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Music, Branding and Consumer Culture in Church: Hillsong in Focus (Routledge Studies in Religion)
by Tom WagnerStarting as a single congregation in Australia, Hillsong Church now has campuses worldwide, releases worship music that sells millions of albums and its ministers regularly appear in mainstream media. So, how has a single church gained such international prominence? This book offers an ethnographic exploration of the ways in which music and marketing have been utilised in the pursuit and production of spiritual experience for members of Hillsong Church. An experience that has proven to be incredibly popular. The main theme of this book is that marketing, specifically branding, is not just a way to "sell" religion, but rather an integral part of spiritual experience in consumer society. Focussing on the London Hillsong church as a case study, the use of its own music in tandem with strong branding is shown to be a co- and re-productive method of organizing, patterning, and communicating information. The church provides the branded material and cultural context in which participants’ sacred experience of self unfolds. However, this requires participants to "do the work" to properly understand, and ultimately embody, the values associated with the brand. This book raises important questions about the role of branding and music in forming modern scared identities. As such, it will be of great interest to scholars of Religious Studies, Ethnomusicology and Media Studies.
Music, Business and Peacebuilding (Business and Peacebuilding)
by Timothy L. Fort Constance Cook GlenBusiness schools are placing more emphasis on the role of business in society. Top business school accreditors are shifting to mandating that schools teach their students about the social impact of business, including AACSB standards to require the incorporation of business impact on society into all elements of accredited institutions. Researchers are also increasingly focused on issues related to sustainability, but in particular to business and peace as a field. A strong strain of scholarship argues that ethics is nurtured by emotions and through aesthetic quests for moral excellence. The arts (and music as shown specifically in this book) can be a resource to nudge positive emotions in the direction toward ethical behavior and, logically, then toward peace. Business provides a model for positive interactions that not only foster long-term successful business but also incrementally influences society. This book provides an opportunity for integration and recognition of how music (and other art forms) can further encourage business toward the direction of peace while business provides a platform for the dissemination and modeling of the positive capabilities of music toward the aims of peace in the world today. The primary market for this book is the academic audience. Unlike many other academic books, however, the interdisciplinary nature of the book allows for multiple academic audiences. Thus, this book reaches into schools of music, business, political science, film studies, sports and society studies, the humanities, ethics and, of course, peace studies.
Music, Collective Memory, Trauma and Nostalgia in European Cinema after the Second World War (Music and Sound on the International Screen)
by Michael Baumgartner Ewelina BoczkowskaIn the wake of World War II, the arts and culture of Europe became a site where the devastating events of the 20th century were remembered and understood. Exploring one of the most integral elements of the cinematic experience—music—the essays in this volume consider the numerous ways in which post-war European cinema dealt with memory, trauma and nostalgia, showing how the music of these films shaped the representation of the past. The contributors consider films from the United Kingdom, Poland, the Soviet Union, France, Italy, Germany, and the Netherlands, providing a diverse and well-rounded understanding of film music in the context of historical memory. Memory is often underrepresented within scholarly musical studies, with most of these applications found in the disciplines of ethnomusicology, popular music studies, music cognition, and psychology and music therapy. Likewise, trauma has mainly been studied in relation to music in only a few historical contexts, while nostalgia has attracted even less academic attention. In three parts, this volume addresses each area of study as it relates to the music of European cinema from 1945 to 1989, applying an interdisciplinary approach to investigate how films use music to negotiate the precarious relationships we maintain with the past. Music, Collective Memory, Trauma and Nostalgia in European Cinema after the Second World War offers compelling arguments as to what makes music such a powerful medium for memory, trauma and nostalgia.
Music, Dance, and Drama in Early Modern English Schools
by Amanda Eubanks WinklerMusic, Dance, and Drama in Early Modern English Schools is the first book to systematically analyze the role that the performing arts played in English schools after the Reformation. Although the material record is riddled with gaps, Amanda Eubanks Winkler sheds light on the subject through an innovative methodology that combines rigorous archival research with phenomenological and performance studies approaches. She organizes her study around a series of performance-based questions that demonstrate how the schoolroom intersected with the church, the court, the domicile, the concert room, and the professional theater, which allows her to provide fresh perspectives on well-known canonical operas performed by children, as well as lesser-known works. Eubanks Winkler also interrogates the notion that performance is ephemeral, as she considers how scores and playtexts serve as a conduit between past and present, and demonstrates the ways in which pedagogical performance is passed down through embodied praxis.
Music, Disability, and Society
by Alex LubetMusical talent in Western culture is regarded as an extraordinary combination of technical proficiency and interpretative sensitivity. In Music, Disability, and Society, Alex Lubet challenges the rigid view of technical skill and writes about music in relation to disability studies. He addresses the ways in which people with disabilities are denied the opportunity to participate in music. Elaborating on the theory of "social confluence," Lubet provides a variety of encounters between disability and music to observe radical transformations of identity. Considering hand-injured and one-handed pianists; the impairments of jazz luminaries Django Reinhardt, Horace Parlan, and "Little" Jimmy Scott; and the "Blind Orchestra" of Cairo, he shows how the cultural world of classical music contrasts sharply with that of jazz and how musicality itself is regarded a disability in some religious contexts. Music, Disability, and Society also explains how language difference can become a disability for Asian students in American schools of music, limiting their education and careers. Lubet offers pungent criticism of the biases in music education and the music profession, going so far as to say that culture disables some performers by adhering to rigid notions of what a musician must look like, how music must be played, who may play it, and what (if any) is the legitimate place of music in society. In Music, Disability, and Society, he convincingly argues that where music is concerned, disability is a matter of culture, not physical impairment.
Music, Education, and Religion: Intersections and Entanglements (Counterpoints: Music and Education)
by Edited by Alexis Anja Kallio, Philip Alperson, and Heidi WesterlundEssays examining the role of religion in music education from a variety of perspectives.Music, Education, and Religion: Intersections and Entanglements explores the critical role that religion can play in formal and informal music education. As in broader educational studies, research in music education has tended to sidestep the religious dimensions of teaching and learning, often reflecting common assumptions of secularity in contemporary schooling in many parts of the world. This book considers the ways in which the forces of religion and belief construct and complicate the values and practices of music education—including teacher education, curriculum texts, and teaching repertoires. The contributors to this volume embrace a range of perspectives from a variety of disciplines, examining religious, agnostic, skeptical, and atheistic points of view. Music, Education, and Religion is a valuable resource for all music teachers and scholars in related fields, interrogating the sociocultural and epistemological underpinnings of music repertoires and global educational practices.&“The book serves as a study volume for all those who are active in this field and provides both systematic reflections and useful empirical studies. A further impressive feature is the regional and religious breadth of the content presented and examined.&” —Wolfgang W. Müller, Reading Religion
Music, Electronic Media and Culture
by Simon EmmersonTechnology revolutionised the ways that music was produced in the twentieth century. As that century drew to a close and a new century begins a new revolution in roles is underway. The separate categories of composer, performer, distributor and listener are being challenged, while the sounds of the world itself become available for musical use. All kinds of sounds are now brought into the remit of composition, enabling the music of others to be sampled (or plundered), including that of unwitting musicians from non-western cultures. This sound world may appear contradictory - stimulating and invigorating as well as exploitative and destructive. This book addresses some of the issues now posed by the brave new world of music produced with technology.
Music, Experiment and Mathematics in England, 1653-1705
by Benjamin WardhaughHow, in 1705, was Thomas Salmon, a parson from Bedfordshire, able to persuade the Royal Society that a musical performance could constitute a scientific experiment? Or that the judgement of a musical audience could provide evidence for a mathematically precise theory of musical tuning? This book presents answers to these questions. It constitutes a general history of quantitative music theory in the late seventeenth century as well as a detailed study of one part of that history: namely the applications of mathematical and mechanical methods of understanding to music that were produced in England between 1653 and 1705, beginning with the responses to Descartes's 1650 Compendium music and ending with the Philosophical Transactions' account of the appearance of Thomas Salmon at the Royal Society in 1705. The book is organized around four key questions. Do musical pitches form a small set or a continuous spectrum? Is there a single faculty of hearing which can account for musical sensation, or is more than one faculty at work? What is the role of harmony in the mechanical world, and where can its effects be found? And what is the relationship between musical theory and musical practice? These are questions which are raised and discussed in the sources themselves, and they have wide significance for early modern theories of knowledge and sensation more generally, as well as providing a fascinating side light onto the world of the scientific revolution.
Music, Forced Migration and Emplacement: Sounds of Asylum Bristol (Leisure Studies in a Global Era)
by Nicola De Martini UgolottiThis book analyses the negotiation of place, belonging and uncertainty enacted by a group of 60 men and women seeking asylum who gathered weekly in a community space in Bristol, UK, to share songs, memories, laughter, and precariousness with other established and new city-dwellers. Building on a rich corpus of ethnographic data, this book explores music-making to address “what goes unnoticed” in existing ways of thinking about forced migration. By looking at the junctures where leisure, forced migration and urban analyses intersect with grassroot solidarity with and by people seeking asylum, it offers an interdisciplinary reading of music, forced migration and emplacement for scholars across leisure, anthropology, sociology, and geography. This book contributes and provokes novel discussions regarding refugees’ everyday experiences and negotiations of precariousness, suspension, and marginality in Britain.
Music, Health and Wellbeing
by Brydie-Leigh Bartleet Naomi Sunderland Natalie Lewandowski Dan BendrupsThis book explores the power music has to address health inequalities and the social determinants of health and wellbeing. It examines music participation as a determinant of wellbeing and as a transformative tool to impact on wider social, cultural and environmental conditions. Uniquely, in this volume health and wellbeing outcomes are conceptualised on a continuum, with potential effects identified in relation to individual participants, their communities but also society at large. While arts therapy approaches have a clear place in the text, the emphasis is on music making outside of clinical contexts and the broader roles musicians, music facilitators and educators can play in enhancing wellbeing in a range of settings beyond the therapy room. This innovative edited collection will be of great interest to scholars and practitioners of music, social services, medical humanities, education and the broader health field in the social and medical sciences.
Music, Health, and Power: Singing the Unsayable in The Gambia (SOAS Studies in Music Series)
by Bonnie B. McConnellMusic, Health, and Power offers an original, on-the-ground analysis of the role that music plays in promoting healthy communities. The book brings the reader inside the world of kanyeleng fertility societies and HIV/AIDS support groups, where women use music to leverage stigma and marginality into new forms of power. Drawing on ethnographic research conducted over a period of 13 years (2006–2019), the author articulates a strengths-based framework for research on music and health that pushes beyond deficit narratives to emphasize the creativity and resilience of Gambian performers in responding to health disparities. Examples from Ebola prevention programs, the former President’s AIDS “cure,” and a legendary underwear theft demonstrate the high stakes of women’s performances as they are caught up in broader contestations over political and medical authority. This book will be of interest to scholars and students of ethnomusicology, medical anthropology, and African studies. The accompanying audio examples provide access to the women’s performances discussed in the text.
Music, Higher Education, and Society: Leading Change through Music’s Essential Goodness (CMS Emerging Fields in Music)
by David E. MyersThis volume asserts that institutional teaching, study, administration, and performance of music should derive from essential goodness: the transcendent value embodied in meaning-making that is manifest through holistic cognitive, creative, kinesthetic, productive, and expressive reality.The classical music ecosystem suffers from a legacy of survival, rather than flourishing across increasingly diverse audiences among whom personal and shared meaning is the crux of perceived value. Myers calls for a renaissance in professional education and practice that embeds rigorous and disciplined adherence to essential goodness as a non-negotiable premise. Change leadership is essential if classical music and musicians are to offer society the value it deserves through the classical arts, and administrators, boards, funders, and artists must adopt attitudes of service to this greater good in order to invite and lead participatory, co-creative engagement. Through critical analysis of the longstanding status quo, Myers offers powerful suggestions for change beginning in higher education and flowing through applications across society.Contextualizing music higher education within wider ecosystems of teaching and practice, this book shows how leaders can embrace strategic change as a positive opportunity and offers new models for addressing contemporary challenges in a mission-driven way, including preparing musicians for careers and engaging communities.
Music, Informal Learning and the School: A New Classroom Pedagogy (Ashgate Popular and Folk Music Series)
by Lucy GreenThis pioneering book reveals how the music classroom can draw upon the world of popular musicians' informal learning practices, so as to recognize and foster a range of musical skills and knowledge that have long been overlooked within music education. It investigates how far informal learning practices are possible and desirable in a classroom context; how they can affect young teenagers' musical skill and knowledge acquisition; and how they can change the ways students listen to, understand and appreciate music as critical listeners, not only in relation to what they already know, but beyond. It examines students' motivations towards music education, their autonomy as learners, and their capacity to work co-operatively in groups without instructional guidance from teachers. It suggests how we can awaken students' awareness of their own musicality, particularly those who might not otherwise be reached by music education, putting the potential for musical development and participation into their own hands. Bringing informal learning practices into a school environment is challenging for teachers. It can appear to conflict with their views of professionalism, and may at times seem to run against official educational discourses, pedagogic methods and curricular requirements. But any conflict is more apparent than real, for this book shows how informal learning practices can introduce fresh, constructive ways for music teachers to understand and approach their work. It offers a critical pedagogy for music, not as mere theory, but as an analytical account of practices which have fundamentally influenced the perspectives of the teachers involved. Through its grounded examples and discussions of alternative approaches to classroom work and classroom relations, the book reaches out beyond music to other curriculum subjects, and wider debates about pedagogy and curriculum.
Music, Language and Identity in Greece: Defining a National Art Music in the Nineteenth and Twentieth Centuries (Publications of the Centre for Hellenic Studies, King's College London #21)
by Roderick Beaton Polina Tambakaki Panos Vlagopoulos Katerina LevidouThe national element in music has been the subject of important studies yet the scholarly framework has remained restricted almost exclusively to the field of music studies. This volume brings together experts from different fields (musicology, literary theory, and modern Greek studies), who investigate the links that connect music, language and national identity, focusing on the Greek paradigm. Through the study of the Greek case, the book paves the way for innovative interdisciplinary approaches to the formation of the ‘national’ in different cultures, shedding new light on ideologies and mechanisms of cultural policies.
Music, Life and Changing Times: Volume 1 (Music, Life and Changing Times)
by Jenny Doctor Sophie FullerAt this book's core is a critical edition of letters exchanged over 50 years between Anglo-Irish composer Elizabeth Maconchy (1907-1994) and the Welsh composer Grace Williams (1906-1977). These two innovative and talented women are highly regarded for their music, their professional activities, and their roles in British musical life. The edition comprises around 353 letters from 1927 to 1977, none of which have been published before, along with scholarly introductions and contextualisation. Interwoven commentaries, in tandem with carefully constructed appendices, frame the letter texts. Moreover, the commentaries and introductory essays highlight and track the development of important themes and issues that characterise the study of twentieth-century British music today. This edition presents a dialogue, through both sides of a unique correspondence, offering an alternative commentary on musical and cultural developments of this period.
Music, Life and Changing Times: Volume 2 (Music, Life and Changing Times)
by Jenny Doctor Sophie FullerAt this book's core is a critical edition of letters exchanged over 50 years between Anglo-Irish composer Elizabeth Maconchy (1907-1994) and the Welsh composer Grace Williams (1906-1977). These two innovative and talented women are highly regarded for their music, their professional activities and their roles in British musical life. The edition comprises around 200 letters from 1927 to 1977, none of which have been published before, along with scholarly introductions and contextualizations. Interwoven commentaries, in tandem with carefully constructed appendices, frame the letter texts. Moreover, the commentaries and introductory essays highlight and track the development of important themes and issues that characterize the study of twentieth-century British music today. This edition presents a dialogue, through both sides of a unique correspondence, offering an alternative commentary on musical and cultural developments of this period.
Music, Madness, and the Unworking of Language (Columbia Themes in Philosophy, Social Criticism, and the Arts)
by John HamiltonIn the romantic tradition, music is consistently associated with madness, either as cause or cure. Writers as diverse as Kleist, Hoffmann, and Nietzsche articulated this theme, which in fact reaches back to classical antiquity and continues to resonate in the modern imagination. What John Hamilton investigates in this study is the way literary, philosophical, and psychological treatments of music and madness challenge the limits of representation and thereby create a crisis of language. Special focus is given to the decidedly autobiographical impulse of the late eighteenth and early nineteenth centuries, where musical experience and mental disturbance disrupt the expression of referential thought, illuminating the irreducible aspects of the self before language can work them back into a discursive system. The study begins in the 1750s with Diderot's Neveu de Rameau, and situates that text in relation to Rousseau's reflections on the voice and the burgeoning discipline of musical aesthetics. Upon tracing the linkage of music and madness that courses through the work of Herder, Hegel, Wackenroder, and Kleist, Hamilton turns his attention to E. T. A. Hoffmann, whose writings of the first decades of the nineteenth century accumulate and qualify the preceding tradition. Throughout, Hamilton considers the particular representations that link music and madness, investigating the underlying motives, preconceptions, and ideological premises that facilitate the association of these two experiences. The gap between sensation and its verbal representation proved especially problematic for romantic writers concerned with the ineffability of selfhood. The author who chose to represent himself necessarily faced problems of language, which invariably compromised the uniqueness that the author wished to express. Music and madness, therefore, unworked the generalizing functions of language and marked a critical limit to linguistic capabilities. While the various conflicts among music, madness, and language questioned the viability of signification, they also raised the possibility of producing meaning beyond significance.
Music, Masculinity and the Claims of History: The Austro-German Tradition from Hegel to Freud
by Ian BiddleWhat does it mean to think of Western Art music - and the Austro-German contribution to that repertory - as a tradition? How are men and masculinities implicated in the shaping of that tradition? And how is the writing of the history (or histories) of that tradition shaped by men and masculinities? This book seeks to answer these and other questions by drawing both on a wide range of German-language writings on music, sound and listening from the so-called long nineteenth century (circa 1800-1918), and a range of critical-theoretical texts from the post-war continental philosophical and psychoanalytic traditions, including Lacan, Zizek, Serres, Derrida and Kittler. The book is focussed in particular on bringing the object of historical writing itself into scrutiny by engaging in what Zizek has called a 'historicity' or a way of writing about the past that not merely acknowledges the ahistorical kernel of historical writing, but brings that kernel into the light of day, takes account of it and puts it into play. The book is thus committed to a kind of historical writing that is open-ended - though not ideologically naïve - and that does not fix or stabilize the nature of the relationship between so-called 'primary' and 'secondary' texts. The book consists of an introduction, which places the study of classical music and the Austro-German tradition within broader debates about the value of that tradition, and four extensive case studies: an analysis of the cultural-historical category of listening around 1800; a close reading of A. B. Marx's Beethoven monograph of 1859; a consideration of Heinrich Schenker's attitudes to the mob and the vernacular more broadly and an examination, through Franz Kafka, of the figure of Mahler's body.
Music, Math, and Mind: The Physics and Neuroscience of Music
by Professor David SulzerWhy does a clarinet play at lower pitches than a flute? What does it mean for sounds to be in or out of tune? How are emotions carried by music? Do other animals perceive sound like we do? How might a musician use math to come up with new ideas?This book offers a lively exploration of the mathematics, physics, and neuroscience that underlie music in a way that readers without scientific background can follow. David Sulzer, also known in the musical world as Dave Soldier, explains why the perception of music encompasses the physics of sound, the functions of the ear and deep-brain auditory pathways, and the physiology of emotion. He delves into topics such as the math by which musical scales, rhythms, tuning, and harmonies are derived, from the days of Pythagoras to technological manipulation of sound waves. Sulzer ranges from styles from around the world to canonical composers to hip-hop, the history of experimental music, and animal sound by songbirds, cetaceans, bats, and insects. He makes accessible a vast range of material, helping readers discover the universal principles behind the music they find meaningful.Written for musicians and music lovers with any level of science and math proficiency, including none, Music, Math, and Mind demystifies how music works while testifying to its beauty and wonder.
Music, Mind, and Embodiment: 11th International Symposium, CMMR 2015, Plymouth, UK, June 16-19, 2015, Revised Selected Papers (Lecture Notes in Computer Science #9617)
by Mitsuko Aramaki Richard Kronland-Martinet Sølvi YstadThis book constitutes the thoroughly refereed post-conference of the 11th International Symposium on Computer Music Modeling and Retrieval, CMMR 2015, held in Plymouth, UK, in June 2015. The 30 full papers presented were carefully reviewed and selected from 126 submissions. This year’s post symposium edition contains peer-reviewed and revised articles centered around the conference theme “Music, Mind, and Embodiment”. It is divided into 6 sections devoted to various sound and technology issues with a particular emphasis on performance, music generation, composition, analysis and information retrieval, as well as relations between sound, motion and gestures and human perception and culture.
Music, Modern Culture, and the Critical Ear
by Ben Winters Nicholas AttfieldIn his 1985 book The Idea of Music: Schoenberg and Others, Peter Franklin set out a challenge for musicology: namely, how best to talk and write about the music of modern European culture that fell outside of the modernist mainstream typified by Schoenberg, Berg, and Webern? Thirty years on, this collected volume of essays by Franklin’s students and colleagues returns to that challenge and the vibrant intellectual field that has since developed. Moving freely between insights into opera, Volksoper, film, festival, and choral movement, and from the very earliest years of the twentieth century up to the 1980s, its authors listen with a ‘critical ear’: they site these musical phenomena within a wider web of modern cultural practices - a perspective, in turn, that enables them to exercise a disciplinary self-awareness after Franklin’s manner.
Music, Modernity and Locality in Prewar Japan: Osaka And Beyond (SOAS Studies in Music Series)
by Hugh De Ferranti Alison TokitaThis anthology addresses the modern musical culture of interwar Osaka and its surrounding Hanshin region. Modernity as experienced in this locale, with its particular historical, geographic and demographic character, and its established traditions of music and performance, gave rise to configurations of the new, the traditional and the hybrid that were distinct from their Tokyo counterparts. The Taisho and early Showa periods, from 1912 to the early 1940s, saw profound changes in Japanese musical life. Consumption of both traditional Japanese and Western music was transformed as public concert performances, music journalism, and music marketing permeated daily life. The new bourgeoisie saw Western music, particularly the piano and its repertoire, as the symbol of a desirable and increasingly affordable modernity. Orchestras and opera troupes were established, which in turn created a need for professional conductors, and both jazz and a range of hybrid popular music styles became viable bases for musical livelihood. Recording technology proliferated; by the early 1930s, record players and SP discs were no longer luxury commodities, radio broadcasts reached all levels of society, and ’talkies’ with music soundtracks were avidly consumed. With the perceived need for music that suited 'modern life', the seeds for the pre-eminent position of Euro-American music in post-Second-World war Japan were sown. At the same time many indigenous musical genres continued to thrive, but were hardly immune to the effects of modernization; in exploring new musical media and techniques drawn from Western music, performer-composers initiated profound changes in composition and performance practice within traditional genres. This volume is the first to draw together research on the interwar musical culture of the Osaka region and addresses comprehensively both Western and non-Western musical practices and genres, questions the common perception of their being wholly separate domains
Music, Movies, Meanings, and Markets: Cinemajazzamatazz (Routledge Interpretive Marketing Research)
by Morris HolbrookMusic, Movies, Meanings, and Markets focuses on macromarketing-related aspects of film music in general and on the cinemusical role of ambi-diegetic jazz in particular. The book examines other work on music in motion pictures which has dealt primarily with the traditional distinction between nondiegetic film music (background music that comes from off-screen and is not audible to the film’s characters, to further the dramatic development of plot, character, or other themes) and diegetic music (source music produced on-screen and/or that is audible to the film’s characters, adding to the realism of the mise-en-scène without contributing much to other dramatic meanings). This book defines, describes, and illustrates another hitherto-neglected type of film music –ambi-diegetic film music, which appears on-screen but which contributes to the dramatic development of plot, character, and other themes. Consistent with an interest in macromarketing, such ambi-diegetic film music serves as a kind of product placement (suitable for commercialization via the cross-promotion of soundtrack albums, for example) and plays a role in product design. It also provides one type of symbolic consumer behavior that indicates choices made by film characters when playing-singing-listening-or-dancing in ways that reveal their personalities or convey other cinemusical meanings. Morris Holbrook argues that ambi-diegetic film music sheds light on various social issues –such as the age-old tension between art and entertainment as it applies to the contrast between creative integrity and commercialization. Music, Movies, Meanings, and Markets explores the ways in which ambi-diegetic jazz contributes to the development of dramatic meanings in various films, many of which address the art-versus-commerce theme as a central concern.
Music, Music Therapy and Trauma: International Perspectives
by Julie Sutton Diane Snow AustinMusic communicates where words fail, and music therapy has been proven to connect with those who were thought to be unreachable, making it an ideal medium for working with those who have suffered psychological trauma. Music, Music Therapy and Trauma addresses the need for an exploration of current thinking on music and trauma. With chapters written by many of today's leading specialists in this area, music and trauma is approached from a wide range of perspectives, with contributions on the following: * neurology of trauma and music; * music and trauma in general; * social and cultural perspectives on trauma; * contextualising contemporary classical music and conflict; * music and trauma in areas where there is war, community unrest and violence (Northern Ireland, Bosnia-Herzegovina, South Africa); * music, trauma and early development. Including specific examples and case studies, this book addresses the growing interest in the effects of trauma and how music therapy can provide a way through this complex process.
Music, Music for Everyone
by Vera B WilliamsA beautiful celebration of the power of music and of community—a companion book to the beloved Caldecott Honor picture book A Chair for My Mother."Rosa organizes her friends into the Oak Street Band in order to earn money her family needs because of her grandma's illness. Community, family and personal triumphs converge, making unforgettable music for everyone." —School Library Journal"Visual references connect readers to earlier books about Rosa's three-generation family, while the theme here underscores the interrelationship of Rosa to her foremothers, her girl friends, and their neighborhood. Images rich in vitality are placed within superbly composed, bordered watercolor paintings to convey the spirit of the story as well as details of their daily living." —BCCBVera B. Williams's beloved picture book favorites include:"More More More," Said the BabyAmber Was Brave, Essie Was SmartA Chair for AlwaysA Chair for My MotherCherries and Cherry PitsMusic, Music for EveryoneSomething Special for MeStringbean's Trip to the Shining SeaThree Days on a River in a Red Canoe