＜p＞Imagination allows individuals and groups to think beyond the here-and-now, to envisage alternatives, to create parallel worlds, and to mentally travel through time. Imagination is both extremely personal (for example, people imagine unique futures for themselves) and deeply social, as our imagination is fed with media and other shared representations. As a result, imagination occupies a central position within the life of mind and society. Expanding the boundaries of disciplinary approaches, the ＜em＞Handbook of Imagination and Culture＜/em＞ expertly illustrates this core role of imagination in the development of children, adolescents, adults, and older persons today. Bringing together leading scholars in sociocultural psychology and neighboring disciplines from around the world, this edited volume guides readers towards a much deeper understanding of the conditions of imagining, its resources, its constraints, and the consequences it has on different groups of people in different domains of society. Summarily, this ＜em＞Handbook＜/em＞ places imagination at the center, and offers readers new ways to examine old questions regarding the possibility of change, development, and innovation in modern society.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞A Broadway classic, a call to action, and an incredibly malleable popular song, "Ol' Man River" is not your typical musical theater standard. Written by Jerome Kern and Oscar Hammerstein II in the 1920s for Show Boat, "Ol Man River" perfectly blends two seemingly incongruous traits-the gravity of a Negro spiritual and the crowd-pleasing power of a Broadway anthem. Inspired by the voice of African American singer Paul Robeson, who adopted the tune for his own goals as an activist, "Ol' Man River" is both iconic and transformative. In ＜em＞Who Should Sing "Ol' Man River"? The Lives of an American Song＜/em＞, author Todd Decker examines how the song has shaped, and been shaped by, the African American experience. Yet "Ol' Man River" also transcends both its genre and original conception as a song written for an African American male. Beyond musical theater, this Broadway ballad has been reworked in musical genres from pop to jazz, opera to doo wop, rhythm and blues to gospel to reggae. Pop singers such as Bing Crosby, Frank Sinatra, and Judy Garland made "Ol' Man River" one of their signature songs. Jazz artists such as Bix Biederbecke, Duke Ellington, Dave Brubeck, Count Basie, and Keith Jarrett have all played "Ol' Man River," as have stars of the rock and roll era, such as Sam Cooke, Ray Charles, Aretha Franklin, the Temptations, Cher, and Rod Stewart. Black or white, male or female-anyone who sings "Ol' Man River" must confront and consider its charged racial content and activist history. Performers and fans of musical theater as well as students of the Civil Rights movement will find ＜em＞Who Should Sing "Ol' Man River"＜/em＞ an unprecedented examination of a song that's played a groundbreaking role in American history.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞The way we communicate with each other is vital to preserving the cultural ecology, or wellbeing, of a place and time. Do we listen to each other? Do we ask the right questions? Do we speak about each other with respect or disdain? The stories that we convey on screens, or what author Carl Plantinga calls 'screen stories,' are one powerful and pervasive means by which we communicate with each other. ＜em＞Screen Stories: Emotion and the Ethics of Engagement＜/em＞ argues that film and media studies needs to move toward an an approach to ethics that is more appropriate for mass consumer culture and the lives of its citizens. Primarily concerned with the relationship between media and viewers, this book considers ethical criticism and the emotional power of screen stories that makes such criticism necessary. The content we consume--from television shows and movies to advertisements--can significantly affect our welfare on a personal and societal level, and thus, this content is subject to praise and celebration, or questioning and even condemnation. The types of screen stories that circulate contribute to the cultural ecology of a time and place; through shared attention they influence what individuals think and feel. Plantinga develops a theory of the power of screen stories to affect both individuals and cultures, asserting that we can better respond ethically to such media if we understand the sources of its influence on us.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Improvisation informs a vast array of human activity, from creative practices in art, dance, music, and literature to everyday conversation and the relationships to natural and built environments that surround and sustain us. The two volumes of ＜em＞The Oxford Handbook of Critical Improvisation Studies＜/em＞ gather scholarship on improvisation from an immense range of perspectives, with contributions from more than sixty scholars working in architecture, anthropology, art history, computer science, cognitive science, cultural studies, dance, economics, education, ethnomusicology, film, gender studies, history, linguistics, literary theory, musicology, neuroscience, new media, organizational science, performance studies, philosophy, popular music studies, psychology, science and technology studies, sociology, and sound art, among others.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞An idealized image of European concert-goers has long prevailed in historical overviews of the nineteenth and twentieth centuries. This act of listening was considered to be an invisible and amorphous phenomenon, a naturally given mode of perception. This narrative influenced the conditions of listening from the selection of repertoire to the construction of concert halls and programmes. However, as listening moved from the concert hall to the opera house, street music, and jazz venues, new and visceral listening traditions evolved. In turn, the art of listening was shaped by phenomena of the modern era including media innovation and commercialization. This ＜em＞Handbook＜/em＞ asks whether, how, and why practices of music listening changed as the audience moved from pleasure gardens and concert venues in the eighteenth century to living rooms in the twentieth century, and mobile devices in the twenty-first. Through these questions, chapters enable a differently conceived history of listening and offer an agenda for future research.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Music Education for Children with Autism Spectrum Disorder: A Resource for Teachers＜/em＞ provides foundational information about autism spectrum disorder and strategies for engaging students with ASD in music-based activities such as singing, listening, moving, and playing instruments. This practical resource supplies invaluable frameworks for teachers who work with early-years students. The book first provides readers with background information about ASD and how students with this condition manage their behaviors in school environments. It then progresses to provide teachers with information about planning music-based instruction for students on the spectrum. In the book's midsection, readers learn how students with ASD perceive, remember, and articulate pitch perception. Following chapters present a series of practical ideas for engaging students with ASD though songs and singing and concentrate on skills in music listening, most notably on activities that motivate students with ASD to interact with others through joint attention. Challenges that individuals with ASD experience in motor processing are examined, including difficulties with gait and coordination, motor planning, object control, and imitation. This is followed by practical teaching suggestions for engaging students with activities in which movement is mediated through sound (e.g., drum beats) and music. Closing chapters introduce non-pitched percussion instruments along with activities in which children engage in multisensory experiences by playing instruments--musical activities described in preceding chapters are combined with stories and drama to create musical narratives. ＜em＞Music Education for Children with Autism Spectrum Disorde＜/em＞r is accompanied by a companion website that supplies helpful supplemental materials including audio of songs notated in the book for easy access.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Musicians are continually 'in the making', tapping into their own creative resources while deriving inspiration from teachers, friends, family members and listeners. Amateur and professional performers alike tend not to follow fixed routes in developing a creative voice: instead, their artistic journeys are personal, often without foreseeable goals. The imperative to assess and reassess one's musical knowledge, understanding and aspirations is nevertheless a central feature of life as a performer. ＜em＞Musicians in the Making＜/em＞ explores the creative development of musicians in both formal and informal learning contexts. It promotes a novel view of creativity, emphasizing its location within creative processes rather than understanding it as an innate quality. It argues that such processes may be learned and refined, and furthermore that collaboration and interaction within group contexts carry significant potential to inform and catalyze creative experiences and outcomes. The book also traces and models the ways in which creative processes evolve over time. Performers, music teachers and researchers will find the rich body of material assembled here engaging and enlightening. The book's three parts focus in turn on 'Creative learning in context', 'Creative processes' and 'Creative dialogue and reflection'. In addition to sixteen extended chapters written by leading experts in the field, the volume includes ten 'Insights' by internationally prominent performers, performance teachers and others. Practical aids include abstracts and lists of keywords at the start of each chapter, which provide useful overviews and guidance on content. Topics addressed by individual authors include intrapersonal and interpersonal dynamics, performance experience, practice and rehearsal, 'self-regulated performing', improvisation, self-reflection, expression, interactions between performers and audiences, assessment, and the role of academic study in performers' development.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Functional Awareness and Yoga＜/em＞ is an essential book for all who wishes to deepen their yoga practice and discover strategies to reduce strain or discomfort on the mat as well as in daily life. It is also an excellent book of introductory concepts in anatomy as applied to yoga required during a yoga teacher training. Each chapter provides essentials in functional anatomy with over 60 practical illustrations. The chapters also apply specific postures in yoga with cues to support the practice on the mat. Finally, each chapter contains a mindful practice section to help readers integrate anatomical imagery into daily life in order to release unnecessary tension, improve posture, and support ease of movement. The reflective practice of Functional Awareness? changes how one goes through simple daily tasks in living and demonstrates how these small simple shifts can have a profound effect on ease in action and resilience in movement both on and off the yoga mat. Guiding readers through the essentials in body alignment by providing engaging explorations in body/mind awareness, the book offers a pathway to improve resilience and balance in action.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞We know that trauma can leave syndromes in its wake. But can the anticipation of violence be a form of violence as well? Tense Future argues that it can-that twentieth-century war technologies and practices, particularly the aerial bombing of population centers, introduced non-combatants to a coercive and traumatizing expectation. During wartime, civilians braced for the next raid; during peacetime they braced for the next war. The pre-traumatic stress they experienced permeates the century's public debates and cultural works. In a series of groundbreaking readings, Saint-Amour illustrates how air war prophets theorized the wounding power of anticipation, how archive theory changed course in war's shadow, and how speculative fiction conjured visions of a civilizational collapse that would end literacy itself. And in this book's central chapters, he shows us how Ford Madox Ford, Robert Musil, James Joyce, Virginia Woolf, and other interwar modernist writers faced the memory of one war and the prospect of another, some by pitting their fictions' encyclopedic scale and formal turbulence against total war, others by conceding war's inevitability while refusing to long for a politically regressive peace. Total war: a conflict that exempts no one, disregarding any difference between soldier and civilian. ＜em＞Tense Future＜/em＞ forever alters our understanding of the concept of total war by tracing its emergence during the First World War, its incubation in air power theory between the wars, and above all its profound partiality. For total war, during most of the twentieth century, meant conflict between imperial nation states; it did not include the violence those states routinely visited on colonial subjects during peacetime. Tacking back and forth between metropole and colony, between world war and police action, Saint-Amour describes the interwar refashioning of a world system of violence-production, one that remains largely intact in our own moment of perpetual interwar.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞In the twenty-first century, values of competition underpin the free-market economy and aspirations of individual achievement shape the broader social world. Consequently, ideas of winning and losing, success and failure, judgment and worth, influence the dance that we see and do. Across stage, studio, street, and screen, economies of competition impact bodily aesthetics, choreographic strategies, and danced meanings. In formalized competitions, dancers are judged according to industry standards to accumulate social capital and financial gain. Within the capitalist economy, dancing bodies compete to win positions in prestigious companies, while choreographers hustle to secure funding and attract audiences. On the social dance floor, dancers participate in dance-offs that often include unspoken, but nevertheless complex, rules of bodily engagement. And the media attraction to the drama and spectacle of competition regularly plays out in reality television shows, film documentaries, and Hollywood cinema. Drawing upon a diverse collection of dances across history and geography, ＜em＞The Oxford Handbook of Dance and Competition＜/em＞ asks how competition affects the presentation and experience of dance and, in response, how dancing bodies negotiate, critique, and resist the aesthetic and social structures of the competition paradigm.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞In the 1920s, the Mexican composer Juli?n Carrillo (1875-1965) developed a microtonal system called ＜em＞El Sonido 13＜/em＞ (The 13th Sound). Although his pioneering role as one of the first proponents of microtonality within the Western art music tradition elevated Carrillo to iconic status among European avant-garde circles in the 1960s and 1970s, his music and legacy have remained largely overlooked by music scholars, critics, and performers. Confronting this paucity of scholarship on Carrillo and his music, Alejandro L. Madrid goes above and beyond "filling in" the historical record. Combining archival and ethnographic research with musical analysis and cultural theory, Madrid argues that Carrillo and ＜em＞Sonido 13＜/em＞ are best understood as a cultural complex: a network of moments, spaces, and articulations in which Carrillo and his music continuously re-acquire significance and meaning. Thus, Madrid explores Carrillo's music and ideas not only in relation to the historical moments of their inception, but also in relation to the various cultural projects that kept them alive and re-signified them through the beginning of the twenty-first century. Eschewing traditionally linear historical frameworks, ＜em＞In Search of Juli?n Carrillo and＜/em＞ Sonido 13 employs an innovative transhistorical narrative in which past, present, and future are explored dialogically in order to understand the politics of performance and self-representation behind Carrillo and ＜em＞Sonido 13＜/em＞. ＜em＞In Search of Juli?n Carrillo and＜/em＞ Sonido 13 transforms the traditional genre of the composer study, treating it not as a celebration of "masters" and "masterworks," but as a pointed postcolonial intervention that offers invaluable insight into the politics of cultural exchange, experimentalism, marginality, and cultural capital in twentieth century Mexico.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Why would Gustav Mahler (1860-1911), modernist titan and so-called prophet of the New Music, commit himself time and again to the venerable sonata-allegro form of Mozart and Beethoven? How could so gifted a symphonic storyteller be drawn to a framework that many have dismissed as antiquated and dramatically inert? ＜em＞Mahler's Symphonic Sonatas＜/em＞ offers a striking new take on this old dilemma. Indeed, it poses these questions seriously for the first time. Rather than downplaying Mahler's sonata designs as distracting anachronisms or innocuous groundplans, author Seth Monahan argues that for much of his career, Mahler used the inner, goal-directed dynamics of sonata form as the basis for some of his most gripping symphonic stories. Laying bare the deeper narrative/processual grammar of Mahler's evolving sonata corpus, Monahan pays particular attention to its recycling of large-scale rhetorical devices and its consistent linkage of tonal plot and affect. He then sets forth an interpretive framework that combines the visionary insights of Theodor W. Adorno-whose Mahler writings are examined here lucidly and at length-with elements of Hepokoski and Darcy's renowned Sonata Theory. What emerges is a tensely dialectical image of Mahler's sonata forms, one that hears the genre's compulsion for tonal/rhetorical closure in full collision with the spontaneous narrative needs of the surrounding music and of the overarching symphonic totality. It is a practice that calls forth sonata form not as a rigid mold, but as a dynamic process-rich with historical resonances and subject to a vast range of complications, curtailments, and catastrophes. With its expert balance of riveting analytical narration and thoughtful methodological reflection, ＜em＞Mahler's Symphonic Sonatas＜/em＞ promises to be a landmark text of Mahler reception, and one that will reward scholars and students of the late-Romantic symphony for years to come.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞From Washington Square Park and the Gaslight Caf? to WNYC Radio and Folkways Records, New York City's cultural, artistic, and commercial assets helped to shape a distinctively urban breeding ground for the folk music revival of the 1950s and 60s. ＜em＞Folk City＜/em＞ explores New York's central role in fueling the nationwide craze for folk music in postwar America. It involves the efforts of record company producers and executives, club owners, concert promoters, festival organizers, musicologists, agents and managers, editors and writers - and, of course, musicians and audiences. In ＜em＞Folk City＜/em＞, authors Stephen Petrus and Ron Cohen capture the exuberance of the times and introduce readers to a host of characters who brought a new style to the biggest audience in the history of popular music. Among the savvy New York entrepreneurs committed to promoting folk music were Izzy Young of the Folklore Center, Mike Porco of Gerde's Folk City, and John Hammond of Columbia Records. While these and other businessmen developed commercial networks for musicians, the performance venues provided the artists space to test their mettle. The authors portray Village coffee houses not simply as lively venues but as incubators of a burgeoning counterculture, where artists from diverse backgrounds honed their performance techniques and challenged social conventions. Accessible and engaging, fresh and provocative, rich in anecdotes and primary sources, ＜em＞Folk City＜/em＞ is lavishly illustrated with images collected for the accompanying major exhibition at the Museum of the City of New York in 2015.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Moving Otherwise＜/em＞ examines how contemporary dance practices in Buenos Aires, Argentina enacted politics within climates of political and economic violence from the mid-1960s to the mid-2010s. From the repression of military dictatorships to the precarity of economic crises, contemporary dancers and audiences consistently responded to and reimagined the everyday choreographies that have accompanied Argentina's volatile political history. The titular concept, "moving otherwise" names how both concert dance and its off-stage practice and consumption offer alternatives to and modes to critique the patterns of movement and bodily comportment that shape everyday life in contexts marked by violence. Drawing on archival research based in institutional and private collections, over fifty interviews with dancers and choreographers, and the author's embodied experiences as a collaborator and performer with active groups, the book analyzes how a wide range of practices moved otherwise, including concert works, community dance initiatives, and the everyday labor that animates dance. It demonstrates how these diverse practices represent, resist, and remember violence and engender new forms of social mobilization on and off the theatrical stage. As the first book length critical study of Argentine contemporary dance, it introduces a breadth of choreographers to an English speaking audience, including Ana Kamien, Susana Zimmermann, Estela Maris, Alejandro Cervera, Renate Schottelius, Susana Tambutti, Silvia Hodgers, and Silvia Vladimivsky. It also considers previously undocumented aspects of Argentine dance history, including crossings between contemporary dancers and 1970s leftist political militancy, Argentine dance labor movements, political protest, and the prominence of tango themes in contemporary dance works that address the memory of political violence. Contemporary dance, the book demonstrates, has a rich and diverse history of political engagement in Argentina.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞The Oxford Handbook of the British Musical＜/em＞ provides a comprehensive academic survey of British musical theatre offering both a historical account of the musical's development from 1728 and a range of in-depth critical analyses of the unique forms and features of British musicals, which explore the aesthetic values and sociocultural meanings of a tradition that initially gave rise to the American musical and later challenged its modern pre-eminence. After a consideration of how John Gay's ＜em＞The Beggar's Opera＜/em＞ (1728) created a prototype for eighteenth-century ballad opera, the book focuses on the use of song in early nineteenth century theatre, followed by a sociocultural analysis of the comic operas of Gilbert and Sullivan; it then examines Edwardian and interwar musical comedies and revues as well as the impact of Rodgers and Hammerstein on the West End, before analysing the new forms of the postwar British musical from ＜em＞The Boy Friend＜/em＞ (1953) to ＜em＞Oliver!＜/em＞ (1960). One section of the book examines the contributions of key twentieth century figures including Noel Coward, Ivor Novello, Tim Rice, Andrew Lloyd Webber, director Joan Littlewood and producer Cameron Macintosh, while a number of essays discuss both mainstream and alternative musicals of the 1960s and 1970s and the influence of the pop industry on the creation of concept recordings such as ＜em＞Jesus Christ Superstar＜/em＞ (1970) and ＜em＞Les Mis?rables＜/em＞ (1980). There is a consideration of "jukebox" musicals such as ＜em＞Mamma Mia!＜/em＞ (1999), while essays on overtly political shows such as ＜em＞Billy Elliot＜/em＞ (2005) are complemented by those on experimental musicals like ＜em＞Jerry Springer: the Opera＜/em＞ (2003) and ＜em＞London Road＜/em＞ (2011) and on the burgeoning of Black and Asian British musicals in both the West End and subsidized venues. ＜em＞The Oxford Handbook of the British Musical＜/em＞ demonstrates not only the unique qualities of British musical theatre but also the vitality and variety of British musicals today.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Dancers as Diplomats＜/em＞ chronicles the role of dance and dancers in American cultural diplomacy. In the early decades of the Cold War and the twenty-first century, American dancers toured the globe on tours sponsored by the US State Department. Dancers as Diplomats tells the story of how these tours shaped and some times re-imagined ideas of the United States in unexpected, often sensational circumstances-pirouetting in Moscow as the Cuban Missile Crisis unfolded and dancing in Burma shortly before the country held its first democratic elections. Based on more than seventy interviews with dancers who traveled on the tours, the book looks at a wide range of American dance companies, among them New York City Ballet, Alvin Ailey American Dance Theater, the Martha Graham Dance Company, Urban Bush Women, ODC/Dance, Ronald K. Brown/Evidence, and the Trey McIntyre Project, among others. During the Cold War, companies danced everywhere from the Soviet Union to Vietnam, just months before the US abandoned Saigon. In the post 9/11 era, dance companies traveled to Asia and Latin America, sub-Saharan Africa and the Middle East.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞In ＜em＞The Mindful Musician: Mental Skills for Peak Performance＜/em＞, author Vanessa Cornett offers guidelines to help musicians cultivate artistic vision, objectivity, freedom, quiet awareness, and self-compassion, both on- and offstage in order to become more resilient performers. Contrary to modern culture's embrace of busyness and divided attention, Cornett's contemplative techniques provide greater space for artistic self-expression and satisfaction. With the aid of a companion website that includes audio files and downloadable templates, The Mindful Musician provides a method to promote attentional focus, self-assessment, emotional awareness, and creativity. The first of its kind to combine mindfulness practices with research in cognitive and sport psychology, this book helps musicians explore the roots of anxiety and other challenges related to performance, all through the deliberate focus of awareness.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Now that the political and economic plight of European Roma and the popularity of their music are objects of international attention, ＜em＞Romani Routes＜/em＞ provides a timely and insightful view into Romani communities both in their home countries and in the diaspora. Over the past two decades, a steady stream of recordings, videos, feature films, festivals, and concerts has presented the music of Balkan Gypsies, or Roma, to Western audiences, who have greeted them with exceptional enthusiasm. Yet, as author Carol Silverman notes, Roma are revered as musicians and reviled as people. In this book, Silverman introduces readers to the people and cultures who produce this music, offering a sensitive and incisive analysis of how Romani musicians address the challenges of discrimination. Focusing on southeastern Europe then moving to the diaspora, her book examines the music within Romani communities, the lives and careers of outstanding musicians, and the marketing of music in the electronic media and "world music" concert circuit. Silverman touches on the way that the Roma exemplify many qualities--adaptability, cultural hybridity, transnationalism--that are taken to characterize late modern experience. And rather than just celebrating these qualities, she presents the musicians as complicated, pragmatic individuals who work creatively within the many constraints that inform their lives.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Solfege and Sonority＜/em＞ is a guide for teaching music literacy in a choral rehearsal, with a focus on the needs of teachers who work with young singers. The book lays out teaching sequences for melodic and rhythmic concepts, lesson plans, and concise strategies for introducing key techniques. The individual lessons themselves are short (no more than 4-6 minutes each) and comprehensive, encouraging singers to develop a literacy of rhythm and melody together. In 18 easy-to-use lessons for teachers and conductors and tying the lessons to the teacher's current repertoire, longtime choral director and teacher David J. Xiques has created a practical and viable solution to the challenges of many conductors, as well as providing a much-needed manual for upper-level choral pedagogy courses. The comprehensive companion website provides access to videos of exercises, worksheets, and teaching materials.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞The last of the Spanish Romantics, composer, conductor, and impresario Federico Moreno Torroba (1891-1982) left his mark on virtually every aspect of Spanish musical culture during a career that spanned six decades and saw tremendous political and cultural upheavals. After Falla, he was the most important and influential musician: in addition to his creative activities, he was President of the General Society of Authors and Editors and director of the Academy of Fine Arts. His enduring contributions as a composer include dozens of guitar works composed for Andr?s Segovia and several highly successful zarzuelas, which remain in the repertoire today. Written by two leading experts in the field, ＜em＞Federico Moreno Torroba: A Musical Life in Three Acts＜/em＞ explores not only his life and work, but also the relationship of his music to the cultural milieu in which he moved. It sheds particular light on the relationship of Torroba's music and the cultural politics of Francisco Franco's dictatorship (1939-75). Torroba came of age during a cultural renaissance that sought to reassert Spain's position as a unique cultural entity, and authors Walter A. Clark and William Krause demonstrate how his work can be understood as a personal, musical response to these aspirations. Clark and Krause argue that Torroba's decision to remain in Spain even during the years of Franco's dictatorship was based primarily not on political ideology but rather on an unwillingness to leave his native soil. Rather than abandon Spain to participate in the dynamic musical life abroad, he continued to compose music that reflected his conservative view of his national and personal heritage. The authors contend that this pursuit did not necessitate allegiance to a particular regime, but rather to the non-political exaltation of Spain's so-called "eternal tradition," or the culture and spirit that had endured throughout Spain's turbulent history. Following Franco's death in 1975, there was ambivalence towards figures like Torroba who had made their peace with the dictatorship and paid a heavy price in terms of their reputation among expatriates. Moreover, his very conservative musical style made him a target for the post-war avant-garde, which disdained his highly tonal and melodic espa?olismo. With the demise of high modernism, however, the time has come for this new, more distanced assessment of Torroba's contributions. Richly illustrated with photographs and musical examples, and with a helpful chronology and works list for reference, this biography brings a fresh perspective on this influential composer to Latin American and Iberian music scholars, performers, and lovers of Spanish music alike.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Langston Hughes survived as a writer for over forty years under conditions that made survival virtually heroic. Determined on a literary career at a time when no African American had yet been able to live off his or her writing, Hughes not only faced poverty and racism but found himself pressed by the conflicting hopes, expectations, and demands of readers and critics. He relied on his skill as a mediator among competing positions in order to preserve his art, his integrity, and his unique status as the poetic voice of ordinary African Americans. ＜em＞Which Sin To Bear?＜/em＞ explores Hughes's efforts to negotiate the problems of identity and ethics he faced as an African American professional writer and intellectual. The book traces his early efforts to fashion himself as an "authentic" black poet of the Harlem Renaissance and his later imagining of a new and more inclusive understanding of authentic blackness. It examines Hughes's lasting, yet self-critical commitment to progressive politics in the mid-century years. And it shows how, in spite of his own ambivalence--and, at times, anguish--Hughes was forced to engage in ethical compromises to achieve his personal and social goals. The book is also the first to analyze Hughes's executive-session testimony before Joseph McCarthy's Senate Permanent Subcommittee on Investigations, which was unavailable to the public for half a century. David Chinitz digs into Hughes's creative work, newspaper columns, letters, and unpublished papers to reveal a writer who faced a daunting array of dicey questions and intimidating obstacles, and whose triumphs and occasional missteps are a fascinating and telling part of his legacy.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞During the decades leading up to 1910, Portugal saw vast material improvements under the guise of modernization while in the midst of a significant political transformation - the establishment of the Portuguese First Republic. Urban planning, everyday life, and innovation merged in a rapidly changing Lisbon. Leisure activities for the citizens of the First Republic began to include new forms of musical theater, including operetta and the revue theater. These theatrical forms became an important site for the display of modernity, and the representation of a new national identity. Author Jo?o Silva argues that the rise of these genres is inextricably bound to the complex process through which the idea of Portugal was presented, naturalized, and commodified as a modern nation-state. ＜em＞Entertaining Lisbon＜/em＞ studies popular entertainment in Portugal and its connections with modern life and nation-building, showing that the promotion of the nation through entertainment permeated the market for cultural goods. Exploring the Portuguese entertainment market as a reflection of ongoing negotiations between local, national, and transnational influences on identity, Silva intertwines representations of gender, class, ethnicity, and technology with theatrical repertoires, street sounds, and domestic music making. An essential work on Portuguese music in the English language, ＜em＞Entertaining Lisbon＜/em＞ is a critical study for scholars and students of musicology interested in Portugal, and popular and theatrical musics, as well as historical ethnomusicologists, cultural historians, and urban planning researchers interested in the development of material culture.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Arguably the world's most popular partnered social dance form, salsa's significance extends well beyond the Latino communities which gave birth to it. The growing international and cross-cultural appeal of this Latin dance form, which celebrates its mixed origins in the Caribbean and in Spanish Harlem, offers a rich site for examining issues of cultural hybridity and commodification in the context of global migration. Salsa consists of countless dance dialects enjoyed by varied communities in different locales. In short, there is not one dance called salsa, but many. ＜em＞Spinning Mambo into Salsa＜/em＞, a history of salsa dance, focuses on its evolution in three major hubs for international commercial export-New York, Los Angeles, and Miami. The book examines how commercialized salsa dance in the 1990s departed from earlier practices of Latin dance, especially 1950s mambo. Topics covered include generational differences between Palladium Era mambo and modern salsa; mid-century antecedents to modern salsa in Cuba and Puerto Rico; tension between salsa as commercial vs. cultural practice; regional differences in New York, Los Angeles, and Miami; the role of the Web in salsa commerce; and adaptations of social Latin dance for stage performance. Throughout the book, salsa dance history is linked to histories of salsa music, exposing how increased separation of the dance from its musical inspiration has precipitated major shifts in Latin dance practice. As a whole, the book dispels the belief that one version is more authentic than another by showing how competing styles came into existence and contention. Based on over 100 oral history interviews, archival research, ethnographic participant observation, and analysis of Web content and commerce, the book is rich with quotes from practitioners and detailed movement description.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Movie stars, entertainers, game-show hosts, jugglers, plate-spinners, gospel choirs, corporate executives posing with over-sized checks, household name-brand products, smiling children in leg braces-all were fixtures of the phenomenon that defined American culture in the second half of the twentieth century: the telethon. Hundreds of millions watched these weekend-long variety shows that raised billions of dollars for disability-related charities. Drawing on over two decades of in-depth research, ＜em＞Telethons＜/em＞ trenchantly explores the complexity underneath the campy spectacles. At its center are the disabled children, who, thanks to a particular kind of historical-cultural marginalization, turned out to be ideal tools for promoting corporate interests, privatized healthcare, and class status. Offering a public message about helping these unfortunate victims, telethons perpetuated a misleading image of people with disabilities as helpless, passive, apolitical members of American society. Paul K. Longmore's revelatory chronicle shows how these images in fact helped major corporations increase their bottom lines, while filling gaps in the strange public-private hybrid U.S. health insurance system. Only once disabled people pushed back in public protests did the broader implications for all Americans become clear. Mining insights from great thinkers such as Adam Smith, Edmund Burke, and Alexis de Tocqueville, along with contemporary cultural figures like Jerry Lewis, Ralph Nader, and several disability rights activists, ＜em＞Telethons＜/em＞ offers a provocative meditation on big business, American government, popular culture, Cold War values, and "activism" both narrowly and broadly defined. As highly popular entertainment, telethons schooled Americans about how to feel about their bodies, fitness, health, and appropriate ways to interact with people whose bodies did not fit norms determined by advertisers. The programs also taught them about when to weep and how to cure guilt through "conspicuous contribution." Longmore's astute observations about psychology, economics, and society reveal how writing off telethons as kitsch and irrelevant has enabled many individual attitudes, corporate practices, and government policies to go unquestioned. Ultimately, ＜em＞Telethons＜/em＞ reveals the passion, humanity, resistance, and triumph that were not center-stage on these popular telecasts by offering insights into the U.S. disability movement past and present.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞In the quarter century following the enactment of the Americans with Disabilities Act, art museums, along with other public institutions, were tasked with making their facilities and collections more accessible to people with disabilities. Although blind and other disabled people have become marginally more visible in recent years, the vast majority of blind Americans remain undereducated and unemployed. In ＜em＞More Than Meets the Eye＜/em＞, Georgina Kleege shows how the scrutiny of one cultural issue-access to arts institutions-in relation to one subset of the disabled population- blind people-can lead us to larger and more general implications. Kleege begins by examining representations of blindness, arguing that traditional theories of blindness often fail to take into account the presence of other senses, or the ability of blind people to draw analogies from non-visual experience to develop concepts about visual phenomena. Following this, the book shifts its focus from the tactile to the verbal, describing Denis Diderot's remarkable range of techniques to describe art works for readers who were not able to view them. Diderot's writing not only provided a model for describing art, Kleege says, but proof that the experience of art is inextricably tied to language and thus not entirely dependent on sight. By intertwining her personal experience with scientific study and historical literary analysis, Kleege challenges traditional conceptions of blindness and overturns the assumption that the ideal art viewer must have perfect vision. More Than Meets the Eye seeks to establish a dialogue between blind people and the philosophers, scientists, and educators that study blindness, in order to create new aesthetic possibilities and a more genuinely inclusive society.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞How do perceptions of the past--not just of particular events, but of the trajectory of history as a whole--shape our experience of the world? ＜em＞Sensing the Past＜/em＞ tackles this question with an unlikely source of historical insight--the work of six major Hollywood stars: Clint Eastwood, Daniel Day-Lewis, Denzel Washington, Tom Hanks, Meryl Streep, and Jodie Foster. By focusing on the career choices made by these iconic actors, Cullen uncovers a discrete set of historical narratives, revealing the surprising ways historical forces shape our understanding of the world.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Oft-referenced and frequently set to music, Psalm 137 - which begins "By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion" - has become something of a cultural touchstone for music and Christianity across the Atlantic world. It has been a top single more than once in the 20th century, from Don McLean's haunting Anglo-American folk cover to Boney M's West Indian disco mix. In ＜em＞Song of Exile＜/em＞, David Stowe uses a wide-ranging, interdisciplinary approach that combines personal interviews, historical overview, and textual analysis to demonstrate the psalm's enduring place in popular culture. The line that begins Psalm 137 - one of the most lyrical of the Hebrew Bible - has been used since its genesis to evoke the grief and protest of exiled, displaced, or marginalized communities. Despite the psalm's popularity, little has been written about its reception during the more than 2,500 years since the Babylonian exile. Stowe locates its use in the American Revolution and the Civil Rights movement, and internationally by anti-colonial Jamaican Rastafari and immigrants from Ireland, Korea, and Cuba. He studies musical references ranging from the Melodians' ＜em＞Rivers of Babylon＜/em＞ to the score in Kazakh film ＜em＞Tulpan＜/em＞. Stowe concludes by exploring the presence and absence in modern culture of the often-ignored final words: "Happy shall he be, that taketh and dasheth thy little ones against the stones." Usually excised from liturgy and forgotten by scholars, Stowe finds these words echoed in modern occurrences of genocide and ethnic cleansing, and more generally in the culture of vengeance that has existed in North America from the earliest conflicts with Native Americans. Based on numerous interviews with musicians, theologians, and writers, Stowe reconstructs the rich and varied reception history of this widely used, yet mysterious, text.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Young pianists pursuing a professional career face a barrage of questions, choices, and challenges. In this book, experienced teacher and performer Stewart Gordon offers a new and practical way to approach them by helping readers to plan strategically and build a secure and successful career from the ground up. For decades, Gordon has guided young pianists through the details of how to prepare musically, navigate their college years, and forge a career that will provide a livelihood. In this guide to beginning that musical career, Gordon has assembled the wisdom of decades of teaching: a fundamental body of information emerging pianists will rely on as they work toward their goals. His advice, focused on both mental and practical work, will enhance both motivation and security. Carefully balancing aspiration with reality and inspiration with organization, Gordon creates a blueprint for transforming dreams into achievement, and illustrates his points with examples drawn from the lives of famous musicians. The book also addresses many practical matters, such as developing keyboard technique, acquiring reading and memorizing skills, building repertoire, and balancing the demands of being a musician with living a full life. This volume is a valuable resource for both young pianists and their parents.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Betty Comden and Adolph Green were the writers behind such classic stage musicals as ＜em＞On the Town＜/em＞, ＜em＞Wonderful＜/em＞ ＜em＞Town＜/em＞, and ＜em＞Bells Are Ringing＜/em＞, and they provided lyrics for such standards as "New York, New York," "Just in Time," "The Party's Over," and "Make Someone Happy," to name just a few. This remarkable duo, the longest-running partnership in theatrical history, also penned the screenplays for such cinematic gems as ＜em＞Singin' in the Rain＜/em＞ and ＜em＞The Band Wagon＜/em＞. In the process they worked with such artists as Leonard Bernstein, Gene Kelly, Fred Astaire, Judy Holliday, and Jule Styne. ＜em＞They Made Us Happy＜/em＞ is the first book to tell the full story of their careers, lives, and work, starting with their acclaimed appearances as part of the sketch troupe the Revuers and moving through their bi-coastal lives as a pair of Broadway's top writers and two of Hollywood's most valued scribes. The book takes readers on a trip through almost the entirety of the twentieth century, and along the way there are appearances by the likes of Jacqueline Kennedy Onassis, Greta Garbo, and Charlie Chaplin. Author Andy Propst brings both their produced work to life as well as many of the projects that that never made it to the stage or the screen, including an aborted musical version of Thornton Wilder's ＜em＞The Skin of Our Teeth＜/em＞, a bio-pic about director-choreographer Busby Berkeley, and their version of the book for Cole Porter's musical ＜em＞Out of This World＜/em＞. Comden and Green's wit and deft satire inspired laughs during their lives, and their musicals and movies have endured, amusing generation after generation. It's work that will always be making audiences happy.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞This book is about how music "in a key" is composed. Further, it is about how such music was composed when it was no longer compulsory to do so, starting a few years before the First World War. In an eclectic journey through the history of compositional technique, Daniel Harrison contends that the tonal system did not simply die out with the dawn of twentieth century, but continued to supplement newer techniques as a compelling means of musical organization, even into current times. Well-known art music composers such as Bartok, Hindemith, Prokofiev, and Messiaen are represented alongside composers whose work moves outside the standard boundaries of art music: Leonard Bernstein, Murice Durufl?, Frank Martin, Xiaoyong Chen. Along the way, the book attends to military bugle calls, a trailer before a movie feature, a recomposition of a famous piece by Arnold Schoenberg, and the music of Neil Diamond, David Shire, and Brian Wilson. A celebration of the awesome variety of musical expressions encompassed in what is called tonal music, Pieces of Tradition is a book for composers seeking ideas and effects, music theorists interested in its innovations, and all those who practice the analysis of composition in all its modern and traditional variations.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞This book is about how music "in a key" is composed. Further, it is about how such music was composed when it was no longer compulsory to do so, starting a few years before the First World War. In an eclectic journey through the history of compositional technique, Daniel Harrison contends that the tonal system did not simply die out with the dawn of twentieth century, but continued to supplement newer techniques as a compelling means of musical organization, even into current times. Well-known art music composers such as Bartok, Hindemith, Prokofiev, and Messiaen are represented alongside composers whose work moves outside the standard boundaries of art music: Leonard Bernstein, Murice Durufl?, Frank Martin, Xiaoyong Chen. Along the way, the book attends to military bugle calls, a trailer before a movie feature, a recomposition of a famous piece by Arnold Schoenberg, and the music of Neil Diamond, David Shire, and Brian Wilson. A celebration of the awesome variety of musical expressions encompassed in what is called tonal music, Pieces of Tradition is a book for composers seeking ideas and effects, music theorists interested in its innovations, and all those who practice the analysis of composition in all its modern and traditional variations.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。