This volume charts a new frontier of applied ethnomusicology by highlighting the role of music in both inciting and resolving a spectrum of social and political conflicts in the contemporary world. Examining the materials and practices of music-making, contributors detail how music and performance are deployed to critique power structures and to nurture cultural awareness among communities in conflict. The essays here range from musicological studies to ethnographic analyses to accounts of practical interventions that could serve as models for conflict resolution. Music and Conflict reveals how musical texts are manipulated by opposing groups to promote conflict and how music can be utilized to advance conflict resolution. Speaking to the cultural implications of globalization and pointing out how music can promote a shared musical heritage across borders, the essays discuss the music of Albania, Azerbaijan, Brazil, Egypt, Germany, Indonesia, Iran, Ireland, North and South Korea, Uganda, the United States, and the former Yugoslavia. The volume also includes dozens of illustrations, including photos, maps, and musical scores. Contributors are Samuel Araujo, William Beeman, Stephen Blum, Salwa El-Shawan Castelo-Branco, David Cooper, Keith Howard, Inna Naroditskaya, John Morgan O'Connell, Svanibor Pettan, Anne K. Rasmussen, Adelaida Reyes, Anthony Seeger, Jane C. Sugarman, and Britta Sweers.

In 1999 the Israeli conductor Daniel Barenboim and the Palestinian writer Edward Said organised a concert in Weimar in which half the performers were Palestinians and the other half Israelis.The performance itself and the rehearsals which preceded it had a lasting effect on all the participants. How far can the relationship between music and politics be used to promote a more peaceful world? That is the central question which motivates this challenging new work by some of the leading musicians and music scholars of our time. Combining theory from experienced academics such as Johan Galtung, Cindy Cohen and Karen Abi-Ezzi with compelling stories from musicians like Yair Dalal, the book also includes an exclusive interview with folk legend Pete Seeger. In each instance, practical and theoretical perspectives have been combined in order to explore music's role in conflict transformation. The book is divided into five sections. The first, 'Frameworks', reflects in-depth on the connections between music and peace, while the second, 'Music and Politics', discusses the impact of music on society. The third section, 'Healing and Education', offers examples of the transformative power of music in prisons and settings of conflict-resolution, while the fourth, 'Stories from the Field', tells true stories about music's impact in the Middle East and elsewhere. Finally, 'Reflections' encourages the reader to consider a personal evaluation of the work with a view to further explorations of the power of music to promote peace.

Music in Conflict studies the complex relationship of musical culture to political life in Palestine-Israel, where conflict has both shaped and claimed the lives of Palestinians and Jews. In the context of the geography of violence that characterizes the conflict, borders and boundaries are material and social manifestations of the ways in which the production of knowledge is conditioned by political and structural violence. Ethical and aesthetic positions that shape artistic production in this context are informed by profound imbalances of power and contingent exposure to violence. Viewing expressive culture as a potent site for understanding these dynamics, the book examines the politics of sound to show how music-making reflects and forms identities, and in the process, shapes communities. The ethnography is based on fieldwork conducted in Israel and the West Bank in 2011–2012 and other excursions since then. Author has "followed the conflict" by "following the music," from concert halls to demonstrations, mixed-city community centers to Palestinian refugee camp children’s clubs, alternative urban scenes and even a checkpoint. In all the different contexts presented, the monograph is thematically and theoretically underpinned by the ways in which music is used to culturally assert or reterritorialize both spatial and social boundaries in a situation of conflict.

This book is the first in the field to explore the use of music in negotiation, conflict resolution and leadership development. Presenting grounded empirical data, it examines how adopting an ensemble approach to negotiation and problem-solving might assist in shifting adversarial combative and competitive frames towards a collaborative mindset. The book introduces a music-based cognitive metaphor and music-based pedagogy into the study of negotiation and problem-solving, considering the impact of arts-based learning strategies on the theory and practice of dispute resolution and enriching readers’ understanding of the design and implementation of such strategies. Specifically focused upon the rise of arts-based learning in professional business management education and training, this book explores the need for foundational change in conflict culture and leadership development, and how we might achieve it.

Congregational Music, Conflict and Community is the first study of the music of the contemporary 'worship wars' – conflicts over church music that continue to animate and divide Protestants today – to be based on long-term in-person observation and interviews. It tells the story of the musical lives of three Canadian Mennonite congregations, who sang together despite their musical differences at the height of these debates in the late 1990s and early 2000s. Mennonites are among the most music-centered Christian groups in North America, and each congregation felt deeply about the music they chose as their own. The congregations studied span the spectrum from traditional to blended to contemporary worship styles, and from evangelical to liberal Protestant theologies. At their core, the book argues, worship wars are not fought in order to please congregants' musical tastes nor to satisfy the theological principles held by a denomination. Instead, the relationships and meanings shaped through individuals’ experiences singing in the particular ways afforded by each style of worship are most profoundly at stake in the worship wars. As such, this book will be of keen interest to scholars working across the fields of religious studies and ethnomusicology.

"Music and Postwar Transitions in the 19th and 20th Centuries is the first book to highlight the significance of the idea of 'postwar transition' in the field of music and to demonstrate how the contribution of musicians, composers, and their publics have influenced contemporary understandings of war. At the intersection of four domains including: the relationship between music and war culture, commemorative and consolatory dimensions of music, migration and exile, and the links between music, cultural diplomacy, and propaganda, leading historians, political scientists, psychologists, and musicologists explore disruptions and connections to music through the backdrop of war. In turn, this volume sheds new light on what has been a blind spot in a growing historiography"--

Featuring fascinating accounts from practitioners, this Companion examines how developments in recording have transformed musical culture.

The SAGE Handbook of Human Rights will comprise a two volume set consisting of more than 50 original chapters that clarify and analyze human rights issues of both contemporary and future importance. The Handbook will take an inter-disciplinary approach, combining work in such traditional fields as law, political science and philosophy with such non-traditional subjects as climate change, demography, economics, geography, urban studies, mass communication, and business and marketing. In addition, one of the aspects of mainstreaming is the manner in which human rights has come to play a prominent role in popular culture, and there will be a section on human rights in art, film, music and literature. Not only will the Handbook provide a state of the art analysis of the discipline that addresses the history and development of human rights standards and its movements, mechanisms and institutions, but it will seek to go beyond this and produce a book that will help lead to prospective thinking.

This yearbook will be the third in an annual series of publications by the International Network for Research in Arts Education (INREA). It will provide a comprehensive survey of contemporary research trends in arts education and will be based on the idea of constructing knowledge in the arts with the wisdom of the many. About sixty scholars from across the world will convey the zeitgeist of the key issues in research in arts education. The volume will be designed as a basic companion for every researcher, student, teacher or artist who wants to know what the recent knowledge of scholars is and what they consider significant. The key issues will reflect the images and the observations that a large body of researchers consider to be essential.

Popular music may be viewed as primary documents of society, and America's Musical Pulse documents the American experience as recorded in popular sound. Whether jazz, blues, swing, country, or rock, the music, the impulse behind it, and the reaction to it reveal the attitudes of an era or generation. Always a major preoccupation of students, music is often ignored by teaching professionals, who might profitably channel this interest to further understandings of American social history and such diverse fields as sociology, political science, literature, communications, and business as well as music. In this interdisciplinary collection, scholars, educators, and writers from a variety of fields and perspectives relate topics concerning twentieth-century popular music to issues of politics, class, economics, race, gender, and the social context. The focus throughout is to place music in societal perspective and encourage investigation of the complex issues behind the popular tunes, rhythms, and lyrics.