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Drawing on both academic research and real world practice, this book offers an in-depth investigation into the production of music documentaries broadcast on radio. Music Documentaries for Radio provides a thorough overview of how the genre has developed technically and editorially alongside a discussion of the practical production processes involved. Digital production equipment and online tools used in music documentary production are discussed in detail, outlining how the development of these technologies shapes the output of producers operating in both the public service and the commercial sectors of the industry. Drawing on his own experiences as an award-winning music documentary producer, the author also looks at how the industry views this form of radio documentary and considers how innovation and technical advances, as well as governmental regulation, have shaped the field. The book demonstrates how changing practices and technical innovations have led to the emergence of multi-skilled, freelance radio producers and how previously separate production roles have merged into one convergent, multifaceted position. Music Documentaries for Radio is an ideal resource for students and academics in the fields of radio studies, media production, documentary-making, and journalism studies.

In October 2012, Thomas Gardner and Salomé Voegelin hosted a colloquium, entitled Sound Art and Music: historical continuum and mimetic fissures1, at the London College of Communication, University of the Arts London. This colloquium dealt with a current debate concerning the relationship between sound art and music and focused on the precept that sound art and music evolve in a shared world and that the joint navigation of this common terrain would allow for new creative approaches to be taken and new critical insights to be established on how we produce, listen and engage in works with sound. This colloquium was motivated by the lack of a joint critical framework for sound art and music and was inspired by their persistent separation: the politics of their disciplinary boundaries; the aesthetic expectations that maintain them, tradition, economics and education; as well as the practicalities of their transgression. It framed a discussion, critique and debate around the relationship between sound art and music from different vantage points: exploring aesthetic, commercial, technological, as well as emotional and ritualistic reasons to keep them separate or to build a continuum within their practice and theorisation. The main objective was to ignite a discourse between sound art and music, to provoke and propose languages and strategies that would enable artists, musicians, curators and scholars as well as a general audience to negotiate joint listening in this territory. The invited participants were: Simon Emmerson, Allen S. Weiss, Cathy Lane, Volkmar Klien, Leigh Landy, Claudia Molitor, Aura Satz, Angus Carlyle, Nye Parry, John Wynne, Peter Cusack, John Drever, Robert Worby, Michael Young, Anna Gritz, David Toop, Kathy Hinde, Seth Ayyez, Stephen Preston, Ed Baxter, Justin Yang, Helen Frosi, Max Eastley, and Salomé Voegelin and Thomas Gardner. They all agreed to spend a day together, debating the possibilities and significance of sound art's association with music. This book proposes to open the closed ...

Music played a prominent role in the rise of Nazi culture in Germany and was used extensively in propaganda and indoctrination of the entire country; the Nazi party brought music and politics together and sought to shape their ideal culture by elevating their ideas of pure music to the highest status and outlawing what they defined as inferior. This study addresses Hitler's specific views on music and explores several of the factors and individuals that contributed to his views. His views were directly inferred into the core of the Nazi party. Hitler himself was an artist and felt that art and music were a vital part of life and culture. He was deeply influenced by Wagner's views as well as his music, and Hitler saw many parallels between Wagner's conception of Germany and the stories which the composer used in his operas. This study also explores how the Nazis used music to spread their propaganda, what was considered to be "pure" music, and the impact which the idea of "pure" art had on Jewish musicians and composers. The party made significant use of music to strengthen their political events and indoctrinate the individual citizen. Not only was the actual music used to portray Nazi ideology, but Nazi doctrine played a significant role in the fate of Jewish composers and performers. Many Jewish musicians lost their jobs and found themselves banned from mainstream cultural and musical organizations. Arnold Schoenberg is the prime example of the effect of the Nazi ideology on the music and perception of a Jewish composer, while Wagner is the perfect example of the response to a composer who met the Nazi criteria of pure Aryanism. This study attempts to examine these historical facts in an effort to promote a better understanding of the cultural aspects of the Third Reich in the hopes that the informed individual will ensure that such views will never again permeate government and society.

This article explores the use of mobile phones as portable remediated sound devices for mobile listening — from boom boxes to personal stereos and mp3 players. This mode of engaging the city through music playing and listening reveals a particular urban strategy and acoustic urban politics. It increases the sonic presence of mobile owners and plays a role in territorialisation dynamics, as well as in eliciting territorial controversies in public. These digital practices play a key role in the enactment of the urban mood and ambience, as well as in the modulation of people's presence — producing forms of what Spanish architect Roberto González calls portable urbanism: an entanglement of the digital, the urban and the online that activates a map of a reality over the fabric of the city, apparently not so present, visible and audible

Jennifer Thomson, assistant professor of History at Bucknell University, interviews students in the Bucknell course Music 322: Music and Social Justice. Students describe the goals of the course and discuss the resources used to exchange knowledge about social justice issues including race, inequity, prison abolition, and sentence disparity.

Benjamin Joel Luna, M. M. James Madison University, 2021 Supervisor: Lisa M. Maynard The purpose of this study was to examine the Multicultural Music Education (MME) practices of established (i.e. more than three years of music teaching experience) Elementary Music Teachers in the state of Virginia by examining their responses to a series of survey questions specific to the topic. Participants (N=18) were all current Elementary Music Teachers in the state of Virginia with more than three years of experience. Participants were asked to use Likert-scale ratings for the majority of the questions but were also given the opportunity to provide optional additional input for each question if they should choose to do so. Subtopics within the questions included the following areas of focus: teacher preparation; teacher perceptions of preparedness to incorporate multicultural music into their classes; pedagogical practices used by current elementary music educators; access and availability of resources specific to multicultural music education; and administrative and parental influences in relation to the topic. The survey questions were administered using QuestionPro. Results were analyzed within the QuestionPro software and re-examined by the researcher-practitioner to identify existing trends and/or themes within the data. Optional responses and comments provided by the participants were also examined to further illuminate the survey findings. Findings indicated that participants held generally positive feelings and beliefs concerning MME and racial/linguistic/cultural diversity in ways that surpass historical references to a politically correct and ambiguous MME, reported a lack of preparation to teach from an MME perspective, were ambivalent toward racially and linguistically diverse repertoire, and held contradictory beliefs concerning the role of Western European notational decoding. Implications for future research include the need for replication of previous studies, meta-analysis of current trends, and investigation of the intersections between race studies, ethnomusicology, and music pedagogy best practices.

Many cities consider their live music ecologies to be a valuable asset to urban cul-ture. Many have adopted active live music policies, which is part and parcel of the trend of instrumentalization of urban cultural policies. In this paper we explore the reasons behind the increased political policy attention to live music and we will ex-amine how these policies deal with the changing landscape of live music and events and the trend of festivalisation. We argue that festivalization has become a widely applied policy configuration which has far reaching effects for urban cultures. Its implications can only be understood by looking beyond the instrumental use as an urban growth strategy or as the mere effects of the numerical increase of festivals.

Welcome to the 36th Season for the Chamber Music Society of Logan. Each year since 1981 The Chamber Music Society of Logan has brought five-concert series of high-quality chamber music performances to Cache Valley audiences. Also core to our mission is providing a link between the young people of our community and the professional musicians that are featured on our series through master classes, extended artist residencies and mini-concerts in the schools. In addition to ticket sales-which cover about one-third of the season costs-The Chamber Music Society of Logan receives essential support from individual contributions, state and local government, and private foundations. The Chamber Music Society of Logan is managed by an all-volunteer board of directors and thus is able to deliver a remarkable concert experience with minimal overhead expenditure ; https://digitalcommons.usu.edu/music_programs/1094/thumbnail.jpg

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.

Since embarking on its course of economic reform and opening up to the world in the late 1970s, China has moved from a planned economy to a socialist-market economy; the resulting social and cultural changes have been many, and are reflected in the country's school music curriculum. This paper first introduces the historical background of popular music in the community and in school music in China in the 20th century. Second, it explores the reformation of music education that has, from the turn of the millennium, included popular music in school music education. This is followed by a discussion of the integration of popular music into the school curriculum in terms of how music education and cultural politics are shaped by the social and political relationships between (1) contemporary cultural and social values and traditional Chinese ideologies; (2) collectivism and individualism; and (3) nationalism and globalism. It is argued that, despite the introduction of popular music and the emphasis put on it in some areas of school music education, the Chinese state still uses traditional Chinese culture and values to enhance its legitimacy and consolidate its authority. © 2012 Taylor & Francis. ; postprint

Turkish makam music needs a comprehensive database/nfor public consumption, to be used in MIR. This article/nintroduces SymbTr, a Turkish Makam Music Symbolic/nRepresentation Database, aimed at filling this void./nSymbTr consists of musical information in text, PDF, and/nMIDI formats. Raw data, drawn from reliable sources,/nand consisting of 1,700 musical pieces in Turkish art and/nfolk music was processed featuring distinct examples in/n155 diverse makams, 100 usuls and 48 forms. Special/ncare was devoted to selection of works that scatter across/na broad historical time span and were among those still/nperformed today. Total number of musical notes in these/npieces was 630,000, corresponding to a nominal playback/ntime of 72 hours. Synthesized sounds particular to Turkish/nmakam music were used in MIDI playback, and transcription//nplayback errors were corrected by input from/nexperts. Symbolic representation data, open to the public,/nis output from a computer program developed exclusively/nfor Turkish makam music. SymbTr was designed as a/nwholesome representation of aforementioned distinct auditory/nand visual features that distinguish Turkish makam/nmusic from other music genres. This article explains the/ndatabase format in detail, and also provides, through examples,/nstatistical information on pitch/interval allocation/nand distribution. ; This research was partly funded by the European Research/nCouncil under the European Union's Seventh/nFramework Program, as part of the CompMusic project/n(ERC grant agreement 267583).

Due to the lack of social systems supporting the cultural productions of migrant societies in Turkey, the venues and opportunities to which migrant musicians have access for the maintenance of their musical practices are limited. Under the given circumstances, especially in the first years after their arrival, street musicianship emerged as a new musical practice for Syrian musicians in Istanbul, and Beyoğlu District, the city's cultural and political center, has become the venue for street musicians' performances. Despite undergoing a rapid neoliberal transformation, Beyoğlu district, with Taksim Square and Istiklal Avenue, is a venue of interaction among locals, tourists, and various migrant groups from diverse social classes and identities. As such, it still possesses the potential to be the public sphere which can operate as the space of "a democratic ideal." For migrant musicians, the street music practices, which fill the very heart of city with their voices and sounds, are means of claiming their existence in the city as potential actors of this public sphere. However, conducting the interaction with the other public space actors and the state officials through street music is not an easy task for Syrian musicians, and it requires the use of tactics from them. In this article, I summarize the given circumstances of Syrian street music performances and discuss the Beyoğlu district in the frame of being—or not being—a public space. I propose street music practice as political action, a "social non-movement", as Asef Bayat calls it, and situate migrant musicians as political actors who are possible allies of other subaltern groups in Turkey.

Military Waltz sheet music by Frederick Knight Logan. Forster Music Publisher, Chicago. 6 pages. Sold by George Steffen, Everything Musical, 126 Main Street, Lockport. Cover is green background with young soldier dancing with young woman.

Yeung, Hiu Yan Dorcas. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. ; Includes bibliographical references (leaves 166-173). ; Abstracts in English and Chinese. ; Abstract --- p.i ; Acknowledgements --- p.iv ; Table of Contents --- p.v ; Tables and Figures --- p.vii ; Chapter Chapter 1. --- Introduction ; Chapter 1.1. --- Background --- p.1 ; Chapter 1.2. --- Objectives and research questions --- p.8 ; Chapter 1.3. --- Significance --- p.11 ; Chapter 1.4. --- Chapters overview --- p.12 ; Chapter Chapter 2. --- The Scene of Classical Music and Cultural Policy in Hong Kong ; Chapter 2.1. --- Defining classical music and beyond --- p.16 ; Chapter 2.2. --- Development of orchestras and classical music in Hong Kong --- p.17 ; Chapter 2.3. --- Models of cultural policy and policy in Hong Kong --- p.21 ; Chapter 2.4. --- Supporting arts groups --- p.29 ; Chapter 2.5. --- Current funding policy --- p.31 ; Chapter Chapter 3. --- Literature Review ; Chapter 3.1. --- Introduction --- p.38 ; Chapter 3.2. --- Theorizing state and arts - the field of cultural production --- p.38 ; Chapter 3.3. --- Arts administration --- p.47 ; Chapter 3.4. --- Amateur --- p.51 ; Chapter 3.5. --- "Chapter summary: Amateur arts group, administration and the field" --- p.58 ; Chapter Chapter 4. --- Methodology ; Chapter 4.1. --- In-depth interviews --- p.60 ; Chapter 4.2. --- Documentation --- p.63 ; Chapter 4.3. --- Limitations --- p.63 ; Chapter Chapter 5. --- Being (and Surviving as) an Amateur: Case Studies of Music Groups ; Chapter 5.1. --- Introduction --- p.65 ; Chapter 5.2. --- Estimating number of amateur music groups --- p.65 ; Chapter 5.3. --- The spectrum from professional to hobbyist --- p.67 ; Chapter 5.4. --- The need for resources --- p.76 ; Chapter 5.5. --- From beliefs to action --- p.89 ; Chapter 5.6. --- Models of operation --- p.96 ; Chapter 5.7. --- Chapter summary --- p.105 ; Chapter Chapter 6. --- Between What We Want and How They Do: Matching with the Administrative Habitus ; Chapter 6.1. --- Introduction ...

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.