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"Lawrence Gellert has long been a mysterious figure in American folk and blues studies, gaining prominence in the left-wing folk revival of the 1930s for his fieldwork in the U.S. South. A 'lean, straggly-haired New Yorker,' as Time magazine called him, Gellert was an independent music collector, without formal training, credentials, or affiliation. At a time of institutionalized suppression, he worked to introduce white audiences to a tradition of black musical protest that had been denied and overlooked by prior white collectors. By the folk and blues revival of the 1960s, however, when his work would again seem apt in the context of the civil rights movement, Gellert and his collection of Negro Songs of Protest were a conspicuous absence. A few leading figures in the revival defamed Gellert as a fraud, dismissing his archive of black vernacular protest as a fabrication-an example of left-wing propaganda and white interference. A Sound History is the story of an individual life, an excavation of African American musical resistance and dominant white historiography, and a cultural history of radical possibility and reversal in the defining middle decades of the U.S. twentieth century."--

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.

Cover -- Half Title -- Title -- Copyright -- Contents -- Introduction -- 1. Intent is a Flawed Standard for Determining Legitimate Threats -- 2. Violent Lyrics Increase Aggression -- 3. The Media Overhypes the Effects of Violent Music Lyrics -- 4. Rap Music can Both Encourage and Discourage Violence -- 5. Sexual Music Lyrics Harm Children -- 6. Explicit Music Lyrics can Raise Awareness of Sexual Violence -- 7. Degrading Lyrics don't Harm Women -- 8. Criticism of Beyoncé is Often Harmful to Black Women -- 10. "Bro Country" can be Smart, Fun, and Harmless -- 11. Rap Lyrics Encourage Positive Capitalist Values -- Organizations to Contact -- Bibliography -- Index -- Back Cover

Cover -- Half Title -- Series Information -- Title Page -- Copyright Page -- Dedication -- Table of Contents -- Illustrations -- Foreword -- Acknowledgements -- Introduction -- The Celts: A Complex Construct With Multiple Meanings -- Restoring the "Golden Age" -- A First Encounter With the Cornish Revival Communities -- From a Deconstructivist to a Postmodern Reading -- Notes -- Bibliography -- 1 Cornish Distinctiveness: History and Language -- The Celtic Roots of Kernow -- Local Peculiarities in Protestant and Methodist Cornwall -- Kernewek: The Marker of Cornish Celticity -- Cornwall: A (Celtic) Nation? -- Notes -- Bibliography -- 2 Celtic Traces in Cornish Music and Dancing -- Written Sources in Old Cornish -- Written Sources in Middle Cornish -- Visual Evidence of Medieval Music and Dance in Cornwall -- Song Texts in Late Cornish -- Historical Celtic Music and Dance Traditions? -- Notes -- Bibliography -- 3 Anglo-Cornish Traditions -- Morris Dances, Guising Traditions, Carols and Wassails -- The Padstow Maysong and the Dance of the "Obby Oss" -- Helston Flora Day and the Furry Dance -- The Anglo-Cornish Dialect Songs -- Cornish Community Music and Dances -- Local Forms of Pan-British Traditions -- Notes -- Bibliography -- 4 The Role Models: Cornwall and Circumambient Revival Movements -- The Cornish Language Revival and the First British Folk Revival -- Unified Cornish: A "Medieval" Language for New "Traditional" Songs -- Gather Up the Fragments So That Nothing Be Lost -- Analogies Between the Cornish and Other Celtic Cultural Revivals -- Cornwall and the Second British Folk Revival -- Inglis Gundry and Peter Kennedy -- The Folkies -- Brenda Wootton and Richard Gendall: The First Cornish-Language Songs -- The Celtic Music Revivals -- The Irish and Scottish Music Revivals From 1950-1970 -- Alan Stivell, the Founding Father of "Celtic Music".

Reggae music is more than a popular music style. It has been an essential part of tourism development in Jamaica. The way in which reggae music has been interpreted since its inception is critical to understanding the music 's effect on Jamaica's touristic culture. This touristic culture describes the established social atmosphere of the community and attitude of local residents and visitors toward tourism within the region. The Jamaican government's effort to control the social movement and the role of reggae music in relation to tourism are viewed by understanding reggae music with respect to the Rastafarian movement. Governmental approaches played an important part in allowing the development of touristic culture with reggae music and the Rastafarian movement. The purpose of this study was to view the role of reggae music in Jamaican tourism development along with a social movement, the Rastafarian movement. This study was important because it served as a vehicle to understand the interplay of social movement and touristic culture. Such an understanding of touristic culture could be useful in tourism dependent regions. This study used an extensive review and analysis of the literature to make observations and conclusions.

"This book considers the intersection of music, politics and identity, focusing on music (genres) across the world as a form of political expression and protest, positive identity formations, but also how the criminalisation, censuring, policing and prosecution of musicians and fans can occur. All-encompassing in this book is analyses of the unique contribution of music to various aspects of human activity through an international, multi-disciplinary approach. The book will serve as a starting point for scholars in those areas where there has been an uncertain approach to this subject, while those from disciplines with a more established canon of music analysis will be informed about what each perspective can offer. The approach is international and multi-disciplinary, with the contributing authors focusing on a range of countries and the differing social and cultural impact of music for both musicians and fans. Academic disciplines can provide some explanations, but the importance of the contribution of practitioners is vital for a fully rounded understanding of the impact of music. Therefore, this book takes the reader on a journey, beginning with theoretical and philosophical perspectives on music and society, proceeding to an analysis of laws and policies, and concluding with the use of music by educational practitioners and the people with whom they work. This book will appeal to students and scholars in subjects such as sociology, criminology, cultural studies, and across the wider social sciences. It will also be of interest to practitioners in youth justice or those with other involvement in the criminal justice system"--

'Music Downtown Eastside' explores how human rights are at play in the popular music practices of homeless and street-involved people who feel that music is one of the rare things that cannot be taken away of them. It draws on two decades of ethnographic research in one of Canada's poorest urban neighborhoods, Vancouver's Downtown Eastside. Klisala Harrison takes the reader into popular music jams and therapy sessions offered to the poorest of the poor in churches, community centers and health organizations. There she analyzes the capabilities music-making develops, and how human rights are respected, promoted, threatened, or violated in those musical moments.

Popular music was integral to the 1960s and to the lives of the many young people who bought records, listened to the radio, went to concerts, joined fan clubs, and forged communities around music. For many young women, music and fandom became terrains of cultural rebellion through the experiences, connection, access to new ideas, and participation in public culture that each provided. When these experiences were lived in public, as they were so visibly at the height of Beatlemania, popular music fandom became a major current in American culture and challenged many gender conventions in families, relationships, dress, behavior, and public spaces. Images of women as fans in the 1960s—from screaming Beatlemaniacs to the ubiquitous "hippie chicks"—are well known in the era's visual record and the smiling, sometimes frantic, faces of fans and the sound of their screams have been integral to recent commemorations of the decade. While these screams and images are significant, alone they do not reveal the rich stories of connection and meaning that made up sixties music culture and the unique experiences of women's fandom that were integral to the 1960s. By locating fans as individuals and communities in the folk revival, Beatlemania, and the rock music of the counterculture, this project explores women's experiences as fans and illustrates the ways in which music and fandom shaped women's participation in a vibrant music culture and in political culture as well. By taking women's music fandom seriously as a broad and important cultural impulse, this project explores how it both reflected and shaped many of the decade's crucial developments and charts connections between music, music fandom, women's liberation, and the cultural rebellions of the era.

Introduction : lost voices -- Collecting culture : science, technology, & reification -- A geography of the forgotten : vernacular music & modernity's discontents -- Utopian community : nostalgia from Marx to Morris -- Difference & belonging : on the songs of black folk -- Soul through the soil : Cecil Sharp & the spectre of fascism -- Coda : blood sings : a soundtrack for the alt-right.

Music-making, fundamentally a communal practice, is the source of aesthetic, emotional, and spiritual experience of a kind comparable to the Faustian "moment" (Augenblick). The most ideal musical culture is one in which no clear dividing line exists between practitioners and listeners, professionals and amateurs, the remnants of which are still discernible in present-day Thai classical music. The growing professionalism has been exploited by commercial manipulations driven by money and technology, resulting in a smug, push-button consumerism that treats music as a mere commodity. The only way out of this crisis is a return to the practice of music at the family, school, and community levels, whereby chamber music can be cultivated by a large pool of amateurs out of which real professionals can grow.