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Military rituals accompanied by martial music help breed in the military sustainable social attitudes--patriotism, the feeling of belonging to the nation, to the army, etc. Military music and military rituals throughout Russian history are examined. Adapted from the source document.

Description based on: 1913. ; At head of title: Harvard University examinations. ; Cover title. ; Mode of access: Internet.

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. "

In ideological terms, punk is a contestation movement in its artistic, economic and social dimensions. It resembled the 1960s' garage rock since it favoured the public mobilization of youths through the proliferation of bands that campaigned for the do it yourself strategy. In Western societies, punk represented a departure from and a repositioning towards the existing social structure for which it also provided a soundtrack. It is in this context that we ap-proach the Portuguese punk, considering its importance in a society under recent processes of democratization and modernization. In fact, sociological theory must contribute to understand the set of social practices related to music in light of both the structural principles and properties of social life and the new emergent subjectivities, particularly among youths. Thus, in this article, we propose to look at punk from its protagonists' discourses. We will consider the words used by punk bands in two ways: their names and the words they use in their lyrics. In both cases, we deal with self-representation issues: who are we, how do we position and distinguish ourselves from others, what do we have to say about ourselves, our time and our world? What are our values and what do we have to say regarding dominant social values? What are the causes that move us, how do we want to act, how do we want the world to be like? As with any other self-representations, content is not independent from form. Therefore, mat-ters such as identification and actors (who speaks? who is he/she speaking to?) or language (how does the speaker express him/herself? Which codes does he/she resort to? Using which forms?) are also examined. Our analysis suggests that the punk discourse about identity tends to be structured around three main axes: (a) cosmopolitanism; (b) the radical assumption of an irreducible difference towards social order; and (c) an ambivalent attitude towards politics and political action.

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.

This paper proposes that educative and ethical music making and teaching, which is based on a praxial philosophy of music education (Elliott and Silverman, 2014), can be carried out in a variety of ways that create places and spaces, in schools and community settings, for a variety of human values or "goods" that include, but go beyond, making and listening to classical instrumental music, or any other kind of music, for "the music itself."One premise of this philosophical discussion is that music does not have one value; music has numerous values, depending on the ways in which it is conceived, used, and taught by people who engage in specific musical styles. For example, when music education is ethically guided—when we teach people not only in and about music, but also through music—we achieve what Aristotle and many other philosophers consider the highest human value—eudaimonia—which is a multidimensional term we explain the body of this paper.Following an examination of three community music settings that exemplify educative and ethical musical interactions, the paper provides a brief explanation of the nature of personhood that draws from embodied, enactive, empathetic, and ecological concepts put forth by several contemporary cognitive scientists and philosophers of mind nature. This sections leads to an examination to main constituents of eudaimonia: happiness and well- being as conceived by various scholars during the last 2500 years.The discussion ends by integrated the above themes with a discussion of a praxial philosophy of music education and its implications for school and community music education.

Growing research on music and language processing in recent years has simultaneously enabled us to understand its uses and promise in therapeutic settings. This review used recently published peer-reviewed literature to study the neurobiology of music processing, which includes the auditory processing hierarchy and engagement with language processes. Results showed that music has an impact on emotion systems, particularly the reward pathway and the Hypothalamic-Pituitary-Adrenal (HPA) axis. Furthermore, listening to music or music therapy for the treatment of psychiatric and neurological diseases demonstrated effectiveness in improving patient outcomes. Overall, music processing is a sophisticated process with some similarities to language processing. Future randomized controlled trials are required to shed light on the neurocognitive aspect of music processing.

China's traditional religious music is deeply rooted in folk life and labor. Studying the influence of Confucian music aesthetics on ancient religious music and the establishment of modern musical aesthetics has an important influence and the significance of learning from it. Studying the music aesthetics of Confucianism in the pre-Qin period can scientifically inherit and carry forward the traditional ritual and music civilization, combine the essence of China's traditional religious music aesthetics with reality, and explore the music theory that meets the needs of today, and can promote the healthy development of society. As the most popular and in-depth art form, music plays an inestimable role in the growth of contemporary college students. Firstly, this paper expounds on the relationship between Confucian music aesthetics and China's ancient traditional religious music art and puts forward that we should draw nutrition from China's ancient and profound culture to improve the artistic quality of contemporary college students. Then, from the angle of ethics, it explains the deep connotation of Pre-Qin Confucian musical aesthetics and tries to sort out its ideological system logically, hoping to expand the research of Pre-Qin Confucian musical aesthetics.