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This is the first introductory survey of western twentieth-century music to address popular music, art music and jazz on equal terms. It treats those forms as inextricably intertwined, and sets them in a wide variety of social and critical contexts. The book comprises four sections – Histories, Techniques and Technologies, Mediation, Identities – with 16 thematic chapters. Each of these explores a musical or cultural topic as it developed over many years, and as it appeared across a diversity of musical practices. In this way, the text introduces both key musical repertoire and critical-musicological approaches to that work. It historicises music and musical thinking, opening up debate in the present rather than offering a new but closed narrative of the past. In each chapter, an overview of the topic's chronology and main issues is illustrated by two detailed case studies.

This chapter focuses on two of the most disruptive forms of soundscape composition and theorizes two related modes of audiovisual rupture. The first, sonic elongation, arises when source sounds from within the film’s world are broadened until they become unfamiliar. The process, which often draws these liberated sounds in musical textures, is fluid and can augment and intensify familiar modes of audiovisual engagement without breaking them. The second, sonic aporia, arises when real-world sounds (or sound effects) from beyond the film’s world are used to form a poetic or allegorical soundscape that does not assimilate with the images but sits alongside them. These often recognizable sounds undergo compositional transformation and yet their lack of a visual anchor, or, in some cases, their active opposition to what we see, leads our attention beyond the screen. Here, the different forms of audiovisual attention engendered by these contrasting compositional strategies is investigated in terms of attentive listening and multimodal rupture.

The number of scientific studies investigating mindfulness has increased exponentially over the past few decades. This chapter examines some of the science and research studies that are relevant to teaching mindfulness to emerging adults. The chapter briefly reviews the physiology of stress and relaxation. Additionally, the data supporting the efficacy of Koru are reviewed, and an overview of other research findings that may be of interest to emerging adults is provided. For example, studies showing the impact of mindfulness on academic performance are discussed, as well as studies looking at how mindfulness can overcome unconscious bias and can prompt compassionate action.

The third class follows the same structure as the previous classes. In this chapter, as with the others, there is a script for the opening short meditation. This is followed by typical student comments from check-in. The mindfulness skill taught in this class is guided imagery. The skill is introduced, and then there is a script developed by the Center for Mind–Body Medicine. The final guided meditation, also scripted, focuses on working with thoughts and learning how to label them. There are closing comments, and frequently asked questions are at the end. The questions and answers encompass the experience of meditation, the gratitude part of their meditation log, use of the gatha, anxiety about meditation, and difficulties developing a regular meditation practice.

Chapter 7 describes and provides scripts for teaching the second class in the Koru Basic series. The class begins with an opening meditation, then moves into “check-in.” During check-in, the students discuss their experience doing their mindfulness “homework” over the preceding week and ask questions. The mindfulness-based skill taught during the second class is walking meditation. The closing guided meditation teaches students to use a gatha, a meditation poem that is used to help anchor their awareness in the present moment. The chapter ends with closing comments for the class and frequently asked questions for the second class. Questions and answers in this chapter address goals of meditation, working with restlessness, working with thoughts, and strategies for staying consistent with meditation practice.

Considering the format, structure, and logistics of the Koru course, one is struck by how even these practical aspects of the model make it possible for students to learn the practice and skills being taught. A critical aspect of the model is the emphasis on both meditation and mindfulness-based stress-management skills. This chapter describes the structure and logistics involved in teaching Koru mindfulness. The following elements are reviewed: class structure, including the number and length of classes; recruitment; registration using the Koru teacher dashboard; communication with students; setting; structure; class commitments; and tools for teaching including the Koru mobile app.

Chapter 3 explores general strategies that are useful for teaching mindfulness to emerging adults. Traditional methods of teaching mindfulness and meditation are not always effective for engaging emerging adults. Often, students are enthusiastic about the idea of learning mindfulness, but they then have a hard time actually developing the skills in any meaningful way. This chapter looks at techniques that have proven useful for engaging the students in the study and practice of mindfulness. The strategies are divided into three categories: strategies related to the organization and structure of the class, strategies related to general teaching techniques, and strategies for dealing with typical student reactions. Each of these categories is fully explored, and examples of how to implement the various strategies are provided.

When the Koru courses started in 2005, the depth of the transformation that many students would experience in just four classes was not anticipated. Initially, the goals for the students mirrored their goals for themselves: less worry and stress, greater happiness, improved academic performance, and improved sleep. The hope was that the course could, in some small way, help them move toward the improved quality of life they were seeking. But the students have shown that they are capable of much more, many of them expressing their sense of having been transformed in important ways. The final chapter is about the transformation that emerging adults who have been through the Koru curriculum report experiencing. Drawing from the comments of students after completing Koru, the chapter explores how students feel they are impacted by having learned mindfulness and how they see it influencing their lives moving forward.

This chapter reviews the new developments in the Koru Mindfulness curriculum since the first edition of Mindfulness for the Next Generation was published in 2011. These developments include the creation of The Center for Koru Mindfulness to train and certify teachers to deliver the Koru Mindfulness curriculum, the expansion of the curriculum to include Koru 2.0 and Koru Retreat (a 4-hour experience that is conducted in silence and includes various meditations, such as sitting, walking, and eating, as well as a short talk on mindfulness by the teacher and a yoga experience), and the development of a Koru mobile app that communicates with the new Koru Teacher Dashboard.

Chapter 2 explores in greater detail the characteristics of the developmental stage of emerging adulthood as well as highlights the usefulness of mindfulness and meditation for this age group. Emerging adulthood is defined by Jeffrey Arnett as a time of identity development in multiple important areas. The developmental stage of emerging adulthood is often expressed differently across racial and ethnic groups and socioeconomic classes. Emerging adults are seeking to answer questions about their direction in life and to discern what relationships and careers are best for them. Mindfulness is a useful tool for this quest as it aids emerging adults in identifying their authentic wishes and needs. The mindfulness-based stress-management tools also allow them to tolerate the stress that comes from all the uncertainties and pressures inherent in this time of development.

The Introduction situates the subsequent chapters within the wider discourses on music and the moving image, and on experimental film. It identifies several threads that run through the book, most of which concern the identification of a critical space that opens up between previously constructed binaries when audiovisuality is treated experimentally: between music and noise, active and passive consumption, popular and avant-garde practices and audiovisual synchronicity and dissonance. Despite the divergent practices of experimental film’s many histories, these threads enable the identification of persistent and common forms of sonic innovation.

Drawing on ideas of the Surrealist automatic and filmic détournement, artists working with found footage are able to construct new meanings and aesthetics by deconstructing completed audiovisual texts. When original music is retained, or replaced by a new sonic collage, the disjointed sonic flow problematises and enhances the collage aesthetic by extending the possibilities for juxtaposition not only in a linear fashion, but also in a vertical, audiovisual direction, a process that highlights the materiality and artifice of the new combination of images. Here, pre-used footage can be collaged in such a way as to bring to the fore the conventions of mainstream cinematography and the languages of mass media. The result is not audiovisual synchronicity, but rather collision, or dissonance. Through the close reading of several found-footage films, this chapter traces the evolution of an activated form of audiovisual consumption that arises from a process of alienated listening.

To evaluate the effectiveness of Koru, a mindfulness training program for college students and other emerging adults.Ninety students (66% female, 62% white, 71% graduate students) participated between Fall 2012 and Spring 2013.Randomized controlled trial. It was hypothesized that Koru, compared with a wait-list control group, would reduce perceived stress and sleep problems, and increase mindfulness, self-compassion, and gratitude.As hypothesized, results showed significant Group (Koru, Wait-List)×Time (Pre, Post) interactions for improvements in perceived stress (F[1, 76.40]=4.50, p=.037, d=.45), sleep problems (F [1, 79.49]=4.71, p=.033, d=.52), mindfulness (F [1, 79.09]=26.80, p.001, d=95), and self-compassion (F[1, 74.77]=18.08, p.001, d=.75). All significant effects were replicated in the wait-list group. Significant correlations were observed among changes in perceived stress, sleep problems, mindfulness, and self-compassion.Results support the effectiveness of the Koru program for emerging adults in the university setting.

Although there is much interest in teaching mindfulness to college students and other emerging adults, traditional methods of teaching mindfulness and meditation are not always effective for reaching this age group. Koru is a program, developed at Duke University, that has been specifically designed with the developmental characteristics of emerging adults in mind.

Beyoncé calls Lemonade a “visual album.” There’s been buzz about the image of Beyoncé smashing up cars, and a lot of talk about the autobiographical themes of the lyrics (lines like “better call Becky with the good hair” have been getting attention for the way they call out Jay Z’s mistress). But this 65-minute film’s songs, text and sound design haven’t been talked about in relation to its images. Lemonade’s unusual form—a long-play music video—gives it the capacity to draw connections between the personal pain of infidelity and America’s terrible history of racism. Twelve video clips are linked by brief passages comprised of poetry, visual tableaux and sound collage. These interludes lean toward avant-garde aesthetics. One thing avant garde aesthetics and music video share is the capacity to hold several vantage points in suspension. In Lemonade this capacity allows the work to embody opposites: love and hate, engagement and alienation, forgiveness and revenge.

The electromagnetic basis of video technology allowed sound and image to be recorded simultaneously: as a result, composers could visualize their music and artists could sound their images. Many believed that such intermedial audio-visuality signalled a brand-new art form that was free from lineage. Using Nam June Paik as an example, this article suggests that this is inaccurate. During the twentieth century, composers were experimenting with spatializing their sounds, while artists were attempting to include time as a creative element in their visual work. The intermedial capabilities of video technology allowed these two disciplines to come together, acting as a conduit that facilitated the fusion and manipulation of pre-existing elements. Understood in this way, music and art in the twentieth century cannot coherently be discussed as individual disciplines, but rather encourage a more lateral history – or spatial sensibility – that moves fluidly through the space between them.

Working beyond mainstream practice, Derek Jarman creates films that are unusually musical. Caravaggio, a biography of the artist, is a case in point. Jarman's collaboration with composer Simon Fischer Turner from the start of the filmmaking process enables music to assume a structural role, a procedure that turns common music-image interaction on its head in two ways. First, rather than strive for the audio-visual fusion common to many mainstream films, music and image are here juxtaposed. Second, as music becomes audible, the film's illusion of realism is destroyed. This article explores how Jarman's challenge to conventional filmmaking procedure can expose the fragility of reception history by comparing visual, literary, and musical versions of Caravaggio's biography.

Video installation art is a collaboration of sound, image, and space, with a closer relationship to music and art than to cinema. Accordingly, those working in this genre are often both artist and musician, a double role that represents a radical departure from the artist/musician divide of many other audio-visual genres. Because it is single authored, video installation can invert many elements of the filmmaking process: while it is common procedure to add a soundtrack to film during post-production, for instance, many video artists use sound as their starting point, often basing whole works on a musical structure. While such an inversion invites reconsideration of musical audibility and film narrative, video work, when installed, also challenges the notions of screen space and realism. An audience is no longer offered the single-point perspective of film, but is instead enveloped within a three-dimensional space. And as image expands beyond the four sides of the cinema screen – a space occupied previously by music alone – important questions are raised: what happens to music when film breaks from the containment of the screen? when it destroys its own boundaries? Focusing on the work of Bill Viola, this paper explores the ways in which video installation art confronts methods of film exhibition and audience engagement, and investigates how such confrontation redefines the roles of music and image in film.

This article explores the filmic relationship between music, text and image through an intertextual reading of Herzog's two Amazonian films, Aguirre: Wrath of God and Fitzcarraldo. When Aguirre and Fitzcarraldo encounter each other in the rainforest, 300 years apart, a complicated interplay of history and legend, truth and fiction, is initiated. Awash with magical occurrence, the forest has its own endlessly repeating soundtrack (written by Popul Vuh). The ability of both explorers to defend themselves from the forest depends on their relationship to this music: Aguirre, the earlier explorer, is deaf to the circular sound and attempts to overlay it with a written account of their journey. Fitzcarraldo, on the other hand, enters the forest equipped with a gramophone that plays Verdi arias; he comes with his own soundtrack. Comparison between the two journeys exposes the conventional uses of text/speech and music/song in film, to reveal music as the predominant driving force behind filmic narrative.

This collection of fourteen essays provides a rich and detailed history of the relationship between and music and image in documentary films, exploring the often overlooked role of music in the genre and its subsequent impact on an audience’s perception of reality and fiction. Exploring examples of documentary films which make use of soundtrack music, from an interdisciplinary perspective, Music and Sound in Documentary Film is the first in-depth treatment on the use of music in the nonfiction film and will appeal to scholars and students working in the intersection of music and film and media studies.