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"Since its inception in the mid-twentieth century, American music theory has been framed and taught almost exclusively by white men. As a result, whiteness and maleness are woven into the fabric of the field, and BIPOC music theorists face enormous hurdles due to their racial identities. In On Music Theory, Philip Ewell brings together autobiography, music theory and history, and theory and history of race in the United States to offer a black perspective on the state of music theory and to confront the field's white supremacist roots. Over the course of the book, Ewell undertakes a textbook analysis to unpack the mythologies of whiteness and western-ness with respect to music theory, and gives, for the first time, his perspective on the controversy surrounding the publication of volume 12 of the Journal of Schenkerian Studies. He speaks directly about the antiblackness of music theory and the antisemitism of classical music writ large and concludes by offering suggestions about how we move forward. Taking an explicitly antiracist approach to music theory, with this book Ewell begins to create a space in which those who have been marginalized in music theory can thrive"--

The idea that music has mystical powers—to heal, to soothe, to cause depravity, to promote political unrest or intelligence—has a long history that persists to the present day. Yet even scientific research into music and health often focuses on effects rather than causes, leaving vital questions unanswered. By contrast, Music Asylums, part of Ashgate's Music and Change: Ecological Perspectives series, sets out to explore "how, where and when music makes a difference." It is the first volume in a triptych devised by Tia DeNora and Gary Andsell, based on their six-year study of community music therapy in a center for mental health in England. The focal point of the three-part work is the recently published co-authored volume Musical Pathways for Recovery (Ansdell and DeNora 2016), with DeNora's Music Asylums and Andsell's (2014) How Music Helps envisaged as side panels that support and reflect on the topic from the authors' respective specializations of music sociology and music therapy. Music Asylums is roughly divided into two halves, the first providing a general ecological account of "how illness, health, the body, mind, culture and agency are intertwined" (6), the second developing and illustrating these ideas with reference to specific contexts where music is a significant factor in producing and maintaining wellbeing.

Rancière and Music -- Edinburgh University Press -- Contents -- Examples -- Acknowledgements -- Notes on Contributors -- Introduction -- I Music and Noise -- 1 Musique concrète and the Aesthetic Regime of Art -- 2 'Rip it up and start again': Reconfigurations of the Audible under the Aesthetic Regime of the Art -- 3 A Lesson in Low Music -- II Politics of History -- 4 Wandering with Rancière: Sound and Structure under the Aesthetic Regime -- 5 Staging Music in the Aesthetic Regime of Art: Rancière, Berlioz and the Bells of Harold en Italie -- 6 Rancière on Music, Rancière's Non-music -- 7 Coloured Opera and the Violence of Dis-identification -- III Politics of Interaction -- 8 Musical Politics in the Cuban Police Order -- 9 Rancière and Improvisation: Reading Contingency in Music and Politics -- 10 Rancière's Affective Impropriet -- IV Encounters and Challenges -- 11 The Problem of Commemorative Art Rancière, Resistance and the Problem of Commemorative Art: Music -- 12 Stain -- 13 On Shoemakers and Related Matters: Rancière and Badiou on Richard Wagner -- 14 Roll Over the Musical Boundaries: A Few Milestones for the Implementation of an Equal Method in M -- Afterword -- A Distant Sound -- Works Cited -- Index.

Chapter from Dublin's Future: New Visions for Ireland's Capital City, Dr. Lorcan Sirr (ed.), (Dublin: The Liffey Press, 2011). Dublin's Future is a collection of essays, which, for the first time, recognises that the future of the island's largest and most important urban conurbation is about more than the engineering of roads and the colouring of development plans. Seán Mac Erlaine's chapter explores the performance of music in Ireland's capital city, documenting the currently vibrant use of alternative art spaces for niche markets of improvised, experimental and non-mainstream music practice. Contributors are recognised authorities in their fields. They cross sectors of age, private and public, profit and non-profit, and each and every one has something interesting to say about the future of Dublin. Lorcan Sirr - on Cities; Peter Sirr - on Literature; Patrick Daly - on Energy; James Pike - on Housing; Dermot Lacey - on Politics; Paul Donnelly - on Theatre; Seán Mac Erlaine - on Music; Sinead Shannon - on Ageing; Helen Carey - on Visual Arts; Ciaran Fallon - on Movement; Gillian O'Brien - on Memory; Conor Skehan - on Economy; Deirdre Black - on Landscape; Katrina Goldstone - on Ethnic Legacy; Noel J. Brady - on Bridges and Crossings; Ferdinand von Prondzynski - on Education; Gregory Bracken - on the View from Without.

Cover -- Title -- Copyright -- Contents -- Acknowledgements -- 1 Introduction -- 2 "Alternative" Radio -- Commercial Radio Policy in Canada -- Discourses of "Alternative" -- A Local Alternative -- 3 The Canadian Campus Radio Sector Takes Shape -- Social Responsibility and Cultural Hierarchies in the Development of Campus Radio -- Community Media and Its Response to the Rise of Private Broadcasting -- Canadian Community Radio in the 1970s -- Regulating the Campus Radio Sector -- 4 From Campus Borders to Communities Campus Radio in Three Canadian Localities