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Composers generally write music alone, and we commonly understand the great figures of classical music as singular geniuses. Even where composers' social networks and friendships are of contextual interest, it is arguable that their association with other musicians arises because they choose to socialize with similar others. However, it is also possible that creative work, even for artists as solitary as composers, depends significantly on interaction and collaboration. Certain periods and places are considered hotspots of creativity where new musical ideas are shared and movements arise. In this paper we consider the case of British classical composition, both as an example of a music network, and to contribute to debates in music history.

This book provides the first comprehensive study of narco cinema, a cross-border exploitation cinema that, for over forty years, has been instrumental in shaping narco-culture in Mexico and the US borderlands. Identifying classics in its mammoth catalogue and analyzing select films at length, Rashotte outlines the genre's history and aesthetic criteria. He approaches its history as an alternative to mainstream representation of the drug war and considers how its vernacular aesthetic speaks to the anxieties and desires of Latina/o audiences by celebrating regional cultures while exploring the dynamics of global transition. Despite recent federal prohibitions, narco cinema endures as a popular folk art because it reflects distinctively the experiences of those uprooted by the forces of globalization and critiques those forces in ways mainstream cinema has failed.

Abstract
Traditional North-Indian music has played a crucial role in creating a distinct identity for Indians in the Caribbean since the arrival of the first indentured migrants in 1838. The use of socio-cultural and political elements to connect with the homeland is one of the important features of Indo-Caribbean music. 'Creolisation' is indisputable in Caribbean music, which was a result of merging Indian music with local Caribbean music, giving rise to different styles of music, i.e., Baithak Gana, Chutney, and Chutney Soca. This article examines diasporic metamorphoses as a means to understanding how immigrants from India asserted their ethnic identity through such metrics of music. One of the important findings of this research shows that Indians in the Caribbean tried to keep Hindustani music alive despite constant changes taking place in the field as a result of globalisation.

[In the late 1800s] "both the Ruhr [in Germany] and the lower Mississippi [in the U.S.] provided "trading zones" in which people with varied backgrounds met, and traded things, ideas, skills, and cosmologies to resolve social, political, and technological problems. In the years after 1865, new socio-technical and technopolitical systems provided new trading zones, in which people produced different responses in high culture and popular culture. This essay investigates responses in some zones. In developing new responses to new problems, workers and musicians created different responses in similar spaces.

"Preface and Acknowledgements" -- "Contents" -- "List of Figures" -- "Chapter 1 Introduction: Who Is Entitled to Study Film Music?" -- "References" -- "Part I Pars Destruens" -- "Chapter 2 The Not-so-fantastical Gap Between Music Studies and Film Studies" -- "Film Music in Music Studies" -- "Film Music in Film Studies" -- "References" -- "Chapter 3 Recent Attempts to Bridge the Gap and Overcome a Separatist Conception" -- "Proposals to Overcome the Separatism" -- "Communications Model Vs. Perception Model" -- "References" -- "Part II Pars Construens" -- "Chapter 4 The Neoformalist Proposal" -- "Neoformalism: An Introduction" -- "Neoformalist Film Analysis" -- "Neoformalism and Music in Films" -- "References" -- "Chapter 5 Film/Music Analysis I: Music, Gestalt, and Audiovisual Isomorphism" -- "Music as Music" -- "Music and Gestalt Qualities" -- "Analysing the Filmic System: Macro and Micro Configurations" -- "References" -- "Chapter 6 Film/Music Analysis II: Functions and Motivations of Music" -- "Music and Motivations" -- "Functions" -- "References" -- "Part III Pars Demonstrans" -- "Chapter 7 Five Illustrations of Film/Music Analysis" -- "Are All Gaps 'Fantastical' and Meaningful?" -- "Anempathetic Effect, Proper" -- "Tell It with a Song: Cognitive Function of the Lyrics" -- "Opening Credits, Prefiguration, and Title Music" -- "Music as the Connective Tissue of Emotions: The Umbrellas of Cherbourg" -- "References" -- "Chapter 8 Close Encounters of the Third Kind and E.T. The Extraterrestrial: The Bonding Power of Music" -- "Close Encounters of the Third Kind (1977)" -- "E.T. The Extraterrestrial (1982)" -- "Conclusions" -- "References" -- "Chapter 9 Recapitulation and Final Thoughts" -- "References" -- "Filmography

When the Japanese attacked Pearl Harbor on the morning of December 7, 1941, they little realized what a formidable foe they had aroused. An enraged America immediately declared war on Japan. As a result, Germany declared war on America. Now facing enemies on both fronts, America mobilized her troops for action and prepared weapons of mass destruction. The unity experienced by the American people during this time had never been and would never be matched. Both soldiers and civilians launched themselves into the war effort. This great national endeavor called for anthems of reflection and encouragement. While they continued to sing national favorites such as "The Star-Spangled Banner" and "America the Beautiful," contemporary musicians wrote pieces that directly pertained to the country's present trials and triumphs. New works remembering Pearl Harbor, praising the soldiers and comforting the sweethearts saturated the airwaves and were featured in performance venues. Music gave a tangibility and expression to the deeply felt emotional turmoil of the American people. They identified with and drew comfort from the subject matters it explored. Musicians such as Artie Shaw, Glenn Miller and the Andrews Sisters took tours entertaining troops at home and abroad, giving them courage and strength for the daunting fight they faced. When victory was finally achieved for the Allies on September 2, 1945, the people again turned to music as an outlet for their jubilant celebrations. Thus, music played a significant part in boosting American patriotism and troop support throughout the entirety of World War II.

Despite the rise of global online music services like iTunes and Spotify, local and physical music retailers are not extinct. Although many have faced redundancy, others are turning their local presence and technological platforms into assets in regaining customer favour. This article presents an interview-based study of the transformations of two Norwegian record stores in the 2000s, one of which invested in vinyl records, and the other in online streaming with a local profile. These distributors are found not only to have changed the way in which they make records available, but also to have cultivated specific forms of musical communication, in perceptual, psychological and social terms. In doing so, they have developed crucial tools, such as the retailing of high-fidelity sound systems and the hosting of local concert events.