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The paper focuses on the aspects of aesthetic education and aesthetic experience of music under the conditions of online teaching of music due to the COVID-19 pandemic. The new mode of teaching affected the teaching process, particularly in the field of performance arts which involves direct experiencing of music, stage performances and direct cooperation of musicians. Aside from certain advantages, mostly regarding the organization of teaching and more time for practice, the results show that students were for the most part deprived of a comprehensive experience of music during the teaching process, and particularly of a specific aesthetic experience. A general conclusion is drawn that direct contact between the student and the professor in face-to-face teaching practice is an irreplaceable segment of music education.

Jean-Francois Lyotard (1974) had argued that Theodor Adorno's Philosophy of Modern Music (1949) was a "diabolic" work of "negative theology" that attributed to composer Arnold Schoenberg's music a secret redemptive power. However, in his later writings, Lyotard has himself moved close to a negative theological position with respect to modernity, time, aesthetics, & music. Here, the occasion of Lyotard's theologically inspired essays on music, "God and the Puppet" & "Obedience" (both, 1991) are drawn on to reevaluate Adorno's claims that music transcends mere language & reaches for the theological & more general claims in modern Western culture on behalf of music's ability to express the inexpressible. It is argued that the music-as-negative-theology position is not inherently metaphysical but rather that it reflects the importance of the "unsayable" to modern conceptions of reason. In resisting the closure of the modern narrative of reason, music, as a temporal art, has often given expression to the more radical forms of alterity present in modern forms of time; ie, negative theology is not the discourse of the devil; it is the impossible discourse of Western reason & its internal fracturing. 40 References. Adapted from the source document.

Professional development and recognition is an 'old' issue in music therapy but still a relevant, complex and crucial one. Burning questions regarding professionalisation are at the forefront of most music therapy associations' agendas across Europe and beyond, and feed back directly to the work of the EMTC. Considering the wider political, socio-economic, cultural and disciplinary aspects of professionalisation, different development pathways impact directly on music therapy practice, training, ethics, professional collaboration and employment conditions. Although a number of endeavours have been implemented regarding music therapy's professional development and recognition in different countries, documentation and sharing of such endeavours on international level has been limited and scattered. Drawing from the EMTC's work since the early '90s, as well as from colleagues' experiences (and struggles) of music therapy's professional pathways in different European countries, this special issue aims: * to provide an overview of the current 'state of affairs' in Europe by systematically documenting music therapy's paths of professional development across different countries by tracing not only its achievements, but also its failures and problems. * to offer opportunities to critique and reflect on the interrelationships between music therapy as a discipline (with all its requirements to clinical and/or academic training) and music therapy as a profession (with its regulations, governmental recognition, and registration, legitimisation/authorisation or licensing issues). Capturing the diversity of music therapy's professional development across different European countries, this special issue will contribute to the establishment of a shared platform of knowledge upon which further local or international initiatives can be developed. ; Professional development and recognition is an 'old' issue in music therapy but still a relevant, complex and crucial one. Burning questions regarding professionalisation are at the forefront of most music therapy associations' agendas across Europe and beyond, and feed back directly to the work of the EMTC. Considering the wider political, socio-economic, cultural and disciplinary aspects of professionalisation, different development pathways impact directly on music therapy practice, training, ethics, professional collaboration and employment conditions. Although a number of endeavours have been implemented regarding music therapy's professional development and recognition in different countries, documentation and sharing of such endeavours on international level has been limited and scattered. Drawing from the EMTC's work since the early '90s, as well as from colleagues' experiences (and struggles) of music therapy's professional pathways in different European countries, this special issue aims: * to provide an overview of the current 'state of affairs' in Europe by systematically documenting music therapy's paths of professional development across different countries by tracing not only its achievements, but also its failures and problems. * to offer opportunities to critique and reflect on the interrelationships between music therapy as a discipline (with all its requirements to clinical and/or academic training) and music therapy as a profession (with its regulations, governmental recognition, and registration, legitimisation/authorisation or licensing issues). Capturing the diversity of music therapy's professional development across different European countries, this special issue will contribute to the establishment of a shared platform of knowledge upon which further local or international initiatives can be developed. Apart from a report from each country, this special issue of Approaches includes the following 16 articles: The role of the EMTC for development and recognition of the music therapy profession Hanne Mette Ridder, Adrienne Lerner & Ferdinando Suvini (pp.13-22) The European Music Therapy Confederation: History and development Monika Nöcker-Ribaupierre (pp. 23-29) Maintaining the dialogue of influence: Developing music therapy theory in pace with practice and research Claire M. Ghetti (pp.30-37) The academic training of music therapists: Chances of normalisation and specialisation Thomas Wosch (pp.38-43) Paths of professional development in music therapy: Training, professional identity and practice Jane Edwards (pp.44-53) Music therapy as academic education: A five-year integrated MA programme as a lighthouse model? Brynjulf Stige (pp.54-61) Continuing professional development – Why, what and how? Angela Harrison (pp.62-66) Supervision during music therapy training: An interview with two Swedish supervisors Rut Wallius (pp.67-73) Supervisor training: An integration of professional supervision and the use of artistic media Inge Nygaard Pedersen (pp.74-85) The Bonny method of Guided Imagery and Music (GIM) in Europe Lars Ole Bonde (pp.86-90) Solo or tutti, together or alone – What form of professional/legal recognition is best for music therapy? Melanie Voigt (pp.91-97) The role of professional associations in the recognition process Ranka Radulovic (pp.98-109) Towards professionalisation of music therapy: A model of training and certification in Poland Krzysztof Stachyra (pp.110-117) Perspectives on the development of the music therapy profession in the UK Alison Barrington (pp.118-122) A process of two decades: Gaining professional recognition in Austria Elena Fitzthum (pp.123-126) Development of the music therapy profession in Latvia Mirdza Paipare (pp.127-130)

Published in Association with the Institute for the Study of Muslim Civilisations and the Aga Khan Music ProgrammeExamines how the making, marketing and performance of new Islamic music genres relate to Islamic discourse and thoughtListen to the Spotify playlist 'The Awakening of Islamic Pop Music', featuring 103 of the songs mentioned in the bookAnalyses the contribution of popular music to the development of contemporary interpretations of IslamUses Awakening as a case study to explore the relationship between Islamic popular music genres and wider Islamic discourseSupported by fieldwork (following tours), content analyses (of songs, videos, promotion material and social media) and interviews (with artists, business people and musicians) Includes new perspectives on celebrity culture among Muslims and its connection with ethical Muslim masculinity Awakening – an Islamic media company formed in London – has created the soundtrack to many Muslim lives during the last two decades. It has produced three superstars (Sami Yusuf, Maher Zain and Harris J.) among a host of other artists. As the company celebrates their first 20 years in the industry, Jonas Otterbeck examines their remarkable rise to success and their established reputation as one of the most important global enterprises producing pop music inspired by Islam.Otterbeck thoroughly describes the history and development of new Islamic popular music genres, in particular pop-nashid and Islamic pop, for the first time. He argues that Awakening – a company with the ambition to portray itself as Islamic – is best understood in relation to the ethical turn in Islamic thinking. In analysing the turn to ethics, he explores how the Islamic pop industry is, in effect, altering the very formulations of Islamic thought. Closely examining the ethical masculinity of the Awakening artists, alongside their personas in songs, on stage and on social media, the book analyses how popular culture and the creative arts challenge Islamic (re)thinking. "

Music and Democracy explores music as a resource for societal transformation processes. This book provides recent insights into how individuals and groups used and still use music to achieve social, cultural, and political participation and bring about social change. The contributors present outstanding perspectives on the topic: From the promise and myth of democratization through music technology to the use of music in imposing authoritarian, neoliberal or even fascist political ideas in the past and present up to music's impact on political systems, governmental representation, and socio-political realities. The volume further features approaches in the fields of gender, migration, disability, and digitalization.