Music therapy is an established profession that is recognized around the world. As a catalyst to promote health and wellbeing music therapy is both objective and explorative. The Oxford Handbook of Queer and Trans Music Therapy (QTMT) is a celebration of queer, trans, bisexual and gender nonconforming identities and the spontaneous creativity that is at the heart of queer music-making. As an emerging approach in the 21st century QTMT challenges perspectives and narratives from ethnocentric and cisheteronormative traditions, that have dominated the field. Raising the essential question of what it means to create queer and trans spaces in music therapy, this book presents an open discourse on the need for change and new beginnings. The therapists, musicians and artists included in this book collectively embody and represent a range of theory, research and practice that are central to the essence and core values of QTMT. This book does not shy away from the sociopolitical issues that challenge music therapy as a dominantly white, heteronormative, and cisgendered profession. Music as a therapeutic force has the potential to transform us in unique and extraordinary ways. In this book music and words are presented as innovative equals in describing and evaluating QTMT as a newly defined approach.

Music therapy is an established profession that is recognized around the world. As a catalyst to promote health and wellbeing music therapy is both objective and explorative. The Oxford Handbook of Queer and Trans Music Therapy (QTMT) is a celebration of queer, trans, bisexual and gender nonconforming identities and the spontaneous creativity that is at the heart of queer music-making. As an emerging approach in the 21st century QTMT challenges perspectives and narratives from ethnocentric and cisheteronormative traditions, that have dominated the field. Raising the essential question of what it means to create queer and trans spaces in music therapy, this book presents an open discourse on the need for change and new beginnings. The therapists, musicians and artists included in this book collectively embody and represent a range of theory, research and practice that are central to the essence and core values of QTMT. This book does not shy away from the sociopolitical issues that challenge music therapy as a dominantly white, heteronormative, and cisgendered profession. Music as a therapeutic force has the potential to transform us in unique and extraordinary ways. In this book music and words are presented as innovative equals in describing and evaluating QTMT as a newly defined approach.

Music and queerness interact in many different ways. The Oxford Handbook of Music and Queerness brings together many topics and scholarly disciplines, reflecting the diversity of current research and methodology. Each of the book's six sections exemplifies a particular rhetoric of queer music studies. The section "Kinds of Music" explores queer interactions with specific musics such as EDM, hip hop, and country. "Versions" explores queer meanings that emerge in the creation of a version of a pre-existing text, for instance in musical settings of Biblical texts or practices of karaoke. "Voices and Sounds" turns in various ways to the materiality of music and sound. "Lives" focuses on interactions of people's lives with music and queerness. "Histories" addresses moments in the past, beginning with times when present conceptualizations of sexuality had not yet developed and moving to cases studies of more recent history, including the creation of pop songs in response to HIV/AIDS and the Eurovision song contest. The final section, "Cross-cultural Queerness," asks how to understand gender and sexuality in locations where recent Euro-American concepts may not be appropriate.

Micrographic reproduction of the 13 volume Oxford English dictionary published in 1933.

These volumes replace the 1933 Supplement to the OED. The vocabulary treated is that which came into use during the publication of the successive sections of the main Dictionary -- that is, between 1884, when the first fascicle of the letter A was published, and 1928, when the final section of the Dictionary appeared -- together with accessions to the English language in Britain and abroad from 1928 to the present day. Nearly all the material in the 1933 Supplement has been retained here, though in revised form (Preface).