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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. "

Wie denken (Musik-) LehrerInnen über die Planung und Durchführung ihres Unterrichts nach? Auf welche Weise fließen ihre Erfahrungen in die Unterrichtsgestaltung ein? Im Rahmen eines qualitativen empirischen Forschungsvorhabens wird mit Hilfe des Konstrukts "Individualkonzept" erhoben, was MusiklehrerInnen bei der Planung von Musikunterricht in der Oberstufe berücksichtigen. Außerdem werden Bezüge zwischen den Individualkonzepten und den biographischen Erfahrungen der ProbandInnen aufgedeckt. Die Auswertung der LehrerInneninterviews erfolgt nach den Grundsätzen der Grounded Theory Methodologie zunächst auf der Ebene von Einzelgesprächen; anschließend wird eine übergreifende "gegenstandsgegründete" Theorie über die Individualkonzepte der MusiklehrerInnen und deren biographische Einbettung entwickelt. Dabei stellt sich heraus, dass den Individualkonzepten ein einheitliches Muster zugrunde liegt, das sich in der Dimension der Zeit als Lernprozess gestaltet. Die Ergebnisse des Forschungsvorhabens legen es nahe, partiell berufsbegleitende Formen der LehrerInnenaus- bzw. -weiterbildung zu entwickeln und schon im Studium einen bewussten Umgang mit dem eigenen biographischen Hintergrund einzuüben. Vor allem aber wäre es sinnvoll, auch für LehrerInnen eine "Fehlerkultur" zu etablieren, die Unterrichtsprobleme in Lerndiskrepanzen umzudeuten hilft.

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.

Since childhood, children have been drawn to the aesthetics of music. In the current exploratory study, we investigate the relationship between age, gender, and music education in terms of the perception of music preferences and musical emotions, which are two fundamental aspects of the aesthetic experience of music, using the children of teachers. I utilized the sectional design. We have established an experimental method for addressing particular children's musical interests and tendencies to do this. Melodic emotions and style are highly regarded. The melody consisted of three brief piano pieces: a significant piece, a minor piece, and a freetone piece. This article describes the "Reasoning of Music Education" or "Philosophy of Music Education" field (MEP). Method of music instruction is a relatively young field, and many music educators are unaware of its existence, as well as its inclination and value. In North America and most other nations, specialized MEP courses are not currently common in undergraduate and graduate curricula. The most surprising aspect of music is the variety of human advancements and individuals that create, utilize, evaluate, teach, learn, and invent "music" items, cycles, encounters, etc. Similarly, billions of people have invested a great deal of time, effort, thought, emotion, money, and in some cases, their lives creating specific sounds and related activities. I also acknowledge that it has been completed. Although music is an important and visible component of human civilisation, certain types of "music" sounds are created and listened to fulfill basic survival demands. Infrequent (if not entirely bizarre) compared to the enormous effort we exert. As many have noted, music does not appear biologically essential, yet it permeates all cultures.

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.

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.

In modern science, the most important problem remains the interpretation of artistic (musical) images created in postmodern culture. This is directly related to the lack of a single style within this trend. The article attempts to trace the process of postmodern musical culture's features. It is demonstrated that the key ones can be consid-ered as: deconstruction, author's death, violation of artwork integrity, citationality, collage, focus on modern computer technologies, eclecticism of styles, minimal art, visual content, spatiality. The research methodology relied on the problem of unity of musical culture style formation. It is emphasized that the variety of techniques of creating a musical work – from classical to tishism, etc., makes the art of postmodernism corresponding to the key trends of globalization, as the images created by it are universal and understandable to any person. Conclusion dwells upon the fact that the consideration of the works of this direction is promising in terms of expanding the research task – the study of the transformation of the artistic image in dynamics.