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Thinking Community Music explores critical questions concerning community music practice and theory with emphasis on intervention, hospitality, pedagogy, social justice, inclusion, cultural democracy, music, research, and future possibilities. The book encourages questioning, reflection, and dialogue. Shaped as provocations and presented as eight stand-alone essays, each'think piece'comprises of critical questions, concrete illustrations of practice, theoretical explorations, and reflective discussion. Flanked by a historical map and a closing statement, the book provides a springboard for conceptual interrogation about participatory music-making. Supported by the lineage of poststructural philosophy, ideas emulating from Derrida and Deleuze frames conceptual interrogation about community music practices and the broader parameters of social-cultural music-making and music teaching and learning. As a vital part of the music ecology, community music is a distinctive field and a critical lens to view other musical practices and the various political and cultural policies that frame them.

Music as Agency: Diversities of Perspectives on Artistic Citizenship focuses on the concept, application, interpretation and manifestation of Artistic Citizenship in diverse contexts. The key concepts that the book tackles are: Cultural experience, artistic practice, musical identities, equity, democracy, community, activism, resistance and empathy.In giving an overview of aspects of the compound concept of artistic citizenship, Akuno and Westvall present the outcome of research and interrogation of practice by a global network of educator-researchers from Africa, the Americas, Asia and Europe. The book articulates notions of artistic citizenship, coming up with the term artizenship as a derivative of the composite term. It further explains and analyses practical ways of perceiving and relating to art spaces, art practices and arts objects towards belonging, being and becoming in a global space that is disparate, polarised and often alienating, and thus responding to issues such as social justice, identity, participation and inclusion. With a focus on music, the book targets musicians, scholars, educators and enthusiasts keen on gaining a deeper understanding of how music and musicking can influence human interactions towards social integration, trust, cultural awareness and intercultural understanding.

The Routledge Handbook of Music and Migration: Theories and Methodologies is a progressive, transdisciplinary paradigm-shifting core text for music and migration studies. Conceptualized as a comprehensive methodological and theoretical guide, it foregrounds the mobile potentials of music and presents key arguments about why musical expressions matter in the discussion of migration politics.24 international specialists in music and migration set methodological and theoretical standards for transdisciplinary collaborations in the field of migration studies, discussing 41 keywords, such as mobility, community, research ethics, human rights, and critical whiteness in the context of music and migration. The authors then apply these terms to 16 chapters, which deal with ethnomusicological, musicological, sociological, anthropological, geographical, pedagogical, political, economic, and media-related methodologies and theories which reflect and contest current discourses of migration. In their interdisciplinary focus, these chapters advance interrelations between music and migration as enabling factors for socio-cultural studies. Furthermore, the authors tackle crucial questions of agency, equality, and equity as well as the responsibilities and expectations of writers and artists when researching migration phenomena as innate human experience. As a result, this handbook provides scholars and students alike with relevant and applicable methodological and theoretical tools in addition to an extensive literature and research review for further research.

Guerrilla Music: Musicking as Resistance, Defiance, and Subversion explores human initiations and responses to music as a process and product intrinsically part of our culture, history, place, time and ecological musical worlds. The contributors challenge scholarly approaches wherein music is detached from the social relationships in which it is produced, transmitted, used and judged. ‘Guerrilla'is a trope long applied to socio-political machinations, human conflict and confrontation. Guerrilla Music provocatively explores research involving music practices, stories, communities and musickers worldwide that resist, defy and subvert by silence and non-compliance, reluctant subordination, subversive depowering, resistive counterpoint, or destructive, violent dismantling. Contexts spanning the subcultural local, glocal and universal highlight the potency, passions, actions and life worlds of music, musicians and those that become engulfed in musical maelstroms that incite change. Guerrilla Music both invigorates and advances scholarly debates about social power, colonisation and difference by exploring the social semiotics of music making and communities, identifying powerful new ways of understanding human communication, and what musicking means in the twenty-first century.

Framing timely and pressing questions concerning music and cultural rights, this collection illustrates the ways in which music--as a cultural practice, a commercial product, and an aesthetic form--has become enmeshed in debates about human rights, international law, and struggles for social justice. The essays in this volume examine how interpretations of cultural rights vary across societies; how definitions of rights have evolved; and how rights have been invoked in relation to social struggles over cultural access, use, representation, and ownership. The individual case studies, many of them based on ethnographic field research, demonstrate how musical aspects of cultural rights play out in specific cultural contexts, including the Philippines, China, Hawaii, Peru, Ukraine, and Brazil. Contributors are Nimrod Baranovitch, Adriana Helbig, Javier F. Leon, Ana María Ochoa, Silvia Ramos, Helen Rees, Felicia Sandler, Amy Ku'uleialoha Stillman, Ricardo D. Trimillos, Andrew N. Weintraub, and Bell Yung.

It has long been accepted that participating in music, either as a performer, listener, or composer, can contribute to human happiness and well-being. This volume, part of The Humanities and Human Flourishing series, explores a fourth musical activity--the act of music scholarship--and reveals how engagement with the cultural, social, and political practices surrounding music contributes to human flourishing in a way that listening, performing, and even composing alone cannot. Music and Human Flourishing contains essays by eleven prominent scholars representing the fields of musicology, ethnomusicology, and music theory. The essays are divided into three general categories and cover a broad range of topics and music traditions. In Part I, Contemplation, contributors explore a specific facet of music's connection to human flourishing and contemplate new approaches for future action. Part II, Critique, contains essays that challenge past assumptions of the various roles of music in society and highlight the effects that unconscious bias and stereotyping have had on music's effectiveness to facilitate human flourishing. Part III, Communication, features essays that explore how ethnicity, gender, religion, and technology influence our ability to connect with others through music. Collectively, these essays demonstrate how the process of thinking and writing about music and human flourishing can lead to revelations about cultural identity, social rituals, political ideologies, and even spiritual transcendence.

An engaging argument about what experimental music can tell us about being human. In Experimenting the Human, G Douglas Barrett argues that experimental music speaks to the contemporary posthuman, a condition in which science and technology decenter human agency amid the uneven temporality of postwar global capitalism. Time moves forward for some during this period, while it seems to stand still or even move backward for others. Some say we're already posthuman, while others endure the extended consequences of never having been considered fully human in the first place. Experimental music reflects on this state, Barrett contends, through its interdisciplinary involvements in postwar science, technology, and art movements. Rather than pursuing the human's beyond, experimental music addresses the social and technological conditions that support such a pursuit. Barrett locates this tendency of experimentalism throughout its historical entanglements with cybernetics, and in his intimate analysis of Alvin Lucier's neurofeedback music, Pamela Z's BodySynth performances, Nam June Paik's musical robotics, Pauline Oliveros's experiments with radio astronomy, and work by Laetitia Sonami, Yasunao Tone, and Jerry Hunt. Through a unique meeting of music studies, media theory, and art history, Experimenting the Human provides fresh insights into what it means to be human.

What in the World is Music? Second Edition is an undergraduate, interactive e-textbook that explores the shared ways people engage with music and how humans organize and experience sound. It adopts a global approach, featuring more than 300 streaming videos and 50 streaming audio tracks of music from around the world. Drawing from both musicological and ethnomusicological modes of inquiry, the authors explain the nature and meaning of music as a universal human practice, making no distinction between Western and non-Western repertoires while providing students with strong points of connection to the ways it affects their own lives.The What in the World is Music? curriculum is divided into five parts, with a fully integrated multimedia program linked directly to the chapters: The Foundations of Music I proposes a working definition of'music'and considers inquiry-guided approaches to its study: Why do humans have innate musical perception? How does this ability manifest itself in the human voice? A catalog of musical instruments showcases global diversity and human ingenuity. The Foundations of Music II continues the inquiry-guided approach, recognizing the principles by which musical sound is organized while discussing elements such as rhythm, melody, harmony, texture, form, genre, and style. Where did music come from? What is it for? Music and Identity examines how music operates in shaping, negotiating, and expressing human identity and is organized around three broad conceptual frames: the group, hybridity, and conflict. Music and the Sacred addresses how music is used in religious practices throughout the world: chanting sacred texts and singing devotional verses, inspiring religious experience such as ecstasy and trance, and marking and shaping ritual space and time. Music and Social Life analyzes the uses of music in storytelling, theater, and film. It delves into the contributions of sound technologies, while looking at the many ways music enhances nightlife, public ceremonies, and festivals.

Community music around the world reflects the growing and diverse ways humans collectivise and express themselves in ways that articulate our cultural, social, and environmental complexity. Revisiting, redevising, and reimagining some of the field's approaches, ideologies, and contexts, this co-edited volume investigates beyond generalist intercultural and internationalist concepts to reveal the complexity of social ways people come together to make music and to making music be central to this sociality.The authors explore the role community music plays out around the world and how various instrumentally based music-making communities operate as ecologies that allow notions of social, political, and cultural agency and identity/ies. Chapters cover various instrumental community music ensembles, observing how they, as social microcosms of change and stasis, provide working methods new and old, extol values, and model ethical behaviours that are fluid and dynamic, steadfast and unyielding, and that contribute to the ebb and flow of people and their agency that remains under-researched. Insights are provided on variously functioning ensembles throughout the world, showing how myriad instrumental music communities act as drivers, complex environments, and apparati for musical and social expression that accommodates the musical aspirations of their members.Taken as a whole, this book explores community music as local, glocal, global phenomena, critically discussing the redefinition of community music and what music-making means to people in the twenty-first century.

Music, Gender, and Sexuality Studies: A Teacher's Guide serves as a guide to the professor tasked with teaching music to undergraduates, with a focus on gender. Although the notion of feminist approaches in musicology was once greeted with scorn, the last 40 years have seen a seismic shift across music studies, to the point that classes on women and music are now commonplace in most undergraduate music program. The goal of this book is to give the instructor some tools and strategies that will build confidence in approaching music as it relates to gender and sexuality, and to offer some advice on how to make the class rewarding for all.The book is organized into four broad sections, plus an introduction outlining how to use the book and how the teaching of music, gender, and sexuality can be rewarding. Each section – Composition, Support, Performance, and Audience – includes possible themes for study and examples of music that can illuminate those themes, allowing the instructor to shape the course according to their own preference for classical, jazz, or popular styles. The author offers a practical guide to building syllabi that can fit the instructor's interests and the priorities of the institution, crafting assignments that will engage and inspire students, choosing repertoire from a range of styles and genres, and maintaining a focus on how music shapes gender, and how gender shapes music.

Drawing on a mix of collaborative autoethnography, secondary literature, interviews with leading improvisers, and personal anecdotal material, Jamming the Classroom discusses the pedagogy of musical improvisation as a vehicle for teaching, learning, and enacting social justice. Heble and Stewart write that to “jam the classroom” is to argue for a renewed understanding of improvisation as both a musical and a social practice; to activate the knowledge and resources associated with improvisational practices in an expression of noncompliance with dominant orders of knowledge production; and to recognize in the musical practices of aggrieved communities something far from the reaches of conventional forms of institutionalized power, yet something equally powerful, urgent, and expansive. With this definition of jamming the classroom in mind, Heble and Stewart argue that even as improvisation gains recognition within mainstream institutions (including classrooms in universities), it needs to be understood as a critique of dominant institutionalized assumptions and epistemic orders. Suggesting a closer consideration of why musical improvisation has been largely expunged from dominant models of pedagogical inquiry in both classrooms and communities, this book asks what it means to theorize the pedagogy of improvised music in relation to public programs of action, debate, and critical practice.

Singers generating cultural identity from K-Pop to Beverly Sills Around the world and across time, singers and their songs stand at the crossroads of differing politics and perspectives. Levi S. Gibbs edits a collection built around the idea of listening as a political act that produces meaning. Contributors explore a wide range of issues by examining artists like Romani icon Esma Redžepova, Indian legend Lata Mangeshkar, and pop superstar Teresa Teng. Topics include gendered performances and the negotiation of race and class identities; the class-related contradictions exposed by the divide between highbrow and pop culture; links between narratives of overcoming struggle and the distinction between privileged and marginalized identities; singers'ability to adapt to shifting notions of history, borders, gender, and memory in order to connect with listeners; how the meanings we read into a singer's life and art build on one another; and technology's ability to challenge our ideas about what constitutes music. Cutting-edge and original, Social Voices reveals how singers and their songs equip us to process social change and divergent opinions. Contributors: Christina D. Abreu, Michael K. Bourdaghs, Kwame Dawes, Nancy Guy, Ruth Hellier, John Lie, Treva B. Lindsey, Eric Lott, Katherine Meizel, Carol A. Muller, Natalie Sarrazin, Anthony Seeger, Carol Silverman, Andrew Simon, Jeff Todd Titon, and Elijah Wald

This book is the first installment of a trilogy that explores the spatial dimensions of music. Music has generated substantial interest among geographers, but other academic disciplines have also developed related spatial perspectives on music. This trilogy brings together multiple approaches, each book investigating a bundle of interrelated themes. New Geographies of Music 1: Urban Policies, Live Music, and Careers in a Changing Industry starts with an introduction that explores contemporary approaches to the study of popular music. The following chapters address a range of issues, including the role of live music in urban development, how knowledge about local music ecosystems circulates among cities, urban networks of music production, how musical practices in local scenes are affected by core-periphery relations, and how musicians rely on touring in order to earn a living. This is a must-read for anyone interested in the relationship between space and music.

The Routledge Companion to Applied Musicology brings together academics, artist-researchers, and practitioners to provide readers with an extensive and authoritative overview of applied musicology.Once a field that addressed music's socio-political or performative contexts, applied musicology today encompasses study and practice in areas as diverse as psychology, ecomusicology, organology, forensic musicology, music therapy, health and well-being, and other public-oriented musicologies. These rapid advances have created a fast-changing field whose scholarship and activities tend to take place in isolation from each other. This volume addresses that shortcoming, bringing together a wide-ranging survey of current approaches.Featuring 39 authors, The Routledge Companion to Applied Musicology falls into five parts—Defining and Theorising Applied Musicology; Public Engagement; New Approaches and Research Methods; Representation and Inclusion; and Musicology in/for Performance—that chronicle the subject's rich history and consider the connections that will characterise its future. The book offers an essential resource for anyone exploring applied musicology.

This open access book shows how geographical scales are made through music.Scales are sets of spatial frames, abstractions or categories that denote the size, proportion, level, extent or hierarchical relations of phenomena. They are neither natural nor neutral but actively produced, with real political effects. But what role do cultural practices play in the production of scale? Phil Dodds addresses this question by focusing on music, arguing that music scholarship has both most to gain from and most to offer to a fuller conceptualisation of how geographical scale is culturally produced. Dodds suggests that music scholars should treat scales as open questions, and as phenomena potentially made through musical practices, rather than as stable categories for framing other arguments about, say, ‘local'or ‘global'music. He analyses how the meaning of ‘the local'is affected by the aesthetics of popular music, and how the relationship between the particularand the general is fused through common musical conventions. Music and the Cultural Production of Scale explores diverse musical examples – including Janelle Monáe's concept albums, key tracks in the grime genre, protest songs at environmental and anti-fascist demonstrations, and nineteenth-century colonial hymn-singing – to demonstrate how we already live in a world whose scales are made by music. The book also shows that music has the potential to produce a world scaled otherwise.

Makis Solomos explores the ecologies of music and sound, inspired by Felix Guattari, for whom environmental destruction caused by capitalism goes hand in hand with deteriorating ways of living and feeling, and for whom an ecosophical stance, combining various ecological registers, offers a glimpse of emancipation, a position strengthened today by intersectional approaches. Solomos explores environmental, mental and social ecologies through the lens of the history of music and current artivisms – especially in the fields of acoustic ecology, contemporary music and sound art. Several theoretical and analytical debates are put forward, including a theory of sound milieus and the biopolitics of sound; the relationships between music and the living world; soundscape compositions, field recording, ecomusicology, and the creation of sound biotopes; the use of sound and music to violent ends as well as considering the social and political functions of music and the autonomy of art, sonic ecofeminism, degrowth in music, and much more.

How do we develop social inclusion through musical activities? What is the power of music in enhancing individual inclusion, group cohesion, and cross-community work in post-conflict environments? How can we investigate social music programmes and interventions? This comprehensive volume offers new research on these questions by an international team of experts from the fields of music education, music psychology, ethnomusicology, and community music. The book celebrates the rich diversity of ways in which learners of all ages participate in social music projects in complex settings. Contributions focus broadly on musical and social processes, considering its conceptualisation and practices in a number of contexts. The authors examine how social music projects can be fostered in complex settings, drawing examples from schools and community settings. These critical chapters will inspire readers to think deeply about social music interventions and their development. The book will be of crucial interest to educators, policymakers, researchers, and students, as it draws on applied research from across 14 countries, of which ten are in the Global South.

Educating Musicians for Sustainability explores the intersections of sustainability and music, investigating how sustainability affects the development and professional preparation of musicians while asking the question, ‘What does sustainability have to do with music?'The volume presents a series of case studies organised according to an expanded view of the ‘four pillars of sustainability', addressing cultural, environmental, economic, and social concerns. These case studies reveal a multitude of intersections, highlighting the crucial role music can play in raising awareness and overcoming the crisis of sustainability. In examining pedagogical and practical implications, aspiring musicians are encouraged to develop a broader view of the musical profession as a human endeavour, one that is intimately related to the world in which they live. Educating Musicians for Sustainability addresses the most pressing and serious problem of contemporary times – and seeks to inspire changes in attitudes and behaviour, for the benefit of all of humanity.

The Routledge Companion to Music and Human Rights is a collection of case studies spanning a wide range of concerns about music and human rights in response to intensifying challenges to the well-being of individuals, peoples, and the planet. It brings forward the expertise of academic researchers, lawyers, human rights practitioners, and performing musicians who offer critical reflection on how their work might identify, inform, or advance mutual interests in their respective fields. The book is comprised of 28 chapters, interspersed with 23 ‘voices'– portraits that focus on individuals'intimate experiences with music in the defence or advancement of human rights – and explores the following four themes: 1) Fundamentals on music and human rights; 2) Music in pursuit of human rights; 3) Music as a means of violating human rights; 4) Human rights and music: intrinsic resonances.

Music is an art form but also a social activity. It is a part of every human society, contributing to community, culture, and a sense of group identity. It is also fundamental to individual identity and personal well-being. In Music, Eugene Beresin traces the possible applications of musical expression for human health and happiness. At the heart of Music are powerful examples from the lives of real individuals, families, and populations. These stories cover a myriad of ages, instruments, situations, and purposes, to convey the universal power of music to help us all get more out of life. Offering practical ideas for integrating musical practice into a wide range of settings from the medical to the personal, Beresin provides a compelling evocation of the healing power of music. It is a must-read for practitioners, teachers, counsellors, and lovers of the art form.

Meet the people who design the algorithms that capture our musical tastes. The people who make music recommender systems have lofty goals: they want to broaden listeners'horizons and help obscure musicians find audiences, taking advantage of the enormous catalogs offered by companies like Spotify, Apple Music, and Pandora. But for their critics, recommender systems seem to embody all the potential harms of algorithms: they flatten culture into numbers, they normalize ever-broadening data collection, and they profile their users for commercial ends. Drawing on years of ethnographic fieldwork, anthropologist Nick Seaver describes how the makers of music recommendation navigate these tensions: how product managers understand their relationship with the users they want to help and to capture; how scientists conceive of listening itself as a kind of data processing; and how engineers imagine the geography of the world of music as a space they care for and control. Computing Taste rehumanizes the algorithmic systems that shape our world, drawing attention to the people who build and maintain them. In this vividly theorized book, Seaver brings the thinking of programmers into conversation with the discipline of anthropology, opening up the cultural world of computation in a wide-ranging exploration that travels from cosmology to calculation, myth to machine learning, and captivation to care.

Music as a narrative drama is an intriguing idea, which has captured explicit music theoretical attention since the nineteenth century. Investigations into narrative characters or personae has evolved into a sub-field—musical agency. In this book, Palfy contends that music has the potential to engage us in social processes and that those processes can be experienced as a social interaction with a musical agent. She explores the overlap between the psychological processes in which we participate in order to understand and engage with people, and those we engage in when we listen to music. Thinking of musical agency as a form of social process is quite different from existing theoretical frameworks for agency. It implies that we come to musical analysis by way of intuition—that our ideas are already partially formed based on our experience of the piece (and what it makes us feel or how it makes us sense it as any other) when we choose to analyze and interpret it. Palfy's focus on social processes is a very effective way to pinpoint when and why it is that our attention is captured and engaged by musical agents.

Music Sociology critically evaluates current approaches to the study of music in sociology and presents a broad overview of how music is positioned and represented in existing sociological scholarship. It then goes on to offer a new framework for approaching the sociology of music, taking music itself as a starting point, and considering what music sociology can learn from related disciplines such as critical musicology, ethnomusicology, and cultural studies. As a central form of leisure, consumption, and cultural production, music has attracted significant attention from sociologists who seek to understand its deeper socio-cultural meaning. With case studies that address sound environments, consumption, media technologies, local scenes, music heritage, and ageing, the authors highlight the distinctive nature of musical experience, and show how sociology can illuminate it. Providing both a survey of existing perspectives the sociology of music, and a thought-provoking discussion of how the field can move forward, this concise and accessible book will be a vital reading for anyone teaching or studying music from a sociological standpoint.

Artificial Intelligence and Music Ecosystem highlights the opportunities and rewards associated with the application of AI in the creative arts. Featuring an array of voices, including interviews with Jacques Attali, Holly Herndon and Scott Cohen, this book offers interdisciplinary approaches to pressing ethical and technical questions associated with AI. Considering the perspectives of developers, students and artists, as well as the wider themes of law, ethics and philosophy, Artificial Intelligence and Music Ecosystem is an essential introduction for anyone interested in the impact of AI on music, including those studying and working in the creative arts.

This book explores the influence of geographical isolation and peripherality on the functioning of music industries and scenes which operate within and from such locales. As is explored, these sites engage dynamic practices to offset challenges resulting from geographical isolation and peripherality.

Women, Music, Culture: An Introduction, Third Edition is the first undergraduate textbook on the history and contributions of women in a variety of musical genres and professions, ideal for students in Music and Gender Studies courses. A compelling narrative, accompanied by 112 guided listening experiences, brings the world of women in music to life. The author employs a wide array of pedagogical aides, including a running glossary and a comprehensive companion website with links to Spotify playlists and supplementary videos for each chapter. The musical work of women throughout history—including that of composers, performers, conductors, technicians, and music industry personnel—is presented using both art music and popular music examples.New to this edition: An expansion from 57 to 112 listening examples conveniently available on Spotify. Additional focus on intersectionality in art and popular music. A new segment on Music and #MeToo and increased coverage of protest music. Additional coverage of global music. Substantial updates in popular music. Updated companion website materials designed to engage all learners. Visit the author's website at www.womenmusicculture.com

This book explores the narratives of a group of four-year-old children in a composition project in an Australian early learning centre. The participants, centre staff and a composer, Stephen Leek, contributed a number of music sessions for the children, including five original songs. The book showcases young children's communicative ability and sensitivity to wider issues. The staff in the centre have a strongly voiced philosophy that is enacted through arts-based pedagogy and incorporates significant themes including a respect for Aboriginal culture and custodial responsibility towards a sustainable future for the earth. Examples of adult and children's ideas are illustrated through music making, singing, dancing, words, drawings and paintings, which provide insights into a world where children are viewed as active citizens and the arts have rights. The book describes the context of the centre, the history of projects and details one project as an example of “lifeworthy learning”.

Pouvons-nous avoir un plaisir à écouter une musique qui sonne faux? Écoutons-nous vraiment la musique? Notre écoute de la musique se raconte-t-elle? La première question concerne la gamme tempérée et la justesse qu'elle impose. La deuxième a trait à la sociologie de la musique. L'auteur montre que la notion de médiation est insuffisante pour bien saisir le rapport entre musiciens et amateurs de musique. Il ne peut y avoir d'écoute sans exécution, l'une étant tributaire de l'autre dans une intermédiarité, un entre-deux où l'expérience musicale est vécue par des intentionnalités réciproques entre musiciens et auditeurs. La troisième question touche à la narrativité et à l'historicité de nos écoutes, rendues possibles grâce à l'enregistrement et à sa diffusion.

The Routledge Handbook to Sociology of Music Education is a comprehensive, authoritative and state-of-the-art review of current research in the field. The opening introduction orients the reader to the field, highlights recent developments, and draws together concepts and research methods to be covered. The chapters that follow are written by respected, experienced experts on key issues in their area of specialisation. From separate beginnings in the United States, Europe, and the United Kingdom in the mid-twentieth century, the field of the sociology of music education has and continues to experience rapid and global development. It could be argued that this Handbook marks its coming of age. The Handbook is dedicated to the exclusive and explicit application of sociological constructs and theories to issues such as globalisation, immigration, post-colonialism, inter-generational musicking, socialisation, inclusion, exclusion, hegemony, symbolic violence, and popular culture. Contexts range from formal compulsory schooling to non-formal communal environments to informal music making and listening. The Handbook is aimed at graduate students, researchers and professionals, but will also be a useful text for undergraduate students in music, education, and cultural studies.

Music lives where people live. Historically, music study has centred on the conservatory, which privileges the study of the Western European canon and Western European practice. The Eurocentric way music has been studied has excluded communities that are considered to be marginalized in one or more ways despite that the majority of human experiences with music is found outside of that realm. Community music has emerged as a counter-narrative to the hegemonic music canon: it seeks to increase the participation of those living on the boundaries. Community Music at the Boundaries explores music and music-making on those edges. “The real power of community music,” writes Roger Mantie in the foreword, “lies not in the fiction of trying to eliminate boundaries (or pretending they don't exist), but in embracing the challenge of'walking‘ them.” Contributions from scholars and researchers, music practitioners, and administrators examine the intersection of music and communities in a variety of music-making forms: ensembles, university and police choirs, bands, prison performing groups, youth music groups, instrument classes, symphonies, drum circles, and musical direction and performance. Some of the topics explored in the volume include education and change, music and Indigenous communities, health and wellness, music by incarcerated persons, and cultural identity. By shining a light on boundaries, this volume provides a wealth of international perspectives and knowledge about the ways that music enhances lives.

Sound Changes responds to a need in improvisation studies for more work that addresses the diversity of global improvisatory practices and argues that by beginning to understand the particular, material experiences of sonic realities that are different from our own, we can address the host of other factors that are imparted or sublimated in performance. These factors range from the intimate affect associated with a particular performer's capacity to generate a distinctive “voicing,” or the addition of an unexpected sonic intervention only possible with one particular configuration of players in a specific space and time. Through a series of case studies drawn from Africa, Asia, the Americas, and Oceania, Sound Changes offers readers an introduction to a range of musical expressions across the globe in which improvisation plays a key role and the book demonstrates that improvisation is a vital site for the production of emergent social relationships and meanings. As it does this work, Sound Changes situates the increasingly transcultural dimensions of improvised music in relation to emergent networks and technologies, changing patterns of migration and immigration, shifts in the political economy of music, and other social, cultural, and economic factors. Improvisation studies is a recently developed, but growing, interdisciplinary field of study. The discipline—which has only truly come into focus in the early part of the twenty-first century—has been building a lexicon of key terms and developing assumptions about core practices. Yet, the full breadth of improvisatory practices has remained a vexed, if not impossibly ambitious, subject of study. This volume offers a step forward in the movement away from critical tendencies that tend to homogenize and reduce practices and vocabularies in the name of the familiar.

There is an immense and growing literature on singing in relation to a number of areas, often associated with wellbeing of various kinds – physical, mental, emotional, communal, public and spiritual. Although spirituality is mentioned in much of the literature it is often as an addendum to other more measurable aspects of the experience/event. This volume consists of various approaches to the spirituality of the singing experience, particularly how these have changed or even been heightened during the current pandemic. This collection offers a number of very wide-ranging perspectives from across the world. The chapters are drawn from several cultures and include a number referring to the various lockdowns that have characterized the pandemic. The book includes a mixture of chapters – which incorporate academic references and discourse – and interludes that are more reflective accounts of individual experiences.

Virtuality has entered our lives making anything we desire possible. We are, as Gorillaz once sang, in an exciting age where'the digital won't let [us] go…'Technology has revolutionized music, especially in the 21st century where the traditional rules and conventions of music creation, consumption, distribution, promotion, and performance have been erased and substituted with unthinkable and exciting methods in which absolutely anyone can explore, enjoy, and participate in creating and listening to music. Virtual Music explores the interactive relationship of sound, music, and image, and its users (creators/musicians/performers/audience/consumers). Areas involving the historical, technological, and creative practices of virtual music are surveyed including its connection with creators, musicians, performers, audience, and consumers. Shara Rambarran looks at the fascination and innovations surrounding virtual music, and illustrates key artists (such as Grace Jones, The Weeknd), creators (such as King Tubby, Kraftwerk, MadVillain, Danger Mouse), audiovisuals in video games and performances (such as Cuphead and Gorillaz), audiences, and consumers that contribute in making this musical experience a phenomenon. Whether it is interrogating the (un)realness of performers, modified identities of artists, technological manipulation of the Internet, music industry and music production, or accessible opportunities in creativity, the book offers a fresh understanding of virtual music and appeals to readers who have an interest in this digital revolution.

This book provides a broad introduction to the scientific and psychological study of music, exploring how music is processed by our brains, affects us emotionally, shapes our personal and cultural identities, and can be used in therapeutic and educational contexts.Why are some people tone deaf and others musical savants? What do our musical preferences say about our personality and the culture in which we were raised? Why do certain songs remind us so strongly of particular people, places, or events? How can music be therapeutically used to help those with autism, Parkinson's, and other medical conditions? The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym answers these and other questions.This book provides a broad and accessible introduction to the fascinating field of music psychology. Despite its name, music psychology includes a number of fields, including neuroscience, psychology, social psychology, sociology, and health. Through a collection of thematically organized chapters, readers will discover how our brains recognize elements of music, how music can affect us and shape our identities, and the many real-world applications for such information.

The Bloomsbury Handbook of the Anthropology of Sound presents the key subjects and approaches of anthropological research into sound cultures. What are the common characteristics as well as the inconsistencies of living with and around sound in everyday life? This question drives research in this interdisciplinary area of sound studies: it propels each main chapter of this handbook into a thoroughly different world of listening, experiencing, receiving, sensing, dreaming, naming, desiring, and crafting sound. This handbook is composed of six sections: sonic artifacts; sounds and the body; habitat and sound; sonic desires; sounds and machines; and overarching sensologies. The individual chapters explore exemplary research objects and put them in the context of methodological approaches, historical predecessors, research practices, and contemporary research gaps. This volume offers therefore one of the broadest, most detailed, and instructive overviews on current research in this area of sensory anthropology.

This volume focuses on the ways in which mutual musical engagement might play a role in creating healthful, life-giving experiences. Scholarly chapters and reflective interludes illustrate how people use music to forge authentic spiritual and emotional connections with others, including in times of physical isolation and political unrest. Chapters and interludes address topics such as relationship building, community, wellbeing, therapy, education, and ecology. Each describes various ways in which individuals connect authentically with themselves, others, the music they make, and the physical and spiritual world around them. Many authors address current global crises including the COVID-19 pandemic, racism, nationalism, environmental injustice, and associated climate catastrophes. Authors articulate various qualities of authentic human connections, and discuss various ways in which music might be poised to facilitate emotional and spiritual connections in some of the most challenging and physically isolating times.

By taking a thematic approach to the study of music appreciation, Music: A Social Experience, Third Edition demonstrates how music reflects and deepens both individual and cultural understandings. Musical examples are presented within universally experienced social frameworks (ethnicity, gender, spirituality, love, and more) to help students understand how music reflects and advances human experience. Students engage with multiple genres (Western art music, popular music, and world music) through lively narratives and innovative activities. A companion website features streaming audio and instructors'resources. The third edition includes: A chapter on Black American music A revised and developed chapter on gender and sexuality A dozen additional Listening Guides, with an emphasis on contemporary popular music Over 100 new full-color images Updated teacher and student resources on the book's companion website Expanded content throughout, highlighting the social, cultural, and technological changes since publication of the previous edition The culmination of thirty years of experimentation in the music appreciation classroom, this third edition of Music: A Social Experience continues to empower lifelong musical learning by engaging students and readers on their own terms.

Can you change the world through song? This appealing idea has long been the professed aim of singers who are part of choruses affiliated with the Gay and Lesbian Association of Choruses (GALA). Theses choruses first emerged in the 1970s, and grew out of a very American tradition of (often gender-segregated) choral singing that explicitly presents itself as a community-based activity. By taking a close look at these choruses and their mission, Heather MacLachlan unpacks the fascinating historical and cultural dynamics behind groups that seek to change society for the better by encouraging acceptance of LGBT-identified people and promoting diversity more generally. She characterizes their mission as “integrationist rather than liberationist” and zeroes in on the inherent tension between GALA's progressive social goals and the fact that the music most often performed by GALA groups is deeply rooted in a fairly narrowly conceived tradition of art music that identifies as white, Euro-centric, and middle class--and that much of the membership identifies as white and middle class as well. Pundits often wax eloquent about the power of music, asserting that it can, in some positive way, change the world. Such statements often rest on an unexamined claim that music can and does foster social justice. Singing Out: GALA Choruses and Social Change tackles the premise underlying such claims, analyzing groups of amateur singers who are explicitly committed to an agenda of social justice.

An ironically upbeat book that asks some of today's most inimitable musicians which song they would choose to be the last one they ever hearVariety Best Music Book of 2020TIME Best Book of Fall 2020 Selection If you could choose the last song you'd hear before you died, what would it be and why? Your favorite song of all time? Perhaps the one you danced to at your wedding? The song from that time you got super stoned and just let the chords speak to you? It's a hard question that Mike Ayers has thought about for years. In One Last Song, Ayers invites 30 musicians to consider what song they would each want to accompany them to those pearly white gates. Weaving together their explanations with evocative illustrations and poignant interludes—what your song to die to says about you, what songs famous people have died to, and more. The book offers insight into the minds of famous artists and provides an entry point for considering how integral music is to our own personal narratives.Artists Featured: Jim James of My Morning Jacket, André 3000, Killer Mike, Jeff Tweedy of Wilco, Phoebe Bridgers, Richard Reed Parry of Arcade Fire, Sam Beam of Iron & Wine, Colin Meloy of the Decemberists, Wayne Coyne of The Flaming Lips, Lauren Mayberry of CHVRCHES, A.C. Newman of The New Pornographers, Courtney Barrett, Bobb Bruno of Best Coast, Angel Olsen, Regina Spektor, Kevin Morby, Will Oldham, Julia Holter, Margo Price, Sonny Rollins, Ryley Walker, Merrill Garbus of tUnE-yArDs, Yannis Phillippakis of Foals, Bettye Lavette, M.C. Taylor of Hiss Golden Messenger, Wanda Jackson, Roseanne Cash, Lucinda Williams, and Beth Orton.

Crossley argues that music is a form of social interaction, interwoven in the fabric of society and in constant interplay with its other threads. Musical interactions are often also economic interactions, for example, and sometimes political interactions. They can be forms of identity work, for both individuals and collectives, contributing to the reproduction or bridging of social divisions. Successive chapters of the book track and explore these interplays, in each case combining a critical consideration of existing literature with the development of an original, ‘relational'approach to music sociology. The result is a grand sociological vision of music which captures not only music's context but ‘the music itself'. The book will appeal to social scientists, musicologists and cultural scholars more widely.

Lives in Music analyses interwoven patterns of mobility, change, and power in music and dance practices.It challenges some commonly accepted conceptual tools that are ubiquitous in anthropology today, including cultural hybridity, transnational networks, and globalization. Based on seven “itineraries” that are the result of extensive ethnographic long-term field research efforts, the processes of geographic and social mobility, transformation, and power relative to music and dance practices are explored in different parts of the world. Seven writers provide life stories constructed through ethnographic techniques and life histories and supported by a deep knowledge of local customs.

Displacement, relocation, dissociation: each of these terms elicits images of mass migration, homelessness, statelessness, or outsiderness of many kinds, too numerous to name. This book aims to create opportunities for scholars, practitioners, and silenced voices to share theories and stories of progressive and transgressive music pedagogies that challenge the ways music educators and learners think about and practice their arts relative to displacement. Displacement is defined as encompassing all those who have been forced away from their locations by political, social, economic, climate, and resource change, injustice, and insecurity. This includes: - refugees and internally displaced persons; - forced migrants; - indigenous communities who have been forced off their traditional lands; - people who have fled homes because of their gender identity and sexual orientation; - imprisoned individuals; - persons who seek refuge for reasons of domestic and social violence; - homeless persons and others who live in transient spaces; - the disabled, who are relocated involuntarily; and - the culturally dispossessed, whose languages and heritage have been taken away from them. In the context of the first ever book on displacement and music education, the authors connect displacement to what music might become to those peoples who find themselves between spaces, parted from the familiar and the familial. Through, in, and because of a variety of musical participations, they contend that displaced peoples might find comfort, inclusion, and welcome of some kinds either in making new music or remembering and reconfiguring past musical experiences. Contributors are: #4459, Efi Averof Michailidou, Kat Bawden, Rachel Beckles Willson, Marie Bejstam, Rhoda Bernard, Michele Cantoni, Mary L. Cohen, Wayland “X” Coleman, Samantha Dieckmann, Irene (Peace) Ebhohon, Con Fullam, Erin Guinup, Micah Hendler, Hala Jaber, Shaylene Johnson, Arsène Kapikian, Tou SaiKo Lee, Sarah Mandie, David Nnadi, Marcia Ostashewski, Ulrike Präger, Q, Kate Richards Geller, Charlotte Rider, Matt Sakakeeny, Tim Seelig, Katherine Seybert, Brian Sullivan, Mathilde Vittu, Derrick Washington, Henriette Weber, Mai Yang Xiong, Keng Chris Yang, and Nelli Yurina.

Impensable encore hier, la vague du « Classical music is inherently racist » est un phénomène qui, selon l'expression actuelle, se propage à bas bruit. L'intrusion du multiculturalisme dans la musique savante va se faire le fossoyeur de la création musicale telle qu'on l'entend communément (un compositeur crée une oeuvre qui est interprétée durant un concert où au moins auditeur la recevra avec bienveillance). Attendons-nous à de profonds bouleversements, et tentons de les nommer.

The Routledge Handbook of Music Signification captures the richness and complexity of the field, presenting 30 essays by recognized international experts that reflect current interdisciplinary and cross-disciplinary approaches to the subject.Examinations of music signification have been an essential component in thinking about music for millennia, but it is only in the last few decades that music signification has been established as an independent area of study. During this time, the field has grown exponentially, incorporating a vast array of methodologies that seek to ground how music means and to explore what it may mean. Research in music signification typically embraces concepts and practices imported from semiotics, literary criticism, linguistics, the visual arts, philosophy, sociology, history, and psychology, among others. By bringing together such approaches in transparent groupings that reflect the various contexts in which music is created and experienced, and by encouraging critical dialogues, this volume provides an authoritative survey of the discipline and a significant advance in inquiries into music signification. This book addresses a wide array of readers, from scholars who specialize in this and related areas, to the general reader who is curious to learn more about the ways in which music makes sense.

A dynamic multimedia introduction to the global connections among peoples and their music

Informed by theories pertaining to transnational mobility, ethnicity and race, gender, postcolonialism, as well as Japanese studies, Transnational Musicians explores the way Japanese musicians establish their transnational careers in the hierarchically structured classical music world. Drawing on rich material from multi-sited fieldwork and in-depth interviews with Japanese artists in Japan, France and Poland, this study portrays the structurally – and individually – conditioned opportunities and constraints of becoming a transnational classical musician. It shows how transnational artists strive to conciliate the irreconcilable: their professional identification with the dominant image of ‘rootless'classical musicianship and their ethnocultural affiliation with Japan. As such this book critically engages with the neoliberal discourse on talent and meritocracy prevailing in the creative/cultural industry, which promotes the common image of cosmopolitan artists, whose high, universal skills allow them to carry out their occupational activity internationally, regardless of such prescriptive criteria as gender, ethnicity and race. Highly interdisciplinary, this book will appeal to students and researchers interested in such fields as migration, transnational mobility, ethnicity and race in the creative/cultural sector, gender studies, Japanese culture and other related social issues. It will also be instructive for professionals from the world of classical music, as well as ordinary readers passionate about Japanese society.

Rund 14 Millionen Deutsche musizieren regelmäßig in ihrer Freizeit. Viele sind Mitglied in einem Blasorchester oder einer Blaskapelle, und ihr ehrenamtliches Engagement leistet einen wichtigen Beitrag zur regionalen (Musik-)Kultur. Doch was ist die Motivation dahinter? In einer Online-Befragung von 214 hessischen Amateurmusikern und 123 Amateurfußballern geht Jennifer Nowak dieser Frage auf den Grund. Die Autorin beleuchtet ausgewählte Konzepte der Motivationspsychologie und präsentiert anschließend die Ergebnisse ihrer Online-Befragung zu Motivation, Persönlichkeit und Flow-Erleben. Ihre daraus abgeleiteten Hypothesen sowie ein Modellvorschlag zur Motivation des ehrenamtlichen Musizierens führen zu relevanten Ergebnissen für Theorie und Praxis.

Acoustic Justice engages issues of recognition and misrecognition by mobilizing an acoustic framework. From the vibrational intensities of common life to the rhythm of bodies in movement, and drawing from his ongoing work on sound and agency, Brandon LaBelle positions acoustics, and the broader experience of listening, as a dynamic means for fostering responsiveness, understanding, dispute, and the work of reorientation. As such, acoustic justice emerges as a compelling platform for engaging struggles over the right to speak and to be heard that extends toward a broader materialist and planetary view. This entails critically addressing questions of space, borders, community, and the acoustic norms defining capacities of listening, leading to what LaBelle terms “poetic ecologies of resonance.” Acoustic Justice works at issues of recognition and resistance, place and displacement, by moving across a range of pertinent references and topics, from social practices and sound art to the performativity of skin and the poetics of Deaf voice. Through such transversality, LaBelle captures acoustics as the basis for strategies of refusal and repair.

World Music CONCISE: A Global Journey, Second Edition, introduces students to the diversity of musical expression around the world, taking them across the globe to experience cultural traditions that challenge the ear, the mind, and the spirit. Based on the Fourth Edition, this Second CONCISE Edition serves as an introduction to the many and varied world music traditions. It stays rooted in a solid pedagogical framework and maintains the text's familiar travel theme while condensing the number of'sites'from 70 to 44. These sites are carefully selected from the existing compilation so as to remain representative of all continents and regions. Features: An easy-to-follow and proven chapter structure, organized by geographic region Many Listening Guides, detailed maps, and hundreds of colorful photos Coverage of an eclectic blend of world musics, including popular music as well as traditional music A two-CD set featuring hours of diverse music examples NEW updates from the Fourth Edition carried over to the CONCISE, such as certain dance traditions, and kora and jali NEW sites: Bali and Korea NEW, dynamic companion website—unique to the Second CONCISE Edition—hosts interactive listening guides and assorted student and instructor resources pulled from the Fourth Edition website, making it a valuable tool for distance learning courses World Music CONCISE: A Global Journey, Second Edition, provides students and instructors with a fundamental resource as they begin their exploration of world music and culture. PURCHASING OPTIONS Print Paperback Pack - Book and CD set: 9780815386094 Print Paperback - Book only: 9780815386087 eBook Pack - eBook and mp3 file: 9781351176033• •For eBook users, please email ebooksupplementaryrequests@tandf.co.uk to obtain access to the mp3 audio compilation. (The mp3 audio compilation is not available for separate sale.)

How does music affect our moods? What is the best way to develop musical skills? How does the definition of music vary between cultures? The Psychology of Music explores the important impact music has on our everyday lives, and its influence on society, groups and individual people. It demonstrates how music can benefit our intellectual functioning, and health and well-being, and examines musical ability as both a gift and something that can be developed through learning and practice. Music can enhance our understanding of humanity and modern life and The Psychology of Music shows us the significance of music, and the power it can have over our behaviour.