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Sound Targets
'Sound Targets' explores the role of music in American military culture, focusing on the experiences of soldiers returning from active service in Iraq. Pieslak describes how American soldiers hear, share, use & produce music, both on & off duty.
The Politics of Post-9/11 Music: Sound, Trauma, and the Music Industry in the Time of Terror
Seeking to extend discussions of 9/11 music beyond the acts typically associated with the September 11th attacks”U2, Toby Keith, The Dixie Chicks, Bruce Springsteen”this collection interrogates the politics of a variety of post-9/11 music scenes. Contributors add an aural dimension to what has been a visual conceptualization of this important moment in US history by articulating the role that lesser-known contemporary musicians have played”or have refused to play”in constructing a politics of protest in direct response to the trauma inflicted that day. Encouraging new conceptualizations of what constitutes 'political music,' The Politics of Post-9/11 Music covers topics as diverse as the rise of Internet music distribution, Christian punk rock, rap music in the Obama era, and nostalgia for 1960s political activism.
Peace, Culture, and Violence
Peace, Culture, and Violence examines deeper sources of violence by providing a critical reflection on the forms of violence that permeate everyday life and our inability to recognize these forms of violence. Exploring the elements of culture that legitimize and normalize violence, the essays collected in this volume invite us to recognize and critically approach the violent aspects of reality we live in and encourage us to envision peaceful alternatives. Including chapters written by important scholars in the fields of Peace Studies and Social and Political Philosophy, the volume represents an endeavour to seek peace in a world deeply marred by violence. Topics include: thug culture, language, hegemony, police violence, war on drugs, war, terrorism, gender, anti-Semitism, and other topics. Contributors are: Amin Asfari, Edward Demenchonok, Andrew Fiala, William Gay, Fuat Gursozlu, Joshua M. Hall , Ron Hirschbein, Todd Jones, Sanjay Lal, Alessandro Rovati, Laleye Solomon Akinyemi, David Speetzen, and Lloyd Steffen.
A Topical Guide to Schenkerian Literature
To the growing list of Pendragon Press publications devoted to the work of Heinrich Schenker, we wish to announce the addition of this much-needed bibliography. The author, a student of Allen Forte, has created a work useful to a wide range of researchers music theorists, musicologists, music librarians and teachers. The Guide is the largest Schenkerian reference work ever published. At nearly 600 pages, it contains 3600 entries (2200 principal, 1400 secondary) representing the work of 1475 authors. Fifteen broad groupings encompass seventy topical headings, many of which are divided and subdivided again, resulting in a total of 271 headings under which entries are collected.
Elliott Carter's What Next?
The first book about Elliott Carter's only opera--or indeed about any single work by this still-productive modern master. In 1997, the eminent American composer Elliott Carter teamed with British music critic/librettist Paul Griffiths to create the one-act opera What Next? Hailed by the New York Times as "theatrically dynamic" and "poignant," the opera explores how six people work together to emerge from the wreckage of an accident. Today, What Next? enjoys a prominent position in Carter's celebrated "late late" compositional period. In the firstbook to focus exclusively on one Carter composition, Guy Capuzzo uses the metaphors of communication, cooperation, and separation to trace the drama...
Understanding Video Game Music
Understanding Video Game Music develops a musicology of video game music by providing methods and concepts for understanding music in this medium. From the practicalities of investigating the video game as a musical source to the critical perspectives on game music - using examples including Final Fantasy VII, Monkey Island 2, SSX Tricky and Silent Hill - these explorations not only illuminate aspects of game music, but also provide conceptual ideas valuable for future analysis. Music is not a redundant echo of other textual levels of the game, but central to the experience of interacting with video games. As the author likes to describe it, this book is about music for racing a rally car, music for evading zombies, music for dancing, music for solving puzzles, music for saving the Earth from aliens, music for managing a city, music for being a hero; in short, it is about music for playing.
Egalitarian Dynamics
Liminality: the state of being 'betwixt and between' is one of anthropology's most influential concepts. This volume reconsiders Victor Turner's innovative extension of Arnold Van Gennep's concept of liminality from within the Manchester tradition of Social Anthropology established by Max Gluckman. Turner's work was grounded in ethnography and engaged with philosophical perspectives in varied socio-historical contexts, extending well-beyond the confines of the anthropology that initially inspired much of his work. Liminality has therefore become a concept with broad interdisciplinary reach. Engaging with topical issues across the globe - from neuroscience to open access publishing and refugee experiences in Europe - this volume launches Turner's fundamental work into the future.
Music at Michigan
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Towards a Twenty-First-Century Feminist Politics of Music
Towards a Twenty-First-Century Feminist Politics of Music opens up a new way of thinking about the absence of women's music. It does not aim to find 'a solution' in a liberal feminist sense, but to discover new potentialities, new possibilities for thought and action. Sally Macarthur encourages us, with the assistance of Deleuze, and feminist-Deleuzian work, to begin the important work of imagining what else might be possible, not in order to provide answers but to open up the as yet unknown. The power of thought - or what Deleuze calls the 'virtual' - opens up new possibilities. Macarthur suggests that the future for women's 'new' music is not tied to the predictable and known but to future...
