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There is a longstanding relationship between music therapy and Dalcroze Eurhythmics, an approach to music education that had its beginnings in the reform pedagogy movement of the European fin de siècle. Émile Jaques-Dalcroze (1865-1950), the founder of the approach, initially focused on educational aims, but was soon to include therapeutic ones as well. During the early twentieth century, Dalcroze teachers applied the approach to their work with disabled children. Such applications have continued to develop to the present day and have expanded to include palliative treatment in HIV/AIDS and gerontology.There are many theoretical and technical similarities between Dalcroze Eurhythmics and improvisational music therapy, including communication through musical improvisation and attunement in playing for movement. However, many of these similarities remain to be discussed in relation to the literatures on music therapy and communicative musicality. To address this gap, this article takes a transdisciplinary approach, making conceptual connections between the theory and practice of both Dalcroze Eurhythmics and music therapy. Implications for future training, practice and research in Dalcroze Eurhythmics are discussed.

Organised in an accessible A-Z format and fully cross-referenced throughout, this book is a comprehensive guide to the terminology commonly used in the music business today. It embraces definitions from a number of relevant fields, from e-commerce to intellectual property law.

Focusing on social science perspectives on popular music since the late 1970s with 'the Cultural Turn', this set covers the work of Simon Frith, Larry Grossberg, Andy Bennett, Keith Negus and many more, and provides a distillation of the best academic work published on popular music

W. Benjamin's concept of the authenticity of art ("The Work of Art in the Age of Mechanical Reproduction," Zeitschrift fur Sozialforschung, 1936, 5), involving as it does the presence of the original, seems inapplicable to traditional music, since this depends on performance or recreation of the composer's intent. However, T. Adorno has suggested that contemporary music is heading in a direction in which the score itself is the absolute realization of the artistic endeavor. Thus, electronic music may allow the merging of true spirit & sensual realization. This has occurred since the modern composer has near absolute control over both material & technique. In electronic music composition, the notation is bypassed, thus merging production & reproduction, & eliminating interpretation. A work is created that has only one realization. Electronic music is, through this merging, able to evade the question of live vs recorded performance, thus liberating itself from the trappings of ritual & cult, & therefore disallowing manipulation. Some possible social functions of electronic music are discussed in relation to politics. M. Migalski.

Migrants bring music from the homeland to the metropolis. But music also migrates via the media: 'world' music, hip hop, bossa nova ... With case studies from across the world this ground-breaking collection shows how migrating music is key to the construction of a still-emerging, global cosmopolitan imagination.

The music industries hinge on entrepreneurship. The recent, rapid convergence of media and the parallel ongoing evolution of music businesses have again seen the focus shift to independent companies and individual entrepreneurs. Opportunities tend not to be advertised in professional music and practically everyone begins on their own: forming a band, starting a record label, running events, or building a website. But it's not an easy territory to navigate or get a handle on. This book features an analysis of the changing landscape of the music industries and the value of the entrepreneur within them through a series of focused chapters and case studies

Although music is often talked about as having one political agenda or another, in Western art music these features are generally thought to be distinct from the "music itself." As straightforward a proposition as this might seem to a reader fully acculturated to the contemporary music ideology, it is not the only possible way of conceiving of music as a social force. There exists music whose aesthetic merits are completely indistinguishable from its social function. More accurately, there exists an attitude about music in which it is not thought of as occupying a separate sphere with autonomous aesthetic principles. This paper creates a theoretical framework with these two attitudes at its extremes: absolute music and what I shall call "contingent" music. This theoretical framework has interesting historical antecedents, and is a useful way of thinking about some of modern music's ideological conflicts. It is also an important part of my own work as a composer, and this paper concludes by describing the way in which the absolute-contingent opposition informs three of my own compositions.