John Rahn's prolific activities as a composer-theorist-teacher, inventor of computer sound-synthesis software, editor of Perspectives of New Music during the 1980s and 90s, and author of an exemplary text on atonal theory are conspicuously in the foreground of the academic music-intellectual world. This collection of essays charts Rahn's progression from the construal of music's data structures to the articulation of its experiential structures, leading to the question of its moral infrastructures and its value systems of the internal and external worlds. This book shows Rahn's remarkable intellectual evolution, culminating in the recognition that the pressure bearing on discourse can only be contained by thought formulated in the non-referential language of the arts themselves. Also includes 18 musical examples.

"Brings kids inside the world of music by helping them understand what proficient listeners think and feel as they listen to music, and what musicians think and feel as they play music ... Students construct their own understandings of music, first through an exploration of their personal relationship to music, then through a series of listen and talk sessions, and finally, by composing their own pieces and exploring the connections between their lives and the works of music they create ... All lessons fulfill the National Standards for Music Education"--From publisher description.

Have you ever been devastated by performance anxiety? Have you struggled with physical problems like tendonitis or nodules on your vocal cords? Are you battling with issues of confidence and self-belief? Music from the Inside Out tackles these thorny issues and others, which can profoundly affect musicians and which they may not want to face. Readers are encouraged to look at what lies beneath the surface and guided to unlock what’s holding them back. With this book, musicians can: • Learn how to transform their own inner critic• Get to grips with their performance nerves• Discover how to play with complete physical freedom• Perform to the peak of their expressive power Music from the Inside Out gives musicians the tools to transform their whole approach to performing music. It is suitable for classical musicians, students, amateurs and professionals. Because of its universal messages, it can cross over into the worlds of jazz, pop and rock; even sport, acting and any other performance-related professions. Author Charlotte Tomlinson has been inspired by a number of books, including The Inner Game of Tennis by W Timothy Gallwey, A Soprano on Her Head by Eloise Ristad, The Musician’s Way by Gerald Klickster and The Art of Practicing by Madeline Bruser.

This innovative new book brings together a number of different perspectives on aphasia, a communication impairment that can follow stroke. Contributors include people with personal experience of aphasia, as well as therapists, counsellors, educationalists, linguists and researchers who address issues of living with aphasia in their work. Whatever their perspective, whether personal, theoretical or professional, contributors reflect on and explore aspects of living with aphasia that have little place in conventional academic discourse. Accordingly, the chapters cover a range of issues, for example aphasia and the Internet, time and poetry. The diverse contributions are drawn together by an introductory chapter and a linking commentary. Aphasia Inside Out suggests new ways of thinking about aphasia, offers insights into the nature of the disabling barriers faced, and explores some creative possibilities open to people who live with communication disability. It will be a valuable resource for any professional or layperson who encounters aphasia in the course of daily life.

Contributions by Herman Dijo, J. Ketwaru, Guilly Koster, Lou Lichtveld, Pondo O’Bryan, and Marcel Weltak When Marcel Weltak’s Surinamese Music in the Netherlands and Suriname was published in Dutch in 1990, it was the first book to provide an overview of the music styles originating from the land that had recently gained its independence from the Netherlands. Up until the 1990s, little had been published that observed the music of the country. Weltak’s book was the first to examine both the instruments and the way in which they are played as well as the melodic and rhythmic components of music produced by the country’s ethnically diverse populations, including people of Amerindian, African, Indian, Indonesian/Javanese, and Chinese descent. Since the book’s first appearance, a new generation of musicians of Surinamese descent has carried on making music, and some of their elders referred to in the original edition have passed away. The catalog of recordings that have become available has also expanded, particularly in the areas of hip-hop, rap, jazz, R&B, and new fusions such as kaskawi. This edition, in English for the first time, includes a new opening chapter by Marcel Weltak giving a historical sketch of Suriname’s relationship to the Netherlands. It includes updates on the popular music of second- and third-generation musicians of Surinamese descent in the Netherlands, and Weltak's own subsequent and vital research into the Amerindian and maroon music of the interior. The new introduction is followed by the integral text of the original edition. New appendices have been added to this edition that include a bibliography and updated discography; a listing of films, videos, and DVDs on or about Surinamese music or musicians; and concise, alphabetically arranged notes on musical instruments and styles as well as brief biographies of those authors who contributed texts.

In The Oxford Handbook of Music in China and the Chinese Diaspora, twenty-three scholars advance knowledge and understandings of Chinese music studies. Each contribution develops a theoretical model to illuminate new insights into a key musical genre or context. This handbook is categorized into three parts. In Part One, authors explore the extensive, remarkable, and polyvocal historical legacies of Chinese music. Ranging from archaeological findings to the creation of music history, chapters address enduring historical practices and emerging cultural expressions. Part Two focuses on evolving practice across a spectrum of key instrumental and vocal genres. Each chapter provides a portrait of musical change, tying musical transformations to the social dimensions underpinning that change. Part Three responds to the role that prominent issues, including sexuality, humanism, the amateur, and ethnicity, play in the broad field of Chinese music studies. Scholars present systematic orientations for researchers in the third decade of the twenty-first century. This volume incorporates extensive input from researchers based in China, Taiwan, and among Chinese communities across the world. Using a model of collaborative inquiry, The Oxford Handbook of Music in China and the Chinese Diaspora features diverse insider voices alongside authors positioned across the anglophone world.

The definitive history of Pink Floyd by founding member Nick Mason, this reading edition brings up-to-date the band's incredible story as told uniquely from the inside out. Including the complete text of the original in an easy-toread format, a new chapter covering the passing of Rick Wright and the release of the group's final album, and 80 pages of images from Mason's archives plus new photos, Inside Out is a masterly rock memoir and an eye opener for both veteran fans and those just discovering the group.

Drawing on fieldwork conducted at eight women's music festivals, Eileen M. Hayes shows how studying these festivals--attended by predominately white lesbians--provides critical insight into the role of music and lesbian community formation. She argues that the women's music festival is a significant institutional site for the emergence of black feminist consciousness in the contemporary period. Hayes also offers sage perspectives on black women's involvement in the women's music festival scene, the ramifications of their performances as drag kings in those environments, and the challenges and joys of a black lesbian retreat based on the feminist festival model. With acuity and candor, longtime feminist activist Hayes elucidates why this music scene matters. Veteran vocalist, percussionist, producer, and cultural historian Linda Tillery provides a foreword.

Focus: Music in Contemporary Japan explores a diversity of musics performed in Japan today, ranging from folk song to classical music, the songs of geisha to the screaming of underground rock, with a specific look at the increasingly popular world of taiko (ensemble drumming). Discussion of contemporary musical practice is situated within broader frames of musical and sociopolitical history, processes of globalization and cosmopolitanism, and the continued search for Japanese identity through artistic expression. It explores how the Japanese have long negotiated cultural identity through musical practice in three parts: Part I, "Japanese Music and Culture," provides an overview of the key characteristics of Japanese culture that inform musical performance, such as the attitude towards the natural environment, changes in ruling powers, dominant religious forms, and historical processes of cultural exchange. Part II, "Sounding Japan," describes the elements that distinguish traditional Japanese music and then explores how music has changed in the modern era under the influence of Western music and ideology. Part III, "Focusing In: Identity, Meaning and Japanese Drumming in Kyoto," is based on fieldwork with musicians and explores the position of Japanese drumming within Kyoto. It focuses on four case studies that paint a vivid picture of each respective site, the music that is practiced, and the pedagogy and creative processes of each group. The downloadable resources include examples of Japanese music that illustrate specific elements and key genres introduced in the text. A companion website includes additional audio-visual sources discussed in detail in the text. Jennifer Milioto Matsue is an Associate Professor at Union College and specializes in modern Japanese music and culture.

By the end of the nineteenth century, Chinese culture had fallen into a stasis, and intellectuals began to go abroad for new ideas. What emerged was an exciting musical genre that C. C. Liu terms "new music." With no direct ties to traditional Chinese music, "new music" reflects the compositional techniques and musical idioms of eighteenth- and nineteenth-century European styles. Liu traces the genesis and development of "new music" throughout the twentieth century, deftly examining the social and political forces that shaped "new music" and its uses by political activists and the government.