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"In The Necessity of Music, Celia Applegate explores the many ways that Germans thought about and made music from the eighteenth- to twentieth-centuries. Rather than focus on familiar stories of composers and their work Applegate illuminates the myriad ways in which music is integral to German social life. Musical life reflected the polycentric nature of German social and political life, even while it provided many opportunities to experience what was common among Germans. Musical activities also allowed Germans, whether professional musicians, dedicated amateurs, or simply listeners, to participate in European culture. Applegate's original and fascinating analysis of Mendelssohn, Schumann, Brahms, Wagner, and military music enables the reader to understand music through the experiences of listeners, performers, and institutions. The necessity of music demonstrates that playing, experiencing, and interpreting music was a powerful factor that shaped German collective life."--

Introduction: The intercultural approach to indigenous peoples in the American continent requires knowledge of the concepts and cultural practices that favor or impair health, considering their own perspective.Objective: To understand the meaning of health and mental health in the context of a Muisca community from Cota, Colombia, as well as the potential of music therapy to promote health.Materials and methods: Case study with a qualitative approach —social research of second order. Data collection included social cartography, in-depth interviews, focus groups, participant observation, and music therapy sessions.Results: This community has a different conception of health in relation to the beliefs of the dominant society, since health and mental health are not separate ideas. Music is integrated to community activities and health practice.Conclusions: The re-indigenization process is a political decision with cultural, health and organizational consequences. This type of communities cannot be equated with the dominant society or other indigenous groups in terms of health decisions. Public health requires an intercultural dialogue to work adequately with these communities. ; Introducción. El enfoque intercultural hacia las comunidades nativas americanas requiere el conocimiento de los conceptos y las prácticas que favorecen o perjudican la salud de estas poblaciones desde su propia perspectiva.Objetivo. Comprender el significado de salud y salud mental que circula en las narrativas de la comunidad reetnizada indígena muisca de Cota y el potencial de la musicoterapia comunitaria para promoverlas.Materiales y métodos. Estudio de caso con enfoque cualitativo tipo investigación social de segundo orden. Para la recolección de datos se utilizó cartografía social, entrevistas a profundidad, grupos focales, observación participante y proceso musicoterapéutico.Resultados. La comunidad maneja un concepto de salud diferente al de la sociedad mayoritaria. No hay división entre los conceptos de salud y salud mental. La música está integrada a las actividades comunitarias y de sanación.Conclusiones. La reetnización es una decisión política con implicaciones culturales, organizativas y de salud. Las comunidades reetnizadas no pueden ser equiparadas con la sociedad dominante ni con otros grupos indígenas en cuanto a decisiones en salud. La salud pública requiere un diálogo intercultural que permita el trabajo adecuado con estas comunidades.

Die neue, verstärkt politische Überzeugung, sich als ein der Gesellschaft nützender Künstler darzustellen, hatte der 1926 geborene Komponist Hans Werner Henze dringende Bedürfnisse nach Veränderung und beschäftigte sich zuerst intensiv mit direkten politischen Tätigkeiten seit dem Jahr 1966. Seine musikästhetische Idee der "musica impura" bot ihm dann die Grundlage, über eine neue Art von Musik nachzudenken. Von den Formgedanken der traditionellen Oper befreit, schuf Henze eine neue Form von Bühnenwerken. Dies war nicht nur eine der wichtigsten Errungenschaften des Erneuerungsversuchs aus den ersten zehn Jahren seiner Politisierung, sondern stellte auch gleichzeitig das zentrale Ergebnis seines Experimentiergeistes dar. Die neue Form fand Henze insbesondere in seinem Konzept action music. Unter diesem Begriff versteht man politische Texte, Aktion, Musik und Inszenierung, die in eine kompositorische Einheit gebracht werden. Es entstand eine von action music geprägte Reihe von Bühnen-Kompositionen, insbesondere fünf Werke bis 1976, deren experimentelle Stärke von Werk für Werk unterschiedlich intensiv erschien. In der vorliegenden Untersuchung wird zuerst die Frage gestellt, welche Vorstellungen Henze von der Musik während seines geistigen Wandels hatte. Aus diesem Grund wird sein Weg zu einer neuen Form in zwei Richtungen, geistig und musikalisch, verfolgt. Zweitens stellt sich eine noch tiefgreifendere Frage, nämlich aus welcher formellen und inhaltlichen Vorstellung der Begriff action music konzipiert wurde und wie Henze das Konzept in seinen Werken kompositorisch umsetzte. Es werden die Definition des Begriffs und die Merkmale des Konzepts, die man in allen fünf erwähnten Werken beobachten kann, erläutert. Darüber hinaus liegt das Interesse der vorliegenden Arbeit in der analytischen Untersuchung der Werke aus den 60er und 70er Jahren insbesondere unter dem Aspekt der neueren Bühnenkonzeption, mit der Henze intensiv experimentierte, und auf deren Entwicklungsmöglichkeiten er sich parallel zu seinem geistigen ...

Introduction / Jonathan M. Dueck and Suzel Ana Reily -- Part I: Mission music and local response. Music, convert, and subject in the North Sumatran mission field / Julia Byl -- Mission music as a mode of intercultural transmission, charisma, and memory in northern Australia / Fiona Magowan -- Coexistence of causal and cultural expressions of musical values among the Sabaot of Kenya / Julie Taylor -- Indigenous innovations on music and Christianity at Ratana Pa / Harold Anderson -- Music as shared space in Mennonite development work in Chad / Jonathan M. Dueck -- Are Western Christian Bhajans "reverse" mission music? / Christopher Dicran Hale -- Part 2: Utopias and alternative modernities. Drums in the experience of black Catholicism in Minas Gerais, Brazil / Glaura Lucas -- Chant as the articulation of Christian Aramean spirithood / Tala Jarjour -- The politics of pronunciation among German-speaking Mennonites in northern Mexio / Judith Klassen -- Hidden histories of religious music in a South African coloured community / Marie Jorritsma -- Music and religiosity among African American fundamentalist Christians / ThâeráeseSmith -- Songs of Oru Olai and the praxis of alternative Dalit Christian modernities in India / Zoe Sherinian -- Part 3: Struggles over musical space/competing Christianities. The renaissance of the Corsican confraternities and their musical negotiations / Caroline Bithell -- Local music making and the liturgical renovvation in Minas Gerais / Suzel Ana Reily -- The survival story of Syriac chants among the St. Thomas Christians in South India / Joseph J. Palackal -- Russian church music, conundrums of style, and the politics of preservation in the emigre diaspora of New York / Natalie K. Zelensky -- Parading Protestantisms and the flute bands of postconflict Northern Ireland / Jacqueline Witherow -- Everyday musical ethnicity and Roma (Gypsies) in Hungarian Pentecostalism / Barbara Rose Lange -- Part 4: Flows, media, markets, and Christian musics. Transnational connections, musical meaning, and the 1990s "British Invasion" of North American evangelical worship music / Monique Ingalls -- Negotiations of faith and space in Memphis music / Jennifer Ryan -- Tropes of continuity and disjuncture in the globalization of gospel music / Mellonee Burnim -- Mainline Protestantism and contemporary versus traditional worship music / Deborah Justice -- Negotiating the tensions of U.S. worship music in the marketplace / Anna E. Nekola -- Contingency and the symbolic experience of Christian extreme metal / Matthew Peter Unger -- Part 5: Cosmopolitan identities and everyday lives. Palestinian Christmas songs for peace and justice in sacred place and politicized space / Jennifer Sinnamon -- The diffusion of Gregorian chant in Southern Italy and the masses for St. Michael: to Barbara Haggh and to the memory of Michel Huglo / Luisa Nardini -- Performing Pannkotis identity in Haiti / Melvin L. Butler -- Christianity and Korean traditional music / Keith Howard -- Congregational singing, Orthodox Christianity, and the making of ecumenicity / Jeffers Engelhardt -- Afterward: Sound, soteriology, return, and revival in the global history of Christian musics / Philip V. Bohlman

Various modes of women's contemporary cultural, social and political leadership can be found in music. Informed by different histories and culturally bound social mores but also by a comparative perspective, the contributors of this volume ask what can be considered leadership in culture from women's point of view. They deconstruct the notion of leadership as corporative and career-related modes of success by showing how women's agency, power and negotiation in and through music can and should be considered as empowering, transformative and role-modeling. By interweaving several disciplinary perspectives - from ethnomusicology, musicology and cultural management to sociology and anthropology - this volume aims to substantially contribute to the study of women's leadership.

National life satisfaction is an important way to measure societal well-being and since 2011 has been used to judge the effectiveness of government policy across the world. However, there is a paucity of historical data making limiting long-run comparisons with other data. We construct a new measure based on the emotional content of music. We first trained a machine learning model using 191 different audio features embedded within music and use this model to construct a long-run Music Valence Index derived from chart-topping songs. This index correlates strongly and significantly with survey-based life satisfaction and outperforms an equivalent text-based measure. Our results have implications for the role of music in society, and validate a new use of music as a long-run measure of public sentiment.

This chapter is about punk music, or rather, one of its many meanings. Indeed, if there can ever be one certainty about punk, amidst the myriad arguments about what it is or is not, it is that punk is certainly versatile. In its time, it has served as agitprop, business model, youth movement, protest, means of promoting politics from a wide spectrum of beliefs, and even entertainment. It is a movement that has been both commercialized and has subverted commercialization. Indeed, part of the reason why punk remains a topic of discussion is precisely this multiplicity of purpose, a tendency towards both fragmentation and reinvention. However, the chapter will focus in particular on whether punk can serve as a means of understanding history, as a kind of document of its times and if so, how. In so doing, the question that will be asked is not if punk can serve as a kind of formal historical document – which, of course, was never its intention to begin with – but instead whether it can serve as a form of folk history, a subjective reflection of its times that captures the emotional responses of a particular moment in history.

The Cultural Politics of Jazz Collectives: This Is Our Music documents the emergence of collective movements in jazz and improvised music. Jazz history is most often portrayed as a site for individual expression and revolves around the celebration of iconic figures, while the networks and collaborations that enable the music to maintain and sustain its cultural status are surprisingly under-investigated. This collection explores the history of musician-led collectives and the ways in which they offer a powerful counter-model for rethinking jazz practices in the post-war period. It includes studies of groups including the New York Musicians Organization, Sweden's Ett minne för livet, Wonderbrass from South Wales, the contemporary Dutch jazz-hip hop scene, and Austria's JazzWerkstatt. With an international list of contributors and examples from Europe and the United States, these twelve essays and case studies examine issues of shared aesthetic vision, socioeconomic and political factors, local education, and cultural values among improvising musicians. © 2015 Taylor & Francis. All rights reserved.

The Feasibility study for the establishment of a European Music Observatory (in short: EMO Feasibility Study) has identified 7 data gaps, and a general data source. The Digital Music Observatory, as a cutting-edge observatory prototype, covers all 7 data gaps. I. Task list 1. Methodology Issues II. Filling the Data Gaps 1. Blockchain and music; 2. Artificial intelligence, machine learning and music; 3. Future of Streaming; 4. Mapping the flow of digital revenues in the music sector and the relevant business models in Europe; 6. Music start-ups in the EU; 7. The impact of artists' 'do it yourself' culture on the economy of the sector. According to the EMO Feasibility Study, "this pillar is less data-driven in that it will rely mostly on research conducted on topics relating to changes in the market place, new business models, disruptive technologies, etc. A European Music Observatory will have the latitude to pick certain topics based on priorities and input from sectoral stakeholders." The Digital Music Observatory covers all seven areas. II. The innovation of Music Pillar of the Digital Music Observatory 1. From CEEMID to the Digital Music Observatory This can be used in excellence / Objectives and WP Implementation. 2. Music & Innovation Policy Relevance This can be used as state-of the art in Objectives. 3. Open Collaboration, Open Policy Analysis, and Open Data This overlaps with our general WP Implementation. III. References The goals of the Innovation Pillar greatly overlap with the three core pillars of Economy of Music, Diversity and Circulation and Music, Society and Citizenship. some aspects of the innovation of Music Pillar.

Christopher Partridge's The Lyre of Orpheus is the first general introduction to the subject of religion and popular music. His aim in this book is to introduce a range of theoretical and methodological perspectives to be used in the study of religion and popular music and popular music subcultures