Collection of essays about music and music theory. The first section tackles the themes of modernism and stylistic development. This is followed by a section that focuses on music as a social and spiritual happening: sacred music, the concert hall as spiritual centre of a community and programming in a multi-cultural context. The book concludes with several essays about regional traditions and innovation of the musical tradition, oriental identities in Western music and music from the outskirts of Europe: the case of Serbia.
The Handbook of Musical Identities explores three features of psychological approaches to musical identities and four real-life contexts in which musical identities have been investigated. The multidisciplinary breadth of the Handbook reflects the changes that are taking place in music, in digital technology, and in their role in society.
Music plays an important role in all our lives, and is a channel through which we can express emotions, thoughts, political statements, and social relationships. However, just as music can be a channel through which we express ourselves, it can also have a profound influence on our own developing sense of identity. This is the first book to explore the powerful effect that music can have as we develop our sense of identity, from adolescence through to adulthood. Bringing together leading experts from psychology and music, it will be a valuable addition to the music psychology literature, and essential for music psychologists, social and developmental psychologists, and educational psychologists.
New York Times Bestseller • Winner of the 2015 WOMEN'S WAY Book Prize • Goodreads Best of 2014 Semi-Finalist • Books for a Better Life Award Finalist • Lambda Literary Award Finalist • Time Magazine “30 Most Influential People on the Internet” • American Library Association Stonewall Honor Book In her profound and courageous New York Times bestseller, Janet Mock establishes herself as a resounding and inspirational voice for the transgender community—and anyone fighting to define themselves on their own terms. With unflinching honesty and moving prose, Janet Mock relays her experiences of growing up young, multiracial, poor, and trans in America, offering readers accessible language while imparting vital insight about the unique challenges and vulnerabilities of a marginalized and misunderstood population. Though undoubtedly an account of one woman’s quest for self at all costs, Redefining Realness is a powerful vision of possibility and self-realization, pushing us all toward greater acceptance of one another—and of ourselves—showing as never before how to be unapologetic and real.
Latinos across the United States are redefining identities, pushing boundaries, and awakening politically in powerful and surprising ways. Many—Afrolatino, indigenous, Muslim, queer and undocumented, living in large cities and small towns—are voices who have been chronically overlooked in how the diverse population of almost sixty million Latinos in the U.S. has been represented. No longer. In this empowering cross-country travelogue, journalist and activist Paola Ramos embarks on a journey to find the communities of people defining the controversial term, “Latinx.” She introduces us to the indigenous Oaxacans who rebuilt the main street in a post-industrial town in upstate New York, the “Las Poderosas” who fight for reproductive rights in Texas, the musicians in Milwaukee whose beats reassure others of their belonging, as well as drag queens, environmental activists, farmworkers, and the migrants detained at our border. Drawing on intensive field research as well as her own personal story, Ramos chronicles how “Latinx” has given rise to a sense of collectivity and solidarity among Latinos unseen in this country for decades. A vital and inspiring work of reportage, Finding Latinx calls on all of us to expand our understanding of what it means to be Latino and what it means to be American. The first step towards change, writes Ramos, is for us to recognize who we are.
Postnational Musical Identities gathers interdisciplinary essays that explore how music audiences and markets are imagined in a globalized scenario, how music reflects and reflects upon new understandings of citizenship beyond the nation-state, and how music works as a site of resistance against globalization. "Hybridity," "postnationalism," "transnationalism," "globalization," "diaspora," and similar buzzwords have not only informed scholarly discourse and analysis of music but also shaped the way musical productions have been marketed worldwide in recent times. While the construction of identities occupies a central position in this context, there are discrepancies between the conceptualization of music as an extremely fluid phenomenon and the traditionally monovalent notion of identity to which it has historically been incorporated. As such, music has always been linked to the construction of regional and national identities. The essays in this collection seek to explore the role of music, networks of music distribution, music markets, music consumption, music production, and music scholarship in the articulation of postnational sites of identification.
This volume brings together scholars and artist-researchers to explore the nature and function of musical instruments in creative practices, and their role in musical culture. Through historical, theoretical, critical, practical-artistic perspectives and case studies, the contributors here examine identities and affordances of acoustical, electronic and digital musical instruments, the kinds of relationships that composers and performers establish with them, and the crucial role they play in the emergence of musical experiences and meanings.
This volume explores the way in which composers, performers, and critics shaped individual and collective identities in music from Europe and the United States from the 1860s to the 1950s. Selected essays and articles engage with works and their reception by Richard Wagner, Georges Bizet (in an American incarnation), Lili and Nadia Boulanger, William Grant Still, and Aaron Copland, and with performers such as Wanda Landowska and even Marilyn Monroe. Ranging in context from the opera house through the concert hall to the salon, and from establishment cultures to counter-cultural products, the main focus is how music permits new ways of considering issues of nationality, class, race, and gender. These essays - three presented for the first time in English translation - reflect the work in both musical and cultural studies of a distinguished scholar whose international career spans the Atlantic and beyond.
Education involving music is a multifaceted and ever-altering challenge. As new media, technologies, and pedagogies are developed, academics and practitioners must make sure that they are aware of current trends and where they might lead. This book features studies on the future of music education from emerging scholars in the field. These studies are then supplemented by commentaries from established leaders of the music education community. Music Education covers topics such as music and leisure, new forms of media in music teaching and learning, the role of technology in music learning, popular music tuition in the expansion of curricular offering, and assessment of music education research. As such, it is an excellent reference for scholars and teachers as well as guide to the future of the discipline.
Black Music Matters: Jazz and the Transformation of Music Studies is one of the first books to promote the reform of music studies with a centralized presence of jazz and black music to ground American musicians in a core facet of their true cultural heritage. Ed Sarath applies an emergent consciousness-based worldview called Integral Theory to music studies while drawing upon overarching conversations on diversity and race and a rich body of literature on the seminal place of black music in American culture. Combining a visionary perspective with an activist tone, Sarath installs jazz and black music in as a foundation for a new paradigm of twenty-first-century musical training that will yield an unprecedented skill set for transcultural navigation among musicians. Sarath analyzes prevalent patterns in music studies change discourse, including an in-depth critique of multiculturalism, and proposes new curricular and organizational systems along with a new model of music inquiry called Integral Musicology. This jazz/black music paradigm further develops into a revolutionary catalyst for development of creativity and consciousness in education and society at large. Sarath’s work engages all those who share an interest in black-white race dynamics and its musical ramifications, spirituality and consciousness, and the promotion of creativity throughout all forms of intellectual and personal expression.
