＜p＞＜em＞Experimentalisms in Practice＜/em＞ explores the multiple sites in which experimentalism emerges and becomes meaningful beyond Eurocentric interpretative frameworks. Challenging the notion of experimentalism as defined in conventional narratives, contributors take a broad approach to a wide variety of Latin@ and Latin American music traditions conceived or perceived as experimental. The conversation takes as starting point the 1960s, a decade that marks a crucial political and epistemological moment for Latin America; militant and committed aesthetic practices resonated with this moment, resulting in a multiplicity of artistic and musical experimental expressions. ＜em＞Experimentalisms in Practice＜/em＞ responds to recent efforts to reframe and reconceptualize the study of experimental music in terms of epistemological perspective and geographic scope, while also engaging traditional scholarship. This book contributes to the current conversations about music experimentalism while providing new points of entry to further reevaluate the field.＜/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＞Modernism's Other Work＜/em＞ challenges deeply held critical beliefs about the meaning-in particular the political meaning-of modernism's commitment to the work of art as an object detached from the world. Ranging over works of poetry, fiction, painting, sculpture, and film, it argues that modernism's core aesthetic problem-the artwork's status as an object, and a subject's relation to it-poses fundamental questions of agency, freedom, and politics. With fresh accounts of works by canonical figures such as William Carlos Williams and Marcel Duchamp, and transformative readings of less-studied writers such as William Gaddis and Amiri Baraka, Siraganian reinterprets the relationship between aesthetic autonomy and politics. Through attentive readings, the study reveals how political questions have always been modernism's critical work, even when writers such as Gertrude Stein and Wyndham Lewis boldly assert the art object's immunity from the world's interpretations. Reorienting our understanding of the period, Siraganian demonstrates that the freedom of the art object from the reader's meaning presented a way to imagine an individual's complicated liberty within the state. Offering readers an original encounter with modernism, Modernism's Other Work will interest literary and art historians, literary theorists, critics, and scholars in cultural studies.＜/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＞Getting Started in Ballet, A Parent's Guide to Dance Educatio＜/em＞n, authors Anna Paskevska and Maureen Janson comprehensively present the realities that parents can anticipate during their child's training and/or career in ballet. It can be daunting and confusing when parents discover their child's desire to dance. Parental guidance and education about dance study typically comes from trial by fire. This book expertly guides the parental decision-making process by weaving practical advice together with useful information about dance history and the author's own memoir. From selecting a teacher in the early stages, to supporting a child through his or her choice to dance professionally, parents of prospective dancers are lead through a series of considerations, and encouraged to think carefully and to make wise decisions. Written primarily as a guide book for parents, it is just as useful for teachers, and this exemplary document would do well to have a place on the bookshelf in every dance studio waiting room. Not only can dance parents learn from this informative text, but dance teachers can be nudged toward a greater understanding and anticipation of parents needs and questions. ＜em＞Getting Started in Balle＜/em＞t fills a gap, conveniently under one cover, welcoming parents to regard every aspect of their child's possible future in dance. Without this book, there would be little documentation of the parenting aspect of dance. Dance is unlike any other training or field and knowing how to guide a young dancer can make or break them as a dancer or dance lover.＜/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 art of the object reached unparalleled heights in the medieval Islamic world, yet the intellectual dimensions of ceramics, metalwares, and other plastic arts in this milieu have not always been acknowledged. ＜em＞Arts of Allusion＜/em＞ reveals the object as a crucial site where pre-modern craftsmen of the eastern Mediterranean and Persianate realms engaged in fertile dialogue with poetry, literature, painting, and, perhaps most strikingly, architecture. Lanterns fashioned after miniature shrines, incense burners in the form of domed monuments, earthenware jars articulated with arches and windows, inkwells that allude to tents: through close studies of objects from the ninth to the thirteenth centuries, this book reveals that allusions to architecture abound across media in the portable arts of the medieval Islamic world. ＜em＞Arts of Allusion＜/em＞ draws upon a broad range of material evidence as well as medieval texts to locate its subjects in a cultural landscape where the material, visual, and verbal realms were intertwined. Moving far beyond the initial identification of architectural types with their miniature counterparts in the plastic arts, Margaret Graves develops a series of new frameworks for exploring the intelligent art of the allusive object. These address materiality, representation, and perception, and examine contemporary literary and poetic paradigms of metaphor, description, and indirect reference as tools for approaching the plastic arts. Arguing for the role of the intellect in the applied arts and for the communicative potential of ornament, ＜em＞Arts of Allusion＜/em＞ asserts the reinstatement of craftsmanship into Islamic intellectual 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＞＜em＞Chopin's Polish Ballade＜/em＞ examines the Second Ballade, Op. 38, and how that work gave voice to the Polish cultural preoccupations of the 1830s, using musical conventions from French opera and amateur piano music. This approach provides answers to several persistent questions about the work's form, programmatic content, and poetic inspiration.＜/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 contrast to most studies of US war writing-those focused on trauma or memory-＜em＞The Health of the State＜/em＞ examines the way writing and thinking about war advanced new, forward-looking orientations toward national belonging, political consent, and the nature and character of state sovereignty across the long US modernism (1890-1964). To tell that story, the book examines three critical phases in which military-themed narratives helped transition American political thought: Civil War remembrance during the Progressive Era, the culture of World War I and the new internationalism, and the memory of World War II as it helped to produce Cold War liberalism. Interlacing close textual reading with issues in cultural history and political theory, Jonathan Vincent considers the literary construction of the "preparedness" and, later, "national security" ethos that were integral affective catalysts to the acculturation of geopolitical realism in foreign policy as well as, domestically, projects of social regulation and control. At front and center throughout is an exploration of the unstable and dynamic nature of the "liberal tradition" in its persistent encounter with both real and imagined threats and the structures of governmental power innovated to meet them-the exceptional, supplementary power of a military hegemony once denounced by Randolph Bourne as "the health of the state." ＜em＞The Health of the State＜/em＞ is an interpretive cultural history that explores the role US war writing played in the evolution of American political discourse.＜/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＞Are you a former music-maker who yearns to return to music, but aren't sure where to begin? Or are you a person who never played music as a child but you are now curious about trying? You're not alone. Many adults who used to play an instrument haven't touched it in years because either they can't find the time to practice, are afraid their skills are too rusty, or are unsure of what kind of group they could join. Others are afraid to sing or start playing an instrument because they received negative feedback from childhood experiences. Performing, practicing, and composing music may seem like unattainable goals with insurmountable obstacles for busy adults with non-musical careers. ＜em＞Making Time for Making Music＜/em＞ can help adults find ways to make music part of their lives. The first book of its kind, it is filled with real-life success stories from more than 350 adults who manage to fit music-making into their jam-packed schedules. They polished rusty skills, found musical groups to join, and are having a great time. Their testimonies prove that you are never too old to learn to make music, and that there are numerous musical paths to explore. Featuring advice from dozens of music educators, health care professionals, and music researchers who point out that making music can even be good for your health as well as an extensive resource list of websites, organizations, and summer programs, this book offers inspiration and tried-and-true strategies for anyone who wishes to return to music-making or begin as an adult.＜/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 Adelaide in "Guys and Dolls" to Nina in "In the Heights" and Elphaba in "Wicked," female characters in Broadway musicals have belted and crooned their way into the American psyche. In this lively book, Stacy Wolf illuminates the women of American musical theatre - performers, creators, and characters -- from the start of the cold war to the present day, creating a new, feminist history of the genre. Moving from decade to decade, Wolf first highlights the assumptions that circulated about gender and sexuality at the time. She then looks at the leading musicals to stress the key aspects of the plays as they relate to women, and often finds overlooked moments of empowerment for female audience members. The musicals discussed here are among the most beloved in the canon--"West Side Story," "Cabaret," "A Chorus Line," "Phantom of the Opera," and many others--with special emphasis on the blockbuster "Wicked." Along the way, Wolf demonstrates how the musical since the mid-1940s has actually been dominated by women--women onstage, women in the wings, and women offstage as spectators and fans.＜/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＞Starting with 1964's ＜em＞Goldfinger＜/em＞, every James Bond film has followed the same ritual, and so has its audience: after an exciting action sequence the screen goes black and the viewer spends three long minutes absorbing abstract opening credits and a song that sounds like it wants to return to 1964. In ＜em＞The James Bond Songs＜/em＞ authors Adrian Daub and Charles Kronengold use the genre to trace not only a changing cultural landscape, but also evolving conceptions of what a pop song is. They argue that the story of the Bond song is the story of the pop song more generally, and perhaps even the story of its end. Each chapter discusses a particular segment of the Bond canon and contextualizes it in its era's music and culture. But the book also asks how Bond and his music reflected and influenced our feelings about such topics as masculinity, race, money, and aging. Through these individual pieces the book presents the Bond song as the perfect anthem of late capitalism. The Bond songs ＜em＞want＜/em＞ to talk about the fulfillment that comes from fast cars, shaken Martinis and mindless sex, but their unstable speakers, subjects, and addressees actually undercut the logic of the lifestyle James Bond is sworn to defend. The book is an invitation to think critically about pop music, about genre, and about the political aspects of popular culture in the twentieth century and beyond.＜/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＞When political protest is read as epidemic madness, religious ecstasy as nervous disease, and angular dance moves as dark and uncouth, the 'disorder' being described is choreomania. At once a catchall term to denote spontaneous gestures and the unruly movements of crowds, 'choreomania' emerged in the nineteenth century at a time of heightened class conflict, nationalist policy, and colonial rule. In this book, author K?lina Gotman examines these choreographies of unrest, rethinking the modern formation of the choreomania concept as it moved across scientific and social scientific disciplines. Reading archives describing dramatic misformations-of bodies and body politics-she shows how prejudices against expressivity unravel, in turn revealing widespread anxieties about demonstrative agitation. This history of the fitful body complements stories of nineteenth-century discipline and regimentation. As she notes, constraints on movement imply constraints on political power and agency. In each chapter, Gotman confronts the many ways choreomania works as an extension of discourses shaping colonialist orientalism, which alternately depict riotous bodies as dangerously infected others, and as curious bacchanalian remains. Through her research, Gotman also shows how beneath the radar of this colonial discourse, men and women gathered together to repossess on their terms the gestures of social revolt.＜/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 can hear the universe!" This was the triumphant proclamation at a February 2016 press conference announcing that the Laser Interferometer Gravity Observatory (LIGO) had detected a "transient gravitational-wave signal." What LIGO heard in the morning hours of September 14, 2015 was the vibration of cosmic forces unleashed with mind-boggling power across a cosmic medium of equally mind-boggling expansiveness: the transient ripple of two black holes colliding more than a billion years ago. The confirmation of gravitational waves sent tremors through the scientific community, but the public imagination was more captivated by the sonic translation of the cosmic signal, a sound detectable only through an act of carefully attuned ＜em＞listening＜/em＞. As astrophysicist Szabolcs Marka remarked, "Until this moment, we had our eyes on the sky and we couldn't hear the music. The skies will never be the same." Taking in hand this current "discovery" that we can listen to the cosmos, Andrew Hicks argues that sound--and the harmonious coordination of sounds, sources, and listeners--has ＜em＞always＜/em＞ been an integral part of the history of studying the cosmos. ＜em＞Composing the World＜/em＞ charts one constellation of musical metaphors, analogies, and expressive modalities embedded within a late-ancient and medieval cosmological discourse: that of a cosmos animated and choreographed according to a specifically musical aesthetic. The specific historical terrain of Hicks' discussion centers upon the world of twelfth-century philosophy, and from there he offers a new intellectual history of the role of harmony in medieval cosmological discourse, a discourse which itself focused on the reception and development of Platonism. Hicks illuminates how a cosmological aesthetics based on the "music of the spheres" both governed the moral, physical, and psychic equilibrium of the human, and assured the coherence of the universe as a whole. With a rare convergence of musicological, philosophical, and philological rigor, Hicks presents a narrative tour through medieval cosmology with reflections on important philosophical movements along the way, raising connections to Cartesian dualism, Uexk?ll's theoretical biology, and Deleuze and Guattari's musically inspired language of milieus and (de)territorialization. Hicks ultimately suggests that the models of musical cosmology popular in late antiquity and the twelfth century are relevant to our modern philosophical and scientific undertakings. Impeccably researched and beautifully written, ＜em＞Composing the World＜/em＞ will resonate with a variety of readers, and it encourages us to rethink the role of music and sound within our greater understanding of the universe.＜/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＞＜strong＞Winner of the 2015 Music in American Culture Award from the American Musicological Society＜/strong＞ When Leonard Bernstein first arrived in New York City, he was an unknown artist working with other brilliant twentysomethings, notably Jerome Robbins, Betty Comden, and Adolph Green. By the end of the 1940s, these artists were world famous. Their collaborations defied artistic boundaries and subtly pushed a progressive political agenda, altering the landscape of musical theater, ballet, and nightclub comedy. In ＜em＞Bernstein Meets Broadway: Collaborative Art in a Time of War＜/em＞, award-winning author and scholar Carol J. Oja examines the early days of Bernstein's career during World War II, centering around the debut in 1944 of the Broadway musical ＜em＞On the Town＜/em＞ and the ballet ＜em＞Fancy Free＜/em＞. As a composer and conductor, Bernstein experienced a meteoric rise to fame, thanks in no small part to his visionary colleagues. Together, they focused on urban contemporary life and popular culture, featuring as heroes the itinerant sailors who bore the brunt of military service. They were provocative both artistically and politically. In a time of race riots and Japanese internment camps, Bernstein and his collaborators featured African American performers and a Japanese American ballerina, staging a model of racial integration. Rather than accepting traditional distinctions between high and low art, Bernstein's music was wide-open, inspired by everything from opera and jazz to cartoons. Oja shapes a wide-ranging cultural history that captures a tumultuous moment in time. ＜em＞Bernstein Meets Broadway＜/em＞ is an indispensable work for fans of Broadway musicals, dance, and American performance 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＞＜em＞Adaptive Strategies for Small-Handed Pianists＜/em＞ brings together information from biomechanics, ergonomics, physics, anatomy, medicine, and piano pedagogy to focus on the subject of small-handedness. The first comprehensive study of its kind, the book opens with an overview of historical, anatomical, and pedagogical perspectives and redresses long-held biases concerning those who struggle at the piano because of issues with hand size. A discussion of work efficiency, the human anatomy, and the constraints of physics serves as the theoretical basis for a focused analysis of healthy movement and piano technique as they relate to small-handedness. Separate chapters deal with specific alternative approaches: redistribution, refingering, strategies to maximize reach and power, and musical solutions for technical problems. Richly illustrated with hundreds of examples from a wide range of piano repertoire, the book is an incomparable resource for piano teachers and students, written in language that is accessible to a broad audience. It balances scholastic rigor with practical experience in the field to demonstrate that the unique physical and musical needs of the small-handed can be addressed in sensitive and appropriate ways.＜/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 chapters in ＜em＞The Oxford Handbook of Canadian Cinema＜/em＞ present a rich, diverse overview of Canadian cinema. Responding to the latest developments in Canadian film studies, this volume takes into account the variety of artistic voices, media technologies, and places which have marked cinema in Canada throughout its history. Drawing on a range of established and emerging scholars from a range of disciplines, this volume will be useful to teachers, scholars, and to a general readership interested in cinema in Canada. Moving beyond the director-focused approach of much previous scholarship, this book is concerned with communities, institutions, and audiences for Canadian cinema at both national and international levels. The choice of subjects covered ranges from popular, genre cinema to the most experimental of artistic interventions. Canadian cinema is seen in its interaction with other forms of art-making and media production in Canada and at the international level. Particular attention has been paid to the work of Indigenous filmmakers, members of diasporic communities and feminist and LGBTQ artists. The result is a book attentive to the complex social and institutional contexts in which Canadian cinema is made and consumed.＜/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 myth of Orpheus articulates what social theorists have known since Plato: music matters. It is uniquely able to move us, to guide the imagination, to evoke memories, and to create spaces within which meaning is made. Popular music occupies a place of particular social and cultural significance. Christopher Partridge explores this significance, analyzing its complex relationships with the values and norms, texts and discourses, rituals and symbols, and codes and narratives of modern Western cultures. He shows how popular music's power to move, to agitate, to control listeners, to shape their identities, and to structure their everyday lives is central to constructions of the sacred and the profane. In particular, he argues that popular music can be important 'edgework,' challenging dominant constructions of the sacred in modern societies. Drawing on a wide range of musicians and musical genres, as well as a number of theoretical approaches from critical musicology, cultural theory, sociology, theology, and the study of religion, ＜em＞The Lyre of Orpheus＜/em＞ reveals the significance and the progressive potential of popular music.＜/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＞Often labeled "neo-Nazis" or "right-wing extremists," radical nationalists in the Nordic countries have always relied on music to voice their opposition to immigration and multiculturalism. These actors shook political establishments throughout Sweden, Denmark, and Norway during the 1980s and 1990s by rallying around white power music and skinhead subculture. But though nationalists once embraced a reputation for crude chauvinism, they are now seeking to reinvent themselves as upstanding and righteous, and they are using music to do it. ＜em＞Lions of the North＜/em＞ explores this transformation of anti-immigrant activism in the Nordic countries as it manifests in thought and sound. Offering a rare ethnographic glimpse into controversial and secretive political movements, it investigates changes in the music nationalists make and patronize, reading their puzzling embrace of lite pop, folk music, even rap and reggae as attempts to escape stereotypes and craft a new image for themselves. ＜em＞Lions of the North＜/em＞ not only exposes the dynamic relationship between music and politics, but also the ways radical nationalism is adapting to succeed in some of the most liberal societies in 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＞＜em＞Building Mid-Republican Rome＜/em＞ offers a holistic treatment of the development of the Mid-Republican city from 396 to 168 BCE. As Romans established imperial control over Italy and beyond, the city itself radically transformed from an ambitious central Italian settlement into the capital of the Mediterranean world. Seth Bernard describes this transformation in terms of both new urban architecture, much of it unprecedented in form and extent, and new socioeconomic structures, including slavery, coinage, and market-exchange. These physical and historical developments were closely linked: building the Republican city was expensive, and meeting such costs had significant implications for urban society. ＜em＞Building Mid-Republican Rome＜/em＞ brings both architectural and socioeconomic developments into a single account of urban change. Bernard, a specialist in the period's history and archaeology, assembles a wide array of evidence, from literary sources to coins, epigraphy, and especially archaeological remains, revealing the period's importance for the decline of the Roman state's reliance on obligation and dependency and the rise of slavery and an urban labor market. This narrative is told through an investigation of the evolving institutional frameworks shaping the organization of public construction. A quantitative model of the costs of the Republican city walls reconstructs their economic impact. A new account of building technology in the period allows for a better understanding of the social and demographic profile of the city's builders. ＜em＞Building Mid-Republican Rome＜/em＞ thus provides an innovative synthesis of a major Western city's spatial and historical aspects, shedding much-needed light on a seminal period in Rome's 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＞The Oxford Handbook of the Literature of the U.S. South＜/em＞ brings together contemporary views of the literature of the region in a series of chapters employing critical tools not traditionally used in approaching Southern literature. It assumes ideas of the South--global, multicultural, plural: more Souths than South--that would not have been embraced two or three decades ago, and it similarly expands the idea of literature itself. Representative of the current range of activity in the field of Southern literary studies, it challenges earlier views of antebellum Southern literature, as well as, in its discussions of twentieth-century writing, questions the assumption that the Southern Renaissance of the 1920s, 1930s, and 1940s was the supreme epoch of Southern expression, that writing to which all that had come before had led and by which all that came afterward was judged. As well as canonical Southern writers, it examines Native American literature, Latina/o literature, Asian American as well as African American literatures, Caribbean studies, sexuality studies, the relationship of literature to film, and a number of other topics which are relatively new to the field.＜/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＞Opera is often regarded as the pinnacle of high art. A "Western" genre with global reach, it is where music and drama come together in unique ways, supported by stellar singers and spectacular scenic effects. Yet it is also patently absurd -- why should anyone break into song on the dramatic stage? -- and shrouded in mystique. In this engaging and entertaining guide, renowned music scholar Tim Carter unravels its many layers to offer a thorough introduction to Italian opera from the seventeenth to the early twentieth centuries. Eschewing the technical musical detail that all too often dominates writing on opera, Carter begins instead where the composers themselves did: with the text. Walking readers through the relationship between music and poetry that lies at the heart of any opera, Carter then offers explorations of five of the most enduring and emblematic Italian operas: Monteverdi's ＜em＞The Coronation of Poppea＜/em＞; Handel's ＜em＞Julius Caesar in Egypt＜/em＞; Mozart's ＜em＞The Marriage of Figaro＜/em＞; Verdi's ＜em＞Rigoletto＜/em＞; and Puccini's ＜em＞La Boh?me＜/em＞. Shedding light on the creative collusions and collisions involved in bringing opera to the stage, the various, and varying, demands of the text and music, and the nature of its musical drama, Carter also shows how Italian opera has developed over the course of music history. Complete with synopses, cast lists, and suggested further reading for each work discussed, ＜em＞Understanding Italian Opera＜/em＞ is a must-read for anyone with an interest in and love for this glorious art.＜/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 Music and World Christianities＜/em＞ investigates music's role in everyday practice and social history across the diversity of Christian religions and practices around the globe. The volume explores Christian communities in the Americas, Europe, Africa, Asia, and Australia as sites of transmission, transformation, and creation of deeply diverse musical traditions. The book's contributors, while mostly rooted in ethnomusicology, examine Christianities and their musics in methodologically diverse ways, engaging with musical sound and structure, musical and social history, and ethnography of music and musical performance. These broad materials explore five themes: music and missions, music and religious utopias (and other oppositional religious communities), music and conflict, music and transnational flows, and music and everyday life. The volume as a whole, then, approaches Christian groups and their musics as diverse and powerful windows into the way in which music, religious ideas, capital, and power circulate (and change) between places, now and historically. It also tries to take account of the religious self-understandings of these groups, presenting Christian musical practice and exchange as encompassing and negotiating deeply felt and deeply rooted moral and cultural values. Given that the centerpiece of the volume is Christian religious musical practice, the volume reveals the active role music plays in maintaining and changing religious, moral, and cultural values in a long history of intercultural and transnational encounters.＜/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 Country Music Reader＜/em＞ Travis D. Stimeling provides an anthology of primary source readings from newspapers, magazines, and fan ephemera encompassing the history of country music from circa 1900 to the present. Presenting conversations that have shaped historical understandings of country music, it brings the voices of country artists and songwriters, music industry insiders, critics, and fans together in a vibrant conversation about a widely loved yet seldom studied genre of American popular music. Situating each source chronologically within its specific musical or cultural context, Stimeling traces the history of country music from the fiddle contests and ballad collections of the late nineteenth and early twentieth centuries through the most recent developments in contemporary country music. Drawing from a vast array of sources including popular magazines, fan newsletters, trade publications, and artist biographies, T＜em＞he Country Music Reader＜/em＞ offers firsthand insight into the changing role of country music within both the music industry and American musical culture, and presents a rich resource for university students, popular music scholars, and country music fans 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＞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＞＜em＞Music Outside the Lines＜/em＞ is an informative and practical resource for all who are invested in making music composition an integral part of curriculum. Author Maud Hickey offers both a well-grounded justification for teaching music composition and also a compendium of useful instructional ideas and classroom activities. Hickey begins with a rationale for teachers to begin composition activities in their own classrooms, with a thoughtful argument that demonstrates that all music teachers possess the skills and training needed to take children along the path toward composing satisfying musical compositions even if they themselves have never taken formal composition lessons. She also addresses some of the stickier issues that affect teaching music composition in schools such as assessment, notation, and technology. Most importantly, she introduces a curricular model for teaching composition, a model which provides an array of composition activities to try in both the music classrooms and studio. These activities encourage musical and creative growth through music composition; while they are organized in logical units corresponding to well-known teaching modules, they also offer jumping off points for music teachers to exercise their own creative thinking and create music composition activities that are customized to their classes and needs. As a whole, ＜em＞Music Outside the Lines＜/em＞ both successfully reasons that music composition should be at the core of school music curriculum and also provides inservice and preservice educators with an essential resource and compendium of practical tips and plans for fulfilling this goal.＜/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＞Surviving Images＜/em＞ explores the prominent role of cinema in the development of cultural memory around war and conflict in colonial and postcolonial contexts. It does so through a study of three historical eras: the colonial period, the national-independence struggle, and the postcolonial. Beginning with a study of British colonial cinema on the Sudan, then exploring anti-colonial cinema in Algeria, Egypt and Tunisia, followed by case studies of films emerging from postcolonial contexts in Palestine, Iran, Lebanon, and Israel, this work aims to fill a gap in the critical literature on both Middle Eastern cinemas, and to contribute more broadly to scholarship on social trauma and cultural memory in colonial and postcolonial contexts. This work treats the concept of trauma critically, however, and posits that social trauma must be understood as a framework for producing social and political meaning out of these historical events. Social trauma thus sets out a productive process of historical interpretation, and cultural texts such as cinematic works both illuminate and contribute to this process. Through these discussions, ＜em＞Surviving Images＜/em＞ illustrates cinema's productive role in contributing to the changing dynamics of cultural memory of war and social conflict in the modern 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＞In the late 1960s, a new movement emerged championing historically informed 'authentic' approaches to performance. Heard today in concert halls across the world and in a library's worth of recordings, it has completely transformed the way in which we listen to 'old' music, while revolutionizing the classical music profession in the process. Yet the rise of Early Music has been anything but uncontroversial. Historically informed performance (HIP) has provoked heated debate amongst musicologists, performers and cultural sociologists. Did HIP's scholar-performers possess the skills necessary to achieve their uncompromising agenda? Was interest in historically informed performance just another facet of the burgeoning heritage industry? And was the widespread promotion of early music simply a commercial ruse to make money put forward by profit-driven record companies? In ＜em＞The Art of Re-enchantment: Making Early Music in the Modern Age＜/em＞, author Nick Wilson answers these and other questions through an in-depth analysis of the early music movement in Britain from the 1960s to the present day. While other books have examined the history of early music's revival, this interdisciplinary study is unique in its focus on how various constituencies actually made their living from the early music business. Through chapters discussing the professionalization of early music, the influence of institutions such as the BBC and record companies, and the entrepreneurial role of leading early music pioneers, this book will shed new light on one of the most fascinating and influential movements in 20th Century art music. ＜em＞The Art of Re-enchantment＜/em＞ begins a much-needed conversation about the true value of art and authenticity today. This volume is a must have for early music fans and performers, music historians and musicologists with an interest in performance practice, and anyone interested in the production, distribution and consumption of music.＜/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＞Many practical books for music educators who work with special needs students focus on students' disabilities, rather than on the inclusive classroom more generally. In ＜em＞Including Everyone: Creating Music Classrooms Where All Children Learn＜/em＞, veteran teacher and pedagogue Judith Jellison offers a new approach that identifies broader principles of inclusive music instruction writ large. As she demonstrates in this aptly-titled book, the perceived impediments to successfully including the wide diversity of children in schools in meaningful music instruction often stem not from insurmountable obstacles but from a lack of imagination. How do teachers and parents create diverse musical communities in which all children develop skills, deepen understanding, and cultivate independence in a culture of accomplishment and joy? ＜em＞Including Everyone＜/em＞ equips music teachers with five principles of effective instruction for mixed special needs / traditional settings that are applicable in both classroom and rehearsal rooms alike. These five guidelines lay out Jellison's argument for a new way to teach music that shifts attention away from thinking of children in terms of symptoms. The effective teacher, argues Jellison, will strive to offer a curriculum that will not only allow the child with a disability to be more successful, but will also apply to and improve instruction for typically developing students. In this compelling new book, Judith Jellison illustrates what it takes to imagine, create, and realize possibilities for all children in ways that inspire parents, teachers, and the children themselves to take part in collaborative music making. Her book helps readers recognize how this most central component of human culture is one that allows everyone to participate, learn, and grow. Jellison is a leader in her field, and the wealth of knowledge she makes available in this book is extensive and valuable. It should aid her peers and inspire a new generation of student teachers.＜/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＞Audiences have long enjoyed Sergei Prokofiev's musical score for Sergei Eisenstein's 1938 film ＜em＞Alexander Nevsky.＜/em＞ The historical epic cast a thirteenth-century Russian victory over invading Teutonic Knights as an allegory of contemporary Soviet strength in the face of Nazi warmongering. Prokofiev's and Eisenstein's work proved an enormous success, both as a collaboration of two of the twentieth century's most prominent artists and as a means to bolster patriotism and national pride among Soviet audiences. Arranged as a cantata for concert performance, Prokofiev's music for Alexander Nevsky music proved malleable, its meaning reconfigured to suit different circumstances and times. Author Kevin Bartig draws on previously unexamined archival materials to follow Prokofiev's Alexander Nevsky from its inception through the present day. He considers the music's genesis as well as the surprisingly different ways it has engaged listeners over the past eighty years, from its beginnings as state propaganda in the 1930s to showpiece for high-fidelity recording in the 1950s to open-air concert favorite in the post-Soviet 1990s.＜/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＞Rethinking Schubert＜/em＞, today's leading Schubertians offer fresh perspectives on the composer's importance and our perennial fascination with him. Subjecting recurring issues in historical, biographical and analytical research to renewed scrutiny, the twenty-two chapters yield new insights into Schubert, his music, his influence and his legacy, and broaden the interpretative context for the music of his final years. With close attention to matters of style, harmonic and formal analysis, and text setting, the essays gathered here explore a significant portion of the composer's extensive output across a range of genres. The most readily explicable aspect of Schubert's appeal is undoubtedly our continuing engagement with the songs. Schubert will always be the first port of call for scholars interested in the relationship between music and the poetic text, and several essays in Rethinking Schubert offer welcome new inquiries into this subject. Yet perhaps the most striking feature of modern scholarship is the new depth of thought that attaches to the instrumental works. This music's highly protracted dissemination has combined with a habitual critical hostility to produce a reception history that is hardly congenial to musical analysis. Empowered by the new momentum behind theories of nineteenth-century harmony and form and recently-published source materials, the sophisticated approaches to the instrumental music in ＜em＞Rethinking Schubert＜/em＞ show decisively that it is no longer acceptable to posit Schubert's instrumental forms as flawed lyric alternatives to Beethoven. What this volume provides, then, is not only a fresh portrait of one of the most loved composers of the nineteenth century but also a conspectus of current Schubertian research. Whether perusing unknown repertoire or refreshing canonical works, ＜em＞Rethinking Schubert＜/em＞ reveals the extraordinary methodological variety that is now available to research, painting a contemporary portrait of Schubert that is vibrant, plural, trans-national and complex.＜/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 and Music Education in People's Lives＜/em＞ is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, this first book in the set provides a framework for understanding the content and context of music education, and for future action within the profession. A broad examination of the philosophical, psychological, cultural, international, and contextual issues that underpin a wide variety of teaching environments or individual attributes is paired with 25 relevant and insightful commentaries from established scholars and music educators. Taken as a whole, ＜em＞Music and Music Education in People's Lives＜/em＞ gives clear direction to how the discipline of music education can achieve even greater political, theoretical and professional strength. Contributors Harold F. Abeles, Nick Beach, Wayne D. Bowman, Liora Bresler, Patricia Shehan Campbell, Richard Colwell, Robert A. Cutietta, David J. Elliott, Sergio Figueiredo, Lucy Green, Wilfried Gruhn, David Hargreaves, Sarah Hennessy, Liane Hentschke, Donald A. Hodges, Christopher M. Johnson, Estelle R. Jorgensen, Andreas C. Lehmann, Richard Letts, H?kan Lundstr?m, Raymond MacDonald, Clifford K. Madsen, Andrew J. Martin, Marie McCarthy, Katrina McFerran, Gary E. McPherson, Bradley Merrick, Dorothy Miell, Gra?a Mota, Bruno Nettl, Bengt Olsson, Susan A. O'Neill, Johnmarshall Reeve, Bennett Reimer, James Renwick, Huib Schippers, Wendy L. Sims, David J. Teachout, Rena Upitis, Peter R. Webster, Graham F. Welch, Paul Woodford＜/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＞A House in the Sun＜/em＞ describes a number of experiments in solar house heating in American architectural, engineering, political, economic, and corporate contexts from the beginning of World War II until the late 1950s. Houses were built across the Midwest, Northeast, and Southwestern United States, and also proposed for sites in India, South Africa, and Morocco. These experiments developed in parallel to transformations in the discussion of modern architecture, relying on new materials and design ideas for both energy efficiency and claims to cultural relevance. Architects were among the myriad cultural and scientific actors to see the solar house as an important designed element of the American future. These experiments also developed as part of a wider analysis of the globe as an interconnected geophysical system. Perceived resource limitations in the immediate postwar period led to new understandings of the relationship between energy, technology and economy. The solar house - both as a charged object in the milieu of suburban expansion, and as a means to raise the standard of living in developing economies - became an important site for social, technological, and design experimentation. This led to new forms of expertise in architecture and other professions. Daniel Barber argues that this mid-century interest in solar energy was one of the first episodes in which resource limitations were seen as an opportunity for design to attain new relevance for potential social and cultural transformations. Furthermore, the solar discussion established both an intellectual framework and a funding structure for the articulation of and response to global environmental concerns in subsequent decades. In presenting evidence of resource tensions at the beginning of the Cold War, the book offers a new perspective on the histories of architecture, technology, and environmentalism, one more fully entangled with the often competing dynamics of geopolitical and geophysical pressures.＜/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＞A House in the Sun＜/em＞ describes a number of experiments in solar house heating in American architectural, engineering, political, economic, and corporate contexts from the beginning of World War II until the late 1950s. Houses were built across the Midwest, Northeast, and Southwestern United States, and also proposed for sites in India, South Africa, and Morocco. These experiments developed in parallel to transformations in the discussion of modern architecture, relying on new materials and design ideas for both energy efficiency and claims to cultural relevance. Architects were among the myriad cultural and scientific actors to see the solar house as an important designed element of the American future. These experiments also developed as part of a wider analysis of the globe as an interconnected geophysical system. Perceived resource limitations in the immediate postwar period led to new understandings of the relationship between energy, technology and economy. The solar house - both as a charged object in the milieu of suburban expansion, and as a means to raise the standard of living in developing economies - became an important site for social, technological, and design experimentation. This led to new forms of expertise in architecture and other professions. Daniel Barber argues that this mid-century interest in solar energy was one of the first episodes in which resource limitations were seen as an opportunity for design to attain new relevance for potential social and cultural transformations. Furthermore, the solar discussion established both an intellectual framework and a funding structure for the articulation of and response to global environmental concerns in subsequent decades. In presenting evidence of resource tensions at the beginning of the Cold War, the book offers a new perspective on the histories of architecture, technology, and environmentalism, one more fully entangled with the often competing dynamics of geopolitical and geophysical pressures.＜/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。