposeful music making toward social justice.
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The guitarist's repertoire guide : A resource book for the classical guitar. 3e éd. Nottingham : SPG Publications, 1999.
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Kehoe, Séagh, et Gerda Wielander, dir. Cultural China 2020 : The Contemporary China Centre Review. University of Westminster Press, 2021. http://dx.doi.org/10.16997/book58.
Texte intégralRésumé :
Cultural China is a unique annual publication for up-to-date, informed, and accessible commentary about Chinese and Sinophone languages, cultural practices, politics and production, and their critical analysis. It builds on the University of Westminster’s Contemporary China Centre Blog, providing additional reflective introductory pieces to contextualise each of the eight chapters. The articles in this Review speak to the turbulent year that was 2020 as it unfolded across Cultural China. Thematically, they range from celebrity culture, fashion and beauty, to religion and spirituality, via language politics, heritage, and music. Pieces on representations of China in Britain and the Westminster Chinese Visual Arts Project reflect our particular location and home. Many of the articles in this book focus on the People’s Republic of China, but they also draw attention to the multiple Chinese and Sinophone cultural practices that exist within, across, and beyond national borders. The Review is distinctive in its cultural studies-based approach and contributes a much-needed critical perspective from the Humanities to the study of Cultural China. It aims to promote interdisciplinary dialogue and debate about the social, cultural, political, and historical dynamics that inform life in Cultural China today, offering academics, activists, practitioners, and politicians a key reference with which to situate current events in and relating to Cultural China in a wider context.