BAFTA-Award winning documentary-maker, Christopher Nupen has made more than 80 films on classical music and musicians. His pioneering portrait-films count among their subjects Daniel Barenboim, Jacqueline du Pre, Vladimir Ashkenazy, Itzhak Perlman, Pinchas Zukerman, Nathan Milstein, Andres Segovia, Yevgeny Kissin, Karim Said, and Daniil Trifonov, many of whom have become lifelong friends. His 1969 film The Trout is legend. His film We Want the Light has won some of the most prized awards in documentary making, including the Jewish Cultural Award for Film and Television, 2003/2004. In his book, Christopher Nupen tells the story of his varied and often astonishing life and invites us to share his view of 'Listening through the Lens'.
A vital and comprehensive starting place for understanding the key concepts, this book explores 177 diverse types and styles of listening named in academic scholarship to date. This book is an encyclopaedic-style synthesis of existing literature related to listening styles and types. Through online academic resource curation and literature review synthesis, this key reference work offers a deep dive into the interdisciplinary foundations of listening. By providing a brief descriptive overview of each of the identified listening styles and types as well as the inclusion of key scholars related to them, this book challenges assumptions about “listening” as a singular communicative activity and offers students and scholars alike a place from which to draw key listening concepts. No other text has attempted to bring together previous listening scholarship in this expansive interdisciplinary way. This book promotes both the field of listening itself while also expanding opportunities for students of many disciplines to embed listening scholarship in their knowledge and practical application. The first of its kind, Listening: The Key Concepts is an expansive, state-of the-field exploration of listening scholarship that can be used as a guidebook for undergraduate and graduate students in Listening, Public Speaking, Interpersonal Communication, and Intercultural Communication courses as well as other related disciplines.
In an age when students come to class with more varied music listening preferences and experiences than ever before, music educators can find themselves at a loss for how to connect with their students. Listening in Action provides the beginnings of a solution to this problem by characterizing students’ contemporary music listening experiences as they are mediated by digital technologies. Several components of contemporary music listening experiences are described, including: the relationship between music listening experiences and listener engagements with other activities; listener agency in creating playlists and listening experiences as a whole; and the development of adolescent identities as related to the agency afforded by music listening devices. The book provides an accessible introduction to scholarship on music listening across the disciplines of musicology, ethnomusicology, sociology of music, psychology of music, and music education. By reading Listening in Action, music educators can gain an understanding of recent theories of music listening in everyday life and how those theories might be applied to bridge the gap between music pedagogies and students who encounter music in a heavily mediated, postperformance world.
Our contemporary, globalised society demands new forms of listening. But what are these new forms? In Listening to the Other, Stefan Östersjö challenges conventional understandings of the ways musicians listen. He develops a transmodal understanding of listening that is situated in the body—a body that is extended by its mediation through musical instruments and other technologies. Listening habits can turn these tools—and even the body itself—into resistant objects or musical Others. Supported by extensive multimedia documentation and drawing on examples from the author’s own artistic projects spanning electronics, intercultural collaboration, and ecological sound art, this volume enables musicians to learn how to approach musical Others through alternative modes of listening and allows readers to discover artistic methods for intercultural collaboration and ecological sound art practices. This book is closely linked to a series of cutting-edge artistic works, including a triple concerto recorded with the Seattle Symphony and several video works with ecological sound art. It represents the analytical outcomes of artistic research projects carried out in Sweden, the UK, and Belgium between 2009 and 2015.
Supervisory Skills for the Technical Manager: A Guide to Success focuses exclusively on the dynamics of being a technical manager such as a scientist, programmer, or engineer. An R&D environment demands modified management techniques and this book explores how to do so. Drawing of years of experience to provide technical managers with various tools and ways to apply them in supervisory situation, this essential title includes exercises, templates and checklists to accelerate their uses and applications on the job. In addition, case studies are included throughout to thoroughly explain and explore the concepts discussed. Key topics include handing the transition to supervising others in research and development, the characteristics needed to motivate personnel in a R&D environment as compared to other areas of business are detailed. The pitfalls and challenges of managing technical personnel, how delegating can build an effective team that can produce superior results, and how to monitor the work of previously independent personnel are also discussed.
For Matthew Zory, a Cincinnati Symphony Orchestra musician and an award-winning photographer, documenting the historic renovation of Cincinnati Music Hall was a revelation.¿I¿ve played in Music Hall for more than 20 years, but photographing the renovation enabled me to explore parts of the building I¿d never seen before,¿ says Zory, assistant principal bass (Trish and Rick Bryan Chair). ¿Watching work crews uncover the `bones¿ of Music Hall gave me a new appreciation for the incredible craftsmanship that went into the building.¿Zory spent hundreds of hours photographing the hall during its 16-month renovation and is publishing a book featuring some of his favorite shots. Through the Lens: The Remaking of Cincinnati¿s Music Hall, a 272-page limited edition coffee-table book was released in 2018 to high praise.¿I never intended to publish a book,¿ he says. ¿As a matter of fact, I never intended to photograph the entire renovation project. I thought I¿d go in a couple of times, take a few pictures and that would be it. But everything they were doing was so interesting and the light was so fantastic, I kept going back. I posted a lot of photos on Facebook, and people kept asking, `When is the book coming out?¿ It made me realize that other people were as captivated by the project as I was.¿For Zory, whose work has appeared in numerous local galleries, including the Taft Museum, Carnegie Center for the Arts and Wash Park Art, creating a book meant winnowing a portfolio of more than 10,000 photos down to a few hundred for publication. ¿There was so much I wanted to share with people about this project and the people who worked on it,¿ he says. ¿The scale of the project and the workmanship that went into renovating it really was extraordinary. I¿ve tried to capture all of that¿
The first book to tell the stories of some of the most revered living Japanese ceramists of the century, tracing the evolution of modern and contemporary craft and art in Japan, and the artists’ considerable influence, which far transcends national borders. Listening to Clay: Conversations with Contemporary Japanese Ceramic Artists is the first book to present conversations with some of the most important living Japanese ceramic artists. Tracing the evolution of modern and contemporary craft and art in Japan, this groundbreaking volume highlights sixteen individuals whose unparalleled skill and creative brilliance have lent them an influence that far transcends national borders. Despite forging illustrious careers and earning international recognition for their work, these sixteen artists have been little known in terms of their personal stories. Ranging in age from sixty-three to ninety-three, they embody the diverse experiences of several generations who have been active and successful from the late 1940s to the present day, a period of massive change. Now, sharing their stories for the first time in Listening to Clay, they not only describe their distinctive processes, inspirations, and relationships with clay, but together trace a seismic cultural shift through a field in which centuries-old but exclusionary potting traditions opened to new practitioners and kinds of practices. Listening to Clay includes conversations with artists born into pottery-making families, as well as with some of the first women admitted to the ceramics department of Tokyo University of the Arts, telling a larger story about ingenuity and trailblazing that has shaped contemporary art in Japan and around the world. Each artist is represented by an entry including a brief introduction, a portrait, selected examples of their work, and an intimate interview conducted by the authors over several in-person visits from 2004 to 2019. At the core of each story is the artist’s personal relationship to clay, often described as a collaboration with the material rather than an imposing of intention. The oldest artist interviewed, Hayashi Yasuo, enlisted in the army during WWII at age fifteen and trained as a kamikaze pilot. He was born into a family that had fired ceramics in cooperative kilns for generations, but he rejected traditional modes and went on to be the first artist in Japan to make truly abstract ceramic sculpture. In the late 1960s, another artist, Mishima Kimiyo, developed a technique of silkscreening on clay and began making ceramic newspapers to comment on the proliferation of the media. She became fascinated with trash, recreating it out of clay, and worked in relative obscurity for decades until she had a major exhibition in Tokyo in 2015. Featuring a preface by curator, writer, and historian Glenn Adamson, and a foreword by Monika Bincsik, the Associate Curator for Japanese Decorative Arts at The Metropolitan Museum of Art, Listening to Clay has been a project more than fifteen years in the making for authors Alice and Halsey North, respected and knowledgeable collectors and patrons of contemporary Japanese ceramics, and Louise Allison Cort, Curator Emerita of Ceramics, National Museum of Asian Art, Smithsonian Institution. The book also includes conversations with five important dealers of contemporary Japanese ceramics who have played and are playing a critical role in introducing the work of these artists to the world, several detailed appendices, and a glossary of terms, relevant people, and relationships. Listening to Clay is a long-overdue and insightful book that, for the first time, spotlights some of Japan’s most celebrated contemporary ceramic artists through personal, idiosyncratic accounts of their day-to-day lives, giving special access to their creative process and artistic development.
The Mosaic approach views children as ‘experts in their own lives’, and offers a creative framework for listening to young children’s perspectives. At a time of shifting policy in early years, this second edition offers a timely reminder that listening to young children is still important for reviewing service provision.The Mosaic approach has been applied by practitioners throughout the world. This new edition reflects on the authors’ original ground-breaking work, with new introductions, updates and examples of how the Mosaic approach has been adapted, and offers case studies that will encourage practitioners to use the framework in their own setting.will be of interest to policy makers, practitioners in nurseries, children’s centres, pre-schools and schools and residential settings. It will also be welcomed by early childhood students and other researchers who are engaged in searching for new theoretical, practical and imaginative ways of listening to young children.
Restorative justice is spreading like wildfire across the globe. How can we explain this burst of energy? This anthology makes the bold claim that restorative justice is a vibrant social justice movement. It is more than a great idea gone viral, more than the extension of the legal system, and more than enacting new legislation. Beginning in 2015, the contributors of this volume took part in a series of dialogues sponsored by the Zehr Institute for Restorative Justice, exploring the contours of the restorative justice movement. Each one writes from the burgeoning edges of their own context, inviting readers to consider the fidelity and integrity of the movement's growth. As a cadre, the authors highlight new locations of restorative justice application: race, pedagogy, ecology, youth organizing, community violence reduction, and more. These diverse voices put forward a fast-paced, hard-hitting glimpse into the pulse of restorative justice today and what it may look like tomorrow.
In Listening to Images Tina M. Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.
