Towards a Twenty-First-Century Feminist Politics of Music opens up a new way of thinking about the absence of women's music. It does not aim to find 'a solution' in a liberal feminist sense, but to discover new potentialities, new possibilities for thought and action. Sally Macarthur encourages us, with the assistance of Deleuze, and feminist-Deleuzian work, to begin the important work of imagining what else might be possible, not in order to provide answers but to open up the as yet unknown. The power of thought - or what Deleuze calls the 'virtual' - opens up new possibilities. Macarthur suggests that the future for women's 'new' music is not tied to the predictable and known but to futures beyond the already-known. Previous research concludes that women's music is virtually absent from the concert hall, and yet fails to find a way of changing this situation. Macarthur finds that the flaw in the recommendations flowing from past research is that it envisages the future from the standpoint of the present, and it relies on a set of pre-determined goals. It thus replicates the present reality, so reinforcing rather than changing the status quo. Macarthur challenges this thinking, and argues that this repetitive way of thinking is stuck in the present, unable to move forward. Macarthur situates her argument in the context of current dominant neoliberal thought and practice. She argues that women have generally not thrived in the neoliberal model of the composer, which envisages the composer as an individual, autonomous creator and entrepreneur. Successful female composers must work with this dominant, modernist aesthetic and exploit the image of the neo-romantic, entrepreneurial creator. This book sets out in contrast to develop a new conception of subjectivity that sows the seeds of a twenty-first-century feminist politics of music.
Featuring chapters by the world's foremost scholars in music education and cognition, this handbook is a convenient collection of current research on music teaching and learning. This comprehensive work includes sections on arts advocacy, music and medicine, teacher education, and studio instruction, among other subjects, making it an essential reference for music education programs. The original Handbook of Research on Music Teaching and Learning, published in 1992 with the sponsorship of the Music Educators National Conference (MENC), was hailed as "a welcome addition to the literature on music education because it serves to provide definition and unity to a broad and complex field" (Choice). This new companion volume, again with the sponsorship of MENC, explores the significant changes in music and arts education that have taken place in the last decade. Notably, several chapters now incorporate insights from other fields to shed light on multi-cultural music education, gender issues in music education, and non-musical outcomes of music education. Other chapters offer practical information on maintaining musicians' health, training music teachers, and evaluating music education programs. Philosophical issues, such as musical cognition, the philosophy of research theory, curriculum, and educating musically, are also explored in relationship to policy issues. In addition to surveying the literature, each chapter considers the significance of the research and provides suggestions for future study.
This collection of essays examines the diverse ways in which music and ideas about music have been disseminated in print and other media from the sixteenth century onward. Contributors look afresh at unfamiliar facets of the sixteenth-century book trade and the circulation of manuscript and printed music in the seventeenth to nineteenth centuries. They also analyze and critique new media forms, showing how a dizzying array of changing technologies has influenced what we hear, whom we hear, and how we hear. The repertoires considered include Western art music -- from medieval to contemporary -- as well as popular music and jazz. Assembling contributions from experts in a wide range of fields, such as musicology, music theory, music history, and jazz and popular music studies, Music in Print and Beyond: Hildegard von Bingen to The Beatles sets new standards for the discussion of music's place in Western cultural life. Contributors: Joseph Auner, Bonnie J. Blackburn, Gabriela Cruz, Bonnie Gordon, Ellen T. Harris, Lewis Lockwood, Paul S. Machlin, Roberta Montemorra Marvin, Honey Meconi, Craig A. Monson, Kate van Orden, Sousan L. Youens. Roberta Montemorra Marvin teaches at the University of Iowa and is the author of Verdi the Student -- Verdi the Teacher (Istituto Nazionale di Studi Verdiani, 2010) and editor of The Cambridge Verdi Encyclopedia (Cambridge University Press, 2013). Craig A. Monson is Professor of Musicology at Washington University (St Louis, Missouri) and is the author of Divas in the Convent: Nuns, Music, and Defiance in Seventeenth-Century Italy (University of Chicago Press, 2012).
First published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.
'Sometimes Music Is My Only Friend' Harry Buckle: Following career advice from James Bond author Ian Fleming, in 1962 Harry Buckle became a journalist, This very funny but true story, follows him from his years as the '60's most read pop guru in the UK, writing in Jackie Magazine (with the pen name Pete Lennon assigned to him by the editor) to then starting his own music company and somewhat to his suprise, bringing you a hundred or so Top of the Pops Chart hits.. 'You'd think being a music journaist was safe enough except for predatory female fans, but I hadn't really expected the US Airforce to drop four H Bombs on me. Real ones.... Then he found himself reluctantly working with both the British M15 an Russsian KGB Secret Service, and interrogated in Moscow about what he had been doing at No. 10 Downing Street. 'It seems to us you are seeking to destabilise your rulers with naked pictures of Prime Minister Harold Wilson?'... 'I don't gamble. Life in the music business is enough, but we won tens of thousands of pounds for four years running when we learned the results of the Miss World contest in advance... 'Having the hits, confirmed the old music industry adage that I was 'Happy to be Part of the Industry of Human Happiness'... with many of those hits coming from Depeche Mode, Yazoo, Alison Moyet, Erasure and others. But then sitting watching national TV news in the USA and discovering I was apparently working with the Mafia was a bit of a reality check'... then in more pop mode... You want to know who to blame for 'Agadoo', 'Yviva Espana', 'The Birdie Song' and some others starting the whole 'dad dancing' phenomena... 'Sometimes Music Is My Only Friend' by Harry Buckle reveals all this and more... 'Sometimes Music Is My Only Friend', seems to touch the feelings of several generations including many of today for whom most social contact is often more electronic than tactile reality.
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