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"Between 1941 and 1963, Aaron Copland made four government-sponsored tours of Latin America that drew extensive attention at home and abroad. Interviews with eyewitnesses, previously untapped Latin American press accounts, and Copland's diaries inform Carol A. Hess's in-depth examination of the composer's approach to cultural diplomacy. As Hess shows, Copland's tours facilitated an exchange of music and ideas with Latin American composers while capturing the tenor of United States diplomatic efforts at various points in history. In Latin America, Copland's introduced works by U.S. composers, including himself, through lectures, radio broadcasts, live performance, and conversations. Back at home, he used his celebrity to draw attention to regional composers he admired. Hess's focus on Latin America's reception of Copland provides a variety of outside perspectives on the composer and his mission. She also teases out the broader meanings behind reviews of Copland and examines his critics in the context of their backgrounds, training, aesthetics, and politics"--

The embedding of informal practises in music education in school relates to significant issues concerning students' engagement, participation, inclusion and the role of the teacher. This article addresses these issues by presenting and discussing current music education in compulsory comprehensive schooling in Sweden. It does so by drawing upon music pedagogical research, music education studies conducted during the last ten years and national evaluations. Examples of practice from upper secondary schools are also used to clarify and illustrate the issues under consideration. It has been said that Swedish music education has gone from 'School Music' to 'Music in School'. This development has been characterised by greater influence of students on curriculum content resulting in increased use of popular music, and, consequently, teaching strategies acquired from informal music playing contexts. The curriculum states that the core of the subject is practical music playing, through which personal development can occur – both musically and socially. Music education in several other countries is developing a more practical approach, and the role of popular music in schools and what is sometimes called informal learning is featured in international music pedagogy debates. This article considers the musical, pedagogical and democratic consequences of this pedagogy from a Swedish perspective. As a result of a sharp focus on personal social development and individual students' musical interests, music education has become relatively limited in terms of repertoire, content and teaching methods. Recent evaluations and studies also demonstrate that music education lacks direction, and is short of creative engagement with music. The role of the teacher is unclear and sometimes lacks in validity in a practical music education situation. Viewed from an international perspective, the kind of music education that has developed in Sweden is relatively unique. Thus, when the possibilities and limitations of music education in Sweden are discussed, it has the prospective to be of interest to international music education research.

This book offers a provocative sociological examination of masculinity, class and music education within the context of a unique and fascinating culture: the classical musical world of choirboys. The myriad cultural meanings embodied in the 'boy voice' are unravelled through compelling musical narratives of young choirboys, their mothers, and their teachers. The book investigates how boys negotiate dominant gender-class discourses and the various pedagogies involved in producing middle-class masculinities during primary school and early years contexts. Drawing on the theoretical resources of Bourdieu to develop the concept of 'musical habitus', the continued symbolic distinction of the choirboy is analysed in order to better understand how culture is simultaneously reproduced and evolving through music. This interdisciplinary work at the juncture of pedagogy and culture will appeal to social science researchers, educators and arts practitioners interested in the sociocultural dynamics of music.

Cover -- Half-Title -- Title -- Copyright -- Contents -- List of Figures and Tables -- Acknowledgements -- Introduction -- 1 Questions of Attribution and Contribution: What Constitutes a Visual Music Film? -- 2 The Formal Absolute in the Visual Music Film -- 3 The Spiritual Absolute in the Visual Music Film -- 4 Experimentation and Technological Innovation -- 5 Conceptions of Harmony in the Work of John Whitney -- Conclusion -- Notes -- Bibliography -- Index

1 Populism, Popular Culture and (Pop) Music: An Introduction -- 1.1 Why Study Populism and (Popular) Culture -- 1.2 Music and Politics -- 1.3 (Pop) Music and Populism: 'Mind the Gap' -- 1.4 Populism, Populisms: A Definition (and Its Boundaries) -- 1.5 Populism and (Pop) Music Between Opportunities and Resources: Research Design -- 1.6 Our Case: Italy -- 1.7 Data and Methods -- 1.8 The Content of the Volume -- References -- 2 Populism and (Pop) Music: Multiple Opportunity Structures in Italy -- 2.1 Music-Market Opportunity Structure in Italy -- 2.2 Political Opportunities -- 2.3 Discursive-Cultural Opportunities -- 2.4 Conclusions -- References -- 3 Pop Music and Populist Messages -- 3.1 A Surprising Populist Hype in Contemporary Italian Pop Music -- 3.2 Musicological Group Analysis: 'Playing Italianness in Italian Pop Music' -- 3.3 Conclusions -- References -- 4 The Use of (Pop) Music by Populist Parties -- 4.1 Music at the Lega Events: Building a 'Partisan Culture' Through Music -- 4.2 Music at the 5SM Events: A Different Process of Partisan Culture-Building -- 4.3 Conclusion: Different Populisms, Different Usages of Pop Music -- References -- 5 The Interactions Between Populist Actors and Popular Music in the Public Sphere -- 5.1 Average Italian Fan: Matteo Salvini and the Politicization of His Music Tastes -- 5.2 Salvini Versus Pop Artists: Flattering and Bullying -- 5.3 Pop Music Artists Versus Salvini: Reproducing the Populism/Anti-Populism Divide -- 5.4 Five Star Movement: Too Little Frivolous to Play Pop-Politics in a Credible Way -- 5.5 Between the Political Roles of Singers and Music Appropriation by Politicians: Voices from Experts -- 5.6 Conclusions -- References -- 6 Between Music and Politics: The Reception of ('Populist') Music by Fans and Citizens -- 6.1 'I Like Him Because He Got What He Wanted': Authentic, Rebel, 'Not Political' (i.e. Not Ideological or Partisan) -- 6.2 Pop Artists and Politics in Fans' Daily Lives -- 6.3 Music as a Collective Ritual -- 6.4 "Populists Seek the Vote of Those Listening to This Kind of Music": Cementing the Anti-Populist– Populist Divide Through Pop Music -- 6.5 Music, Politics and Audiences: Conclusion -- References -- 7 Conclusion: Challenges and Opportunities of (Pop) Music for Populism -- 7.1 Music 'as Action': Speaking Out Versus Speaking As -- 7.2 Music as Action: 'Organizing' -- 7.3 Between Music and Politics (in Italy): Towards an Explanation? -- 7.4 Populism and Pop Music: Scientific Added Value and Some Normative Reflections -- References.

"Discussions surrounding music and ethical responsibility bring to mind arguments about legal ownership and purchase. Yet the many ways in which we experience music with others are usually overlooked. Musical experience and practice always involve relationships with other people, which can place limitations on how we listen to and act upon music. In Music and Ethical Responsibility, Jeff Warren challenges current approaches to music and ethics, drawing upon philosopher Emmanuel Levinas's theory that ethics is the responsibilities that arise from our encounters with other people. Warren examines ethical responsibilities in musical experiences including performing other people's music, noise, negotiating musical meaning, and improvisation. Revealing the diverse roles that music plays in the experience of encountering others, Warren argues that musicians, researchers, and listeners should place ethical responsibility at the heart of musical practices"--

This is a chapter from the book, Music as Multimodal Discourse. ; The vast majority of work examining identity and politics in musicology, and in popular music studies in particular, presumes and sometimes explicitly argues that music is personally and socially therapeutic – that since music enacts social identities it is a force for good, particularly in relation to marginalised groups. My chapter brings together two areas of critical examination: the sociological analysis of fascist music; and the concept 'recontextualisation', developed in discourse analytic literature, wherein the contents of one text reappear in another text. Meanings are formed in use; and so, through this process of 'textual borrowing', (partly) new meanings are produced. This chapter examines three ways in which this occurs in fascist song and music – through appropriation; through interpolation; and through ideological realignment – and will explore the functions that this, and the performance of song and music more generally, serves to fascist cultural projects.

Master's thesis Music Management MU501 - University of Agder 2017 ; For as long as I have known of the existence of the music industry, I have heard two sides of its fairness towards artists. This was the case when I was a child and teenager, during the cassette- and CD-age, as well as my adult life, in the age of digital music and music streaming. I was curious not just to whether or not it was a fair business, but what the different perceptions of the industry was, especially today in the streaming age. My father once told me: "If there are two sides to a story, neither are true." The goal of this thesis is to find how the music industry perceives their current situation. I found it interesting to see if different associations of the music industry have the same perception. Whether they all possess the same knowledge, and if not, where it might differ, as well as what the "truth" might be. To answer this, my research-questions is the following: "What are the different perspectives in the music industry in regards to fairness and what kind of knowledge does the different bodies possess of the distribution?" I will in the discussion-chapter of the thesis review a possible practical solution to the challenges highlighted by my informants, based on my overall findings. The thesis is based on in-depth interviews with informants from the music industry and a panel debate of representatives from the industry, together with literature about the industry, rapports on streaming from UiO, MFO, and the Norwegian Cultural Government, and a master thesis on the consumers' perceptions from UiA.

The purpose of the paper is to highlight the peculiarities of vocal improvisation in rock music. The historical and theoretical aspects of the research problem are characterised, the works of famous rock singers whose vocal improvisation has become an integral part of their musical activity are analysed. Research methodology. To achieve this goal, a set of methods was used, namely: general scientific methods – analysis, synthesis, generalisation, systematisation – were used to develop the problem; specific scientific methods: historical-genetic and retrospective analysis, which clarified the formation and development of rock music; comparative and contrastive analysis, which was used to outline vocal improvisation in rock music; biographical method, which was used to analyse vocal improvisation in the activities of famous rock singers. The scientific novelty lies in the fact that for the first time the features of vocal improvisation in rock music are presented. Conclusions. The article focuses on the concept of "vocal improvisation" (the process of creating music with the voice without pre-prepared musical or textual materials), reveals its essential aspects in rock music, which are hidden in a special tension, energy, emotional load, melody, smooth transitions between notes, the use of a rough voice, special effects such as echo, reverb, vocal filters. The features of vocal improvisation are analysed on the example of the works of Freddie Mercury (rock band "Queen"), Robert Plant (rock band "Led Zeppelin"), Steven Tyler (rock band "Aerosmith"). It has been found that a wide vocal range, the use of high notes, spontaneous vocal phrases and sounds are characteristic of Freddie Mercury ("Bohemian Rhapsody", "Galileo", "Someone to Love"). Whereas strong, expressive vocals and the ability to vary vocal riffs characterize Robert Plant ("Whole Lotta Love", "Dazed and Confused", "Black Dog") and Steven Tyler ("Dream", "Sweet Emotions", "Mama Kin"). The focus is on vocal improvisation in rock music of the early XXI century, which is characterized by eclectic styles, the use of technology, and variations in lyrics.
Keywords: vocals, improvisation, music, rock, vocal improvisation, rock music, rock band.

Rock music, rap, and heavy metal are all forms of vulgar music. Vulgarity refers to actions and communication that are "common, noisy, and gross," and are "untranscendent." A technological society is a vulgar society in its base of materialism and exclusive concern with power. Its excessive rationality produces a need for escape, for ecstasy, for the release of instinctual power. Vulgar music mimics a technological society and provides compensation for its repressive impact.