Theory of music and musicology Books
Bloomsbury Publishing (UK) A Cultural History of Western Music in the Age of Enlightenment
£71.25
Bloomsbury Publishing (UK) A Cultural History of Western Music in the Industrial Age
£71.25
British Film Institute Film Sound Modernism
Book SynopsisAndy Birtwistle is Reader in Film and Sound at Canterbury Christ Church University, UK. He is author of Cinesonica: Sounding Film and Video (2010). His research interests include film sound, avant-garde film and art cinema, and sonic arts. His writing has been published in The Journal of Sound and Culture of British Cinema and Television, Journal of British Cinema and Television, The New Soundtrack, and Visual Culture in Britain.
£80.75
Prima la musica! Shibboleths Ploughshares
Book Synopsis
£10.00
Taylor & Francis Ltd Iannis Xenakis Kraanerg
Book SynopsisKraanerg by Iannis Xenakis is one of the most important works of the post-1950 era. James Harley, a leading Xenakis scholar, presents the genesis of Kraanerg, from the granting of the commission to the choreographer, to the selection of Xenakis as composer, to the premiere, recording, and subsequent presentations. The book is written with the benefit of access to sketches and recordings in the Xenakis Archives, allowing Harley to delve into the details of how this particular work came about. An overview of Xenakis''s life is provided, looking at his major works and important compositional techniques and accomplishments, as well as looking at the presenters of the work and other principles in the performance history. Harley presents analytical and critical discussions of Kraanerg''s music and reception, including the relationship of the score to the recorded parts. James Harley is a composer with first-hand experience of the interlocking fields of acoustic and electronic music that XenaTrade Review’James Harley's detailed account of one of Xenakis's most substantial compositions is an exemplary piece of scholarly reconstruction. With ample material on the work's biographical and technical background, and a thorough survey of its performance history and critical reception, a vivid picture emerges of those mid-twentieth-century years in which pioneering and uncompromising avant-garde enterprises like Xenakis's achieved a rare and relatively brief artistic momentum.’ Arnold Whittall, King’s College London, UKTable of ContentsContents: Introduction; Biography; Musical background to Kraanerg; The Kraanerg project; Kraanerg analysis; Reception; Performance history; Epilogue; Bibliography; CD track list; Index.
£68.39
Taylor & Francis Ltd Musical Pathways in Recovery
Book SynopsisMusic triggered a healing process from within me. I started singing for the joy of singing myself and it helped me carry my recovery beyond the state I was in before I fell ill nine years ago to a level of well-being that I haven''t had perhaps for thirty years. This book explores the experiences of people who took part in a vibrant musical community for people experiencing mental health difficulties, SMART (St Mary Abbotts Rehabilitation and Training). Ansdell (a music therapist/researcher) and DeNora (a music sociologist) describe their long-term ethnographic work with this group, charting the creation and development of a unique music project that won the 2008 Royal Society for Public Health Arts and Health Award. Ansdell and DeNora track the ''musical pathways'' of a series of key people within SMART, focusing on changes in health and social status over time in relation to their musical activity. The book includes the voices and perspectives of project members and deTrade Review’This is a beautifully written and meticulously researched book by two of the most influential and innovative thinkers researching the links between music and health. It is concisely and clearly written in a style that will have broad appeal and combines psychological and sociological insights with descriptions of practical activities in a sophisticated yet entertaining way. I really enjoyed reading it and will recommend it to all my students, colleagues and indeed anyone interested in understanding more about how everyday music activities can have deep and profound effects on how we think and feel.’ Raymond Macdonald, University of Edinburgh, UKTable of ContentsList of FiguresPrefacePart I - Musical PathwaysPart II - Continuous OutcomesPart III - Musical RecoveryCoda by Sarah WilsonAppendix A: About Method: How we wrote this bookAppendix B: How we negotiated the ethics of this projectBibliography
£137.75
Continuum Publishing Corporation Listening to Noise and Silence Towards A
Book SynopsisSalomé Voegelin is Professor of Sound at the London College of Communication, UAL. An artist and writer, she is also the author of Sonic Possible Worlds: Hearing the Continuum of Sound (Bloomsbury, 2014) and The Political Possibility of Sound: Fragments of Listening (Bloomsbury, 2018).Trade ReviewThe examples under discussion range from by-now canonical soundworks...to recent works by a clutch of lesser known artists...Voegelin's critical style is so singular that she avoids cliche in the treatment of all these artists, prising them out of a conversation about music and into a challenging treatise on the art of listening. * The Wire *The book's arguments are complex and developed with rigour, making a perceptive contribution to an emerging debate. In its favour, the work consistently forces the listener off-track to think critically about just what it is that makes listening so powerful and so elusive. * Will Montgomery, The Wire, August 2010 *Reviewed in the London Review of Books 23 September (UK) * London Review of Books *Listening to Noise and Silence will be of interest to a great many people following breakthrough trends within art and philosophy. * Art Monthly *Salome Voegelin has written an excellent book about sound art, escaping cliché and easy categorizations. She establishes a proper aesthetics and philosophy of sound, with a compelling phenomenological account of noise and silence. * Neural *In Voegelin's evocative image, noise holds the listener hostage to his or her own listening... Listening to Noise and Silence contains many moments that sound artists and others will find insightful. * Avant Music News *There cannot be a concluding remark to encompass Listening to Noise and Silence. You might not even completely ‘understand’ it if you refuse to ‘feel’ it and ‘know’ it or if you aim at making ends meet evenly. It will question you, it will confuse you, it will exhilarate you. It will prompt you to reinvent it over and over: in listening, in writing. * Journal of Sonic Studies *Table of ContentsAcknowledgements; Introduction; Part one Listening; Part two Noise; Part three Silence; Part four Time and Space; Part five Now; Bibliography; List of Works; Notes; Index.
£28.99
Rowman & Littlefield Ethnomusicologizing
Book SynopsisIn Ethnomusicologizing: Essays on Music in the New Paradigms, composer and musicologist brings together a series of essays on music making in contemporary culture. More specifically, it focuses on the myriad ways we engage with musicas makers, as listeners, as consumers, as producers. Banfield labels this fully engaged process as ethnomusicologizing, as he explores the ways we create, share, teach, and discuss music. Throughout he argues that music is more than the experience of structured sound. It is rather a way of being more critically present as musicians and as citizens of sharing in the world itself. Ethnomusicologizing contains writings on contemporary music and culture studies, offering glimpses on more than just music history through reflective essays, interviews with contemporary artists, and exercises in the analysis and criticism of popular culture. In this work, Banfield instructs readers in the ways by which we may better appreciate and understand creative artistry and pTrade ReviewToday, many young musicians are driven by a short-sighted desire for money, fame, and power. But the purpose of art—true art—remains the search for meaning, purpose, inspiration, and spiritual fulfillment. Banfield is hopeful in this regard: 'Young people feel they are a more integral part of their success story if they are allowed to bring to a product a piece of who they are, what their story is. I think, despite our capitalistic surges, people always return back to the basic humanistic codes'. Such nuanced appraisals make Ethnomusicologizing a provocative and profitable read. * Thinking On Music *Table of ContentsPrelude Keeping the Core Creative Soul-Spirit Part 1: Theory: Music Thinking Theories, Teaching, and Approaches Chapter 1: Ethnomusicologizing: The Way Forward, Cultural Relevancy Chapter 2: Ethnomusicology Studies in Music Culture Chapter 3: Popular Music Culture: How to Teach and Reach within Popular Music Chapter 4: Black Music Matters Chapter 5: Notes From Cuba Chapter 6: The “I Theory” Part 2: History: Backbones, Songs Chapter 7: A Progressive View of American Popular Music History, 1948-2014 Chapter 8: American Mavericks Interviews Chapter 9: Harlem Renaissance 1920-1935: Artistry, Aesthetics, Politics and Popular Culture Chapter 10: CBMR Letter Chapter 11: Mom, Dad, and the Making of Symphony 10 with Sweet Honey In The Rock Part 3: Culture: New Standards, Cultural Critique Chapter 12: Wake up! What Time is It Really? Who Turns it Up, Down, and Back?: Values on The Cultural Dial Chapter 13: Does Our Music Still Bring The Good News Of The Day? Chapter 14: On The Crisis of Popular Arts and Society: Steps Ahead Chapter 15: The Problem With Jazz Chapter 16: Review of George Lewis, Les Exercices Spirituels Chapter 17: Don’t Use the “J word”: Jazz in its Connections to Culture and Meaning Chapter 18: From Hip-Hop To Zombie Nation Chapter 19: Critical Culture Concerns Today Chapter 20: The Songs We Need To Be Hearing Again: Music Culture and A Musician’s Credo To Citizenry Postlude: Afterthought on Ethnomusicologizing
£45.60
Taylor & Francis Ltd The Politics of Musical Identity
Book SynopsisThis volume explores the way in which composers, performers, and critics shaped individual and collective identities in music from Europe and the United States from the 1860s to the 1950s. Selected essays and articles engage with works and their reception by Richard Wagner, Georges Bizet (in an American incarnation), Lili and Nadia Boulanger, William Grant Still, and Aaron Copland, and with performers such as Wanda Landowska and even Marilyn Monroe. Ranging in context from the opera house through the concert hall to the salon, and from establishment cultures to counter-cultural products, the main focus is how music permits new ways of considering issues of nationality, class, race, and gender. These essays - three presented for the first time in English translation - reflect the work in both musical and cultural studies of a distinguished scholar whose international career spans the Atlantic and beyond.Table of ContentsAcknowledgements, Introduction, List o f Publications, PART ONE MUSIC AND POLITICS IN LATE NINETEENTH-CENTURY FRANCE, PART TWO MUSICAL IDENTITIES IN THE UNITED STATES IN THE 1930s AND ’40s, PART THREE GENDER POLITICS IN MUSIC, Index
£199.50
Taylor & Francis Ltd The Ars musica Attributed to Magister
Book SynopsisThe treatise on musica plana and musica mensurabilis written by Lambertus/Aristoteles is our main witness to thirteenth-century musical thought in the decades between the treatises of Johannes de Garlandia and Franco of Cologne. Most treatises on music of this century - except for Franco's treatise on musical notation - survive in only a single copy; Lambertus's Ars musica, extant in five sources, is thus distinguished by a more substantial and long-lasting manuscript tradition. Unique in its ambitions, this treatise presents both the rudiments of the practice of liturgical chant and the principles of polyphonic notation in a dense and rigorous manner like few music treatises of its time - a conceptual framework characteristic of Parisian university culture in the thirteenth century. This new edition of Lambertus's treatise is the first since Edmond de Coussemaker's of 1864. Christian Meyer's meticulous edition is displayed on facing pages with Karen Desmond's English translation, anTable of ContentsContents: Introduction, Christian Meyer, translated by Barbara Haggh-Huglo; Translator’s note, Karen Desmond; Edition and translation, Christian Meyer, editor, and Karen Desmond, translator; Critical and explanatory notes, Christian Meyer, translated by Barbara Haggh-Huglo; Indexes.
£128.25
Taylor & Francis Ltd Music Theory Analysis and Society
Book SynopsisRobert P. Morgan is one of a small number of music theorists writing in English who treat music theory, and in particular Schenkerian theory, as part of general intellectual life. Morgan's writings are renowned within the field of music scholarship: he is the author of the well-known Norton volume Twentieth-Century Music, and of additional books relating to Schenkerian and other theory, analysis and society. This volume of Morgan's previously published essays encompasses a broad range of issues, including historical and social issues and is of importance to anyone concerned with modern Western music. His specially written introduction treats his writings as a whole but also provides additional material relating to the articles included in this volume.Table of ContentsContents: Introduction. Part I Schenkerian and Other Theory: Dissonant prolongation: theoretical and compositional precedents; Schenker and the theoretical tradition: the concept of musical reduction; Schenker and the 20th century: a modernist perspective; Musical time/musical space. Part II Music Analysis: Chopin’s modular forms; Circular form in the Tristan prelude; Ives and Mahler: mutual responses at the end of an era; Chasing the scent: the tonality in Liszt’s Blume and Duft; Two early Schoenberg songs: monotonality, multitonality, and schwebende Tonalität; ‘The things our fathers loved’: Charles Ives and the European tradition; On the analysis of recent music. Part III Music and Society: Tradition, anxiety, and the current musical scene; Secret languages: the roots of musical modernism; ‘A new musical reality’: futurism, modernism, and ‘the art of noises’; Rethinking musical culture: canonic reformulations in a post-tonal age. Index.
£175.75
Edinburgh University Press Rhythm and Critique
Book SynopsisRhythm and Critique presents 12 new essays from a range of specialists to define, contextualise and challenge the concepts of rhythm and rhythmanalysis. It includes newly translated materials from Rudolf Laban and Henri Meschonnic.Table of ContentsNotes on Contributors Introductions Rhythm, Rhuthmos and Rhythmanalysis Paola Crespi and Sunil Manghani Could Rhythm Become a New Scientific Paradigm for the Humanities? Pascal Michon A Genealogy of Rhythm Paola Crespi and Sunil Manghani Part I: Modalities of Rhythm 1. Drawing Rhythm: The Work of Rudolf Laba Paola Crespi 2. What is at Stake in a Theory of Rhythm Henri Meschonnic (translated by Chantal Wright, Introduced by Marko Pajevic) 3. Rhythm and Textural Temporality Xin Wei Sha and Garrett Laroy Johnson Part II: Sites and Practices 4. Attunement of Value and Capital in the Alogrithms of Social Media Beverly Skeggs and Simon Yuill 5. Idiorrhythmy: An (Unsustainable) Aesthetic of Ethics Sunil Manghani 6. Adventures of a Line of Thought: Rhythmic Evolutions of Intelligent Machines in Post-Digital Culture Stamatia Portanova Part III: Rhythmanalysis 7. The Configuring of ‘Context’ in Rhythmanalysis Yi Chen 8. City Rhythms: An Approach to Urban Rhythm Analyses Caroline Nevejan and Pinar Sefkatli 9. Rhythm, Rhythmanalysis and Algorithm-Analysis Julian Henriques Index
£85.50
Edinburgh University Press Rhythm and Critique
Book SynopsisRhythm and Critique presents 12 new essays from a range of specialists to define, contextualise and challenge the concepts of rhythm and rhythmanalysis. It includes newly translated materials from Rudolf Laban and Henri Meschonnic.
£19.94
Edinburgh University Press Music Philosophy and Gender in Nancy
Book SynopsisAnalyses the role of music in the work of Nancy, Lacoue-Labarthe and Badiou, and the role of gender in the history of philosophy of music.
£24.69
Globe Pequot Press Music Theory for the SelfTaught Musician
Book SynopsisWill Metz''s main ambition in his first book, Music Theory for Self-Taught Musicians: Level 1: The Basics, was to define and introduce all the main concepts used in music theory (intervals, chords, scales, modes, etc.). He refers to these notions as tools because they are what musicians use to create music. Having a clear understanding of these notions is crucial, but it is only the first step . . . One must then understand how to actually use these tools and how they are combined and how they interact. More concretely, this book, Music Theory for Self-Taught Musicians: Level 2: Harmony, Composition, and Improvisation goes in depth into the notions of harmony, composition, and improvisation. It answers one of the most common and troubling questions of any musician, that is: What to play in any given musical context?This is what music theory is all about at the end of the daylearning a bunch of relatively complex notions would make no sense if they didn't help to compose and c
£30.00
Hal Leonard Corporation The Complete SingerSongwriter
Book SynopsisTHE COMPLETE SINGER-SONGWRITER: A TROUBADOUR'S GUIDE TO WRITING PERFORMING RECORDING
£14.24
Hal Leonard Corporation Confessions of a Serial Songwriter
Book SynopsisCONFESSIONS OF A SERIAL SONGWRITER
£15.99
RLPG Music Essentials for Singers and Actors
Book Synopsis
£34.20
Hal Leonard Corporation Leading Tones
Book SynopsisÊLeading TonesÊ is a glimpse into several aspects of the musical world. There are portions devoted to Leonard Slatkin''s life as a musician and conductor portraits of some of the outstanding artists with whom he has worked as well as anecdotes and stories both personal and professional. Much of the book discusses elements of the industry that are troubling and difficult during this first part of the 21st century. Auditions critics fiscal concerns and labor negotiations are all matters that today''s conductors must be aware of and this book provides helpful suggested solutions. ÊLeading TonesÊ is intended not only for musicians but also for the music lover who wishes to know more about what goes into being a conductor.
£30.00
Hal Leonard Corporation Jinglemoney The Essential Guide to Making Real
Book SynopsisJINGLEMONEY: THE ESSENTIAL GUIDE TO MAKING REAL MONEY WRITING JINGLES
£23.21
Bloomsbury Publishing Plc Perfumes GAME
Book SynopsisPatrick St. Michel is a writer in Tokyo focusing on Japanese music and pop culture. He has operated the Japanese music blog Make Believe Melodies since 2009, and his work has appeared in The Japan Times, Pitchfork, The Atlantic, The Fader, MTV, Vice, and The Sydney Morning Herald, among others.Table of ContentsTrack Listing Acknowledgements Notes on Text Introduction 1: The Age of Technopop 2: Music Controller 3: A New Scent 4: Brave New World 5: Play the Game 6: Take Off 7: Love the World Notes Suggested Further Reading
£21.36
Bloomsbury Publishing Plc ReMaking Sound
Book SynopsisRe-Making Sound is concise and flexible primer to sound studies. It takes students through six ways of conceptualizing sound and its links to other social phenomena: soundscapes; noise; sound and semiotics of the voice; sound and/through/in text; background sound/sound design; and sound art. Each chapter summarizes the history and scholarly theoretical underpinnings of these areas and concludes with a student activity that concretizes the historical and theoretical discussion via sound-making projects. With chapters designed to be flexible and non-sequential, the text fits within various course designs, and includes an introduction to key concepts in sound and sound studies, a cumulative concluding chapter with sound accompanying podcast exercise, and an extensive bibliography for students to pursue sound studies beyond the book itself.Trade ReviewRe-Making Sound is splendid. Porcello and Patch advance sound studies in unique and compelling fashion and a whole generation of future scholars of the audible will be in their debt. -- Mark Smith, Carolina Distinguished Professor of History at the University of South Carolina, author of A Sensory History Manifesto (2021)Porcello and Patch have crafted a thoughtful, wide-ranging, and ear-opening introduction to the broad and expansive field of sound studies. Re-making Sound creates a jumping-off point for students, teachers, and other readers interested in exploring the links between sound and society. -- David Novak, Associate Professor of Music, UC Santa Barbara, author of Japanoise: Music at the Edge of Circulation (2013)Re-Making Sound is a wonderful and innovative book, offering an immensely valuable and unique introduction to sound studies. By supporting their exposition with a focus on sensory experience and a set of classroom exercises geared towards making and listening, Thomas Porcello and Justin Patch’s original and timely contribution will make rewarding reading for sound focused scholars and students alike. -- Daniel Fisher, Associate Professor of Anthropology, UC Berkeley, USA, author of The Voice and Its Doubles: Music and Media in Northern Australia (2016)Table of ContentsFigures Biographies Preface Introduction 1. Soundscape: Sound, Space, and Listening 2. Noise: From the Everyday to the Exceptional 3. Voice: Hearing and Ascribing Individual and Social Identity 4. Sound on the Page: Echoes and Resonances in Writing 5. Sound Design/Designing Sounds: Intentionally Crafted Sonic Worlds 6. Sound Art: What is Sound? Debates and Examples Concluding Exercise: Putting the Pieces Together Through Audio Narratives Acknowledgments Index
£21.99
Bloomsbury Publishing Plc Practical Musicology
Book SynopsisPractical Musicology outlines a theoretical framework for studying a broad range of current musical practices and aims to provoke discussion about key issues in the rapidly expanding area of practical musicology: the study of how music is made. The book explores various forms of practice ranging from performance and composition to listening and dancing, from historically informed performances of Bach in the USA to Indonesian Dubstep or Australian musical theatre, and from Irish traditional music played by French musicians from Toulouse to Brazilian thrash metal or K-Pop. Drawing on neuroscience, cognitive psychology, ecological approaches in anthropology, and the social construction of technology and creativity, Zagorski-Thomas uses a series of case studies and examples to investigate how practice is already being studied and to suggest a principle for how it might continue to develop, based around the assertion that musicking cannot be treated as a culturally or ideologiTrade ReviewWhat could musicology be in the 21st century? In his book, Simon Zagorski-Thomas outlines a practical musicology that wholeheartedly embraces all contemporary forms of sound and music production between streaming audio, game sounds, EDM and engineering a record production. The future of musicology, as Zagorski-Thomas envisions it, is a musicology that provides historical and technological knowledge and critique of how music and sound are actually produced, presented, experienced and consumed: a comprehensive musicology of aesthetic practices, which is indeed urgently needed. * Holger Schulze, Professor of Musicology at the University of Copenhagen and Principal Investigator at the Sound Studies Lab, Denmark, and editor of The Bloomsbury Handbook of the Anthropology of Sound (2021) *Practical Musicology is a brave and brilliant exploration of ways to explore and research 21st-century music practices anew. Drawing on his own exemplary research practice, Simon Zagorski-Thomas critically and eloquently advances and applies new ideas to Practical Musicology, ones which lay out a new theoretical framework, harnessing models of knowledge, capacity, power, identity, and technology anew, to illustrate, not only how ‘to do’ music, but also how ‘to do music better’. A new and provocative Practical Musicology is put to work to explain how aesthetics emerge, develop and become embodied in practice. This is a must-read for all of us whose wanting a new ‘way in’ for thinking critically and differently about 21st-century music practices. * Pamela Burnard, Professor of Arts, Creativities and Educations, University of Cambridge, UK *Practical Musicologyis just that - a practical introduction to the study of music making as a thing we do, consciously or unconsciously, separately or together, according to deeply embedded conceptual schemata that can give rise to powerful aesthetic judgments embedded in diverse and non-linguistic forms of human communication. It also provides a very sophisticated theoretical introduction to an embodied and practice-based musical epistemology: how what we do with music influences what we can think, know and say about it. Zagorski-Thomas brings his own aesthetic sensibility as a composer, engineer, and teacher to bear, persuasively making the case that a practical musicology will concern itself not just with what musicians have done, or why — but how they can do what they do, better. As a statement of musicological purpose, this volume is thus both practical and visionary in the same breath, much like that complex, ineffable group activity we have come to call “music,” wherever, whenever, and however we engage in it. * Robert Fink, Professor of Musicology and Chair of Music Industry Programs, UCLA Herb Alpert School of Music, USA *Table of Contents1 Introduction 2 Context 3 Musicking 4 Learning and Knowing 5 Communication and Influence 6 Interaction and Influence 7 Systems and Networks Afterword Bibliography Index
£90.25
Bloomsbury Publishing Plc Dancing to the Drum Machine
Book SynopsisDancing to the Drum Machine is a never-before-attempted history of what is perhaps the most controversial musical instrument ever invented: the drum machine. Here, author Dan LeRoy reveals the untold story of how their mechanical pulse became the new heartbeat of popular music. The pristine snap of the LinnDrum. The bottom-heavy beats of the Roland 808. The groundbreaking samples of the E-MUSP-1200. All these machinesand their weirder, wilder-sounding cousinschanged composition, recording, and performance habits forever. Their distinctive sounds and styles helped create new genres of music, like hip hop and EDM. But they altered every musical style, from mainstream pop to heavy metal to jazz. Dan LeRoy traces the drum machine from its low-tech beginnings in the Fifties and Sixties to its evolution in the Seventies and its ubiquity in the Eighties, when seemingly overnight, it infiltrated every genre of music. Drum machines put some drummers out of work, while keeping othTrade ReviewDan LeRoy takes on a subject that could easily result in a dry, strictly-for-geeks read – the history of machine-rhythm - and turns out a juicy deep-dive that will appeal equally to the lay-person interested in the evolution of pop culture as to the gear-head and serious musician. What this richly researched and entertaining book shows is that far from dehumanizing and deskilling music, the drum machine depended on human imagination: the vision and dedication needed to create the technology in the first place, the ingenuity of amateur and professional musicians alike, as they struggled with these newfangled boxes and extracted magic from them. It’s a story that’s largely untold and LeRoy tells it with vivid clarity. * Simon Reynolds, author of Energy Flash: A Journey Through Rave Music and Dance Culture and Rip It Up and Start Again: Postpunk 1978-84 *Table of ContentsForeword by Nick Rhodes: Timing is Everything Prologue 1. From Boats to Babies: How Drum Machines Began 2. The Rhythm Aces 3. Beat Brothers: Sly Stone and J.J. Cale 4. “The Machines Are Fighting Back” 5. Teutonic Sonics: Germany and Programmed Rhythm 6. Turn the Beat Around: Eno, Disco and the Drum Machine 7. Our Drum Machine Could Be Your Band 8. The Drum Machines That Weren’t 9. Punch the Clock: The Joy and Pain of Drum Programming 10. Without Me, You Would Not Even Have Thought of Writing This Book 11. Give the (Electronic) Drummer Some 12. Inside and Outside the Box: The Linn Revolution 13. “Have You Seen This New Drum Machine? Shit!” 14. 808 State 15. Hip Hop’s Electric Guitar 16. Worker Bees of the DMX 17. Destination Emulation 18. Mr. K’s Last Laugh 19. The Mammals Arrive: The Linn 9000 and the End of the Drum Machine 20. Computer Love 21. Time Out of Time Appendix: I Am Echo Acknowledgments
£21.99
Bloomsbury Publishing Plc Scripture and Song in NineteenthCentury Britain
Book SynopsisThis volume brings together new approaches to music history to reveal the interdependence of music and religion in nineteenth-century culture. As composers and performers drew inspiration from the Bible and new historical sciences called into question the historicity of Scripture, controversies raged over the performance, publication and censorship of old and new musical forms. From oratorio to opera, from parlour song to pantomime, and from hymn to broadside, nineteenth-century Britons continually encountered elements of the biblical past in song. Both elite and popular music came to play a significant role in the formation, regulation and contestation of religious and cultural identity and were used to address questions of class, nation and race, leading to the beginnings of ethnomusicology. This richly interdisciplinary volume brings together musicologists, historians, literary and art historians and theologians to reveal points of intersection between music, religion and cultural h
£999.99
Bloomsbury Publishing (UK) The Bloomsbury Handbook of Popular Music and Social Class
Book SynopsisIan Peddie is Associate Professor of English at Sul Ross State University, USA. He is the editor of Music and Protest (2012), Popular Music and Human Rights Volumes I and II (2011), and The Resisting Muse: Popular Music and Social Protest (2006).Trade ReviewThe Bloomsbury Handbook of Popular Music and Social Class contains a great number of insightful case studies that open up a variety of perspectives on the topic. In this way, it is bound to inspire future research, including historical studies. * H-Soz-Kult *Table of ContentsList of Illustrations Notes on Contributors Acknowledgments Introduction Part I: Methodologies 1. Music, Class, and Taste. Being In-Between: Popular Music and Middlebrow Tastes (Morten Michelsen, Aarhus University, Denmark) 2. Music, Class, and Consumption/Reception. The Impact of Social Class on Parental Responses to Popular Music in Britain, c.1955-1975 (Gillian A. M. Mitchell, St Andrews, Scotland) 3. Music, Class, and Production. Social Class and the Negotiation of Selling Out in a Southern California Indie Rock Scene (Timothy D. Taylor, University of California Los Angeles, USA) 4. Music, Class, and Status. It's Up to You: Class, Status, and Punk Politics in Rock against Racism (Rebecca Binns, Independent Scholar, UK) 5. Music, Class, and Education. Hegemony, Symbolic Violence, and Popular Music Education: A Matter of Class (Alison Butler and Ruth Wright, Western University, Canada) 6. Music, Class, and Digitization. “Every Noise at Once”: Online Music Discovery Maps and Cosmopolitan Subjectivities (Matthew Ord, Newcastle University, UK) 7. Music, Class, and Globalization. Art at the Cutting Edge: Class, Cultures, and Globalization in African and Middle Eastern World Music (Mark LeVine, University of California Irvine, USA) 8. Music, Class, and Censorship. Popular Music, Class, and Censorship in the PRC (Hon-Lun Yang, Hong Kong Baptist Univesity, Hong Kong) Part II: Theoretical Approaches 9. Music, Class, and Gender. Gaahl—Monster or Postmodern Prometheus?: Masculinity, Class, and Norwegian Black Metal (Stan Hawkins and Nina Nielsen, University of Oslo, Oslo) 10. Music, Class, and Sexuality. Women’s Music, #20GAYTEEN, and Lesbian Hip-Hop: Shifting Voices of Class, Race, and Sexuality in WSW’s Popular Musics (Kirsten Zemke, University of Aukland, New Zealand) 11. Music, Class, and Race. “I Dream It, I Work Hard”: Race, Class, and Labor in US Popular Music (Rachel Rubin and James Smethurst, University of Massachusetts, USA) 12. Music, Class, and, Religion. Class, Religion, and Music: Concepts and Questions (Sean McCloud, University of North Carolina, USA) 13. Music, Class, and Protest. Hard Hats and Hoodies: The Songs of Two Working-Class British Protest Singers (Aileen Dillane and Martin J. Power, University of Limerick, Ireland) 14. Music, Class, and Violence. Brothers in Rock: Argentine and British Rock Music during the Malvinas/Falklands War (Mara Favoretto, Unversity of Melbourne, Australia) 15. Music, Class, and Revolution. "Dances for the Masses": Revolution, Class, Proletarian Music, and Dance in Cold-War Ukraine (Sergei I. Zhuk, Ball State University, USA) Part III: Genres 16. Music, Class, and Jazz. LeRoi Jones, Jazz, and the Resonance of Class (Bruce Barnhart, University of Oslo, Norway) 17. Music, Class, and The Blues. The Blues and the Development of the African American Working Class before World War II (Roberta Freund Schwartz, University of Kansas, USA) 18. Music, Class, and Country. "Lord Have Mercy on the Working Man": Country Music, Respect(ability), and Social Class (Travis D. Stimeling, West Virginia University, USA) 19. Music, Class, and Folk. The Long March to the Top of the Social Ladder: Neo-Folk Music in Socialist Yugoslavia and Post-Socialist Serbia (Irena Šentevska, University of Arts, Serbia) 20. Music, Class, and Punk. From Consent to Resistance: Punk Rock and Social Class (Cyrus Shahan, Ball State University, USA) 21. Music, Class, and Rock. The Bourgeois Blues?: Rock Music and Class (Chris McDonald, Cape Breton University, Canada) 22. Music, Class, and Reggae. Sufferers in Babylon: A Rastafarian Perspective on Class and Race in Reggae (Martin Gansinger, Girne American University, Cyprus) 23. Music, Class, and R&B/Soul. "Bring It on Home": Constructions of Social Class in Rhythm and Blues and Soul Music, 1949-1980 (David M. Jones, University of Winsconsin, Eau Claire, USA) 24. Music, Class, and Hip-Hop. The Routes of Hip-Hop in Cape Town: Collective Performance Practices and the Embodied Sociality of the Ghetto (Sudiipta Shamalii Dowsett, University of New South Wales, Australia) 25. Music, Class, and Electronic Music. Electronic Popular Music as Site and Sign of Social Class: A Multidimensional Analysis (William Echard, Carleton University, Canada) 26. Music, Class, and Talent Shows. Class Divisions and the Overlap of Taste in New Digital Popular Music Formats in China (Lijuan Qian, University College Cork, Ireland) 27. Music, Class, and the Screen. Music Maketh Man: Meritocracy in Kingsman: The Secret Service (Miguel Mera, University of London, UK) Index
£39.89
RLPG Ableton Live 101 An Introduction To Ableton Live
Book SynopsisABLETON LIVE 101: AN INTRODUCTION TO ABLETON LIVE 10
£37.00
Shambhala Publications Inc Bridge of Waves: What Music Is and How Listening
Book Synopsis
£22.95
Temple University Press,U.S. Sounding Salsa: Performing Latin Music in New
Book SynopsisExamines how musicians navigated their everyday lives, grappling with the intercultural tensions and commercial pressures that were so pronounced on the salsa sceneTrade Review"[Washburne] offers a no-holds-barred, insider glimpse at 'how salsa was made' in New York City in the 1990s. By challenging conventional narratives about salsa's development and taking on contentious issues in its history, including drugs, violence and illegitimate business practices, Sounding Salsa should make a lot of folks look twice at a critical yet neglected moment in the industry's development. Washburne's ethnography of behind-the-scenes backstories, documented from his own vantage point on the bandstand, is the best quick read I've found on the industry's history and inner workings, supplemented by deep industry knowledge that fills in many ellipses in histories written mainly from the point of view of the consumer/ critic. While it offers musicological explanations on salsa's nuts and bolts technical aspects, such as clave, it's also an accessible guide to newcomers who may have wondered: What are those instruments? And why are all those guys wearing the same suits?" - IndyWeeks, 31st December 2008 "Washburne does a good job of chronicling the second-generation surge of the popular Latin dance music salsa in the US, which occurred in New York City in the 1990s. The author bases his discussion on an impressive ethnographic methodology and on his own involvement with salsa as a performer. He introduces the reader to the major figures in the movement, provides glimpses of the music itself, and describes the broader cultural and sociological issues that affected the art form and its practitioners. The introduction provides a good overview of the historical development of salsa in the 1960s-70s and establishes a context for the discussion that follows." Choice "[Washburne] offers a no-holds-barred, insider glimpse at 'how salsa was made' in New York City in the 1990s. By challenging conventional narratives about salsa's development and taking on contentious issues in its history, including drugs, violence and illegitimate business practices, Sounding Salsa should make a lot of folks look twice at a critical yet neglected moment in the industry's development. Washburne's ethnography of behind-the-scenes backstories, documented from his own vantage point on the bandstand, is the best quick read I've found on the industry's history and inner workings, supplemented by deep industry knowledge that fills in many ellipses in histories written mainly from the point of view of the consumer/ critic. While it offers musicological explanations on salsa's nuts and bolts technical aspects, such as clave, it's also an accessible guide to newcomers who may have wondered: What are those instruments? And why are all those guys wearing the same suits?" IndyWeek "Washburne is a very fine and respected jazz trombonist... [Sounding Salsa] is a well-researched and assiduously documented work of history, written by an ethnomusicologist with impeccable academic credentials... It would be hard to imagine a person better qualified on the subject... His standing as a professional salsero gives him access to information denied other researchers. And he takes advantage, gleaning enough material to tell a fascinating tale... The book's most illuminating passages center on the musicians' own observations and comments, made directly to Washburne and salted liberally throughout the text. Such intimate reflections would only have been revealed to someone who'd earned their deepest trust and respect--another musician, for instance."-Jazz Notes, Spring 2009 "A professional trombonist, Washburne writes from the vantage point of a practising musician as well as a scholar, offering a dynamic view of salsa as seen from the bandstand over an eighteen-year period during which he played with key orchestras of Tito Puento, Ray Barreto, Celia Cruz, Pete 'El Conde' Rodriguez and Hector Lavoe, among many others... Apart from its undoubted academic merits, the book convinces through its insider-out perspective, incisive and evocative scenarios, and the way analysis and theory are embedded within its ethnography. In six highly readable chapters, the salsa scene in all its richnesss is described, unpicked, critiqued and celebrated...Washburne has written a book that is as entertaining, informative, and provocative as it is ground-breaking." Popular Music, May 2009 "Washburne provides a micro-level, ethnographic view...[that] will be of direct interest to folklorists... The book gives a nuts-and-bolts description of what it means to record and perform in a salsa band, and it also relates some inside stories that have become legend to those in the scene... The book really breaks new ground...when Washburne discusses violence, drugs, and gender within the salsa scene... While a range of approaches to salsa can be found in the many works on the subject, very few have offered such a rich insider's perspective. Washburne's book is a welcome addition to the conversation." The Journal of American Folklore, Fall 2009Table of ContentsTable of Contents: Acknowledgements Introduction: Salsa in New York; 1: Salsa Bands and the performance of Pueble; 2: "The music is so good but the scene is pure dues!": Salsa Musicians; 3: "Play like there's a gun to your head!": The Aesthetics and Performance Practice of Sounding Violence in Salsa; 4: New York Salsa and Drugs: Aesthetics, Performance Practice, Governmental Policy, and the Illicit Drug Trade; 5: La India and the Masquerading of Gender on the Salsa Scene; 6: "They are going to hear this in Puerto Rico. It has got to be good!": The Sound and Style of Salsa
£23.79
Bloomsbury Publishing Plc Richard Hell and the Voidoids' Blank Generation
Book SynopsisTo wander the streets of a bankrupt, often lawless, New York City in the early 1970s wearing a T-shirt with PLEASE KILL ME written on it was an act of determined nihilism, and one often recounted in the first reports of Richard Hell filtering into the pre-punk UK. Pete Astor, an archly nihilistic teenager himself at the time, was most impressed. The fact that it emerged (after many years) that Hell himself had not worn the T-shirt but had convinced junior band member Richard Lloyd to do so, actually fitted very well with Astor’s older, wiser self looking back at Blank Generation. Richard Hell was an artist who could not only embody but also frame the punk urge; having seeded and developed the essential look and character of punk since his arrival in New York in the late 1960s, he had just what was needed to make one of the defining records of the era. This study combines objective, academic perspectives along with culturally centred subjectivities to understand the meanings and resonances of Richard Hell and the Voidoids’ Blank Generation.Trade ReviewThe 33 1/3 book series started in 2003, analyzing 'seminal' rock albums in the manner of great literature novels-but also adding the personal insights that only the true rock n' roll fan can deliver. #92 looks at Richard Hell and the Voidoids' Blank Generation (1977). On the heels of #91, on Gang of Four's Entertainment (1979) the releases really are two of a pair-the arch “art punk” statements of the '70s-though Gang of Four is more political and Richard Hell thoroughly nihilistic. The analytical approach can have its pitfalls: Astor is so intent on the importance of listening on vinyl that he traces the history of recording technology back to Edison, to make the point that the album has to be heard on that medium. But Astor brilliantly places Blank Generation in the 70's lower East Side New York art world, with all the squalor evoked by Richard Hell's songs, as well as depicting Hell as a poet with a comprehensive artistic vision. In his own way, Hell was the voice of a generation. * SLUG Magazine *Table of ContentsPreface Vision Culture Artefact Worlds Persona Texts Words Postscript
£9.49
Bloomsbury Publishing Plc Being Time: Case Studies in Musical Temporality
Book SynopsisBeing Time invites a deep consideration of the personal experience of temporality in music, focusing on the perceptual role of the listener. Through individual case studies, this book centers on musical works that deal with time in radical ways. These include pieces by Morton Feldman, James Saunders, Chiyoko Szlavnics, Ryoji Ikeda, Toshiya Tsunoda, Laurie Spiegel and André O. Möller. Multiple perspectives are explored through a series of encounters, initially between an individual and a work, and subsequently with each author’s varying experiences of temporality. The authors compare their responses to features such as repetition, speed, duration and scale from a perceptual standpoint, drawing in reflections on aspects such as musical memory and anticipation. The observations made in this book are accessible and relevant to readers who are interested in exploring issues of temporality from a broad range of disciplinary perspectives.Trade ReviewThis is one of the richest, most innovative treatments of temporality's relation to music to appear in the last decade. Musicologists, composers, sound artists, and interdisciplinary scholars interested in the experience of time will find this book rewarding. Summing Up: Highly recommended. Upper-division undergraduates through faculty and professionals. * CHOICE *Being Time invites readers to share in the subjective reflections of its three authors, who are also accomplished composers ... The selection of musical material is adventurous and uncompromising ... [It] offers closely monitored, musicologically precise commentaries. * The Wire Magazine *Being Time is fearless in its approach and makes a powerful case for musical experience as a fundamentally intersubjective encounter. It is deeply experimental—a humane and pedagogical project. * Ryan Dohoney, Assistant Professor of Musicology at Northwestern University, USA, author of Saving Abstraction: Morton Feldman, the de Menils, and the Rothko Chapel (forthcoming) *Being Time locates the potentialities of a work in a listener’s ears, mind, and body; centralising listening as the phenomenal, temporal process of seeking identity, form, context, and meaning by reverberations that energize the sensory experiences of location, dislocation; the material and the immaterial; and the mirroring and unmooring of personal and social narratives. This book seeks to find and expand our ways of talking and writing about music and sound art practices, appreciating perception as a critical part of reception. * Michelle Lou, Composer and Sound Artist, USA *Table of ContentsAcknowledgements Introduction Richard Glover, Jennie Gottschalk, and Bryn Harrison Chapter One: Foreshadowing and Recollection: Listening Through Morton Feldman’s Piano, Violin, Viola, Cello Bryn Harrison Postlude to Chapter One Richard Glover Chapter Two: Musical brevity in James Saunders’ Compatibility hides itself and 511 possible mosaics Bryn Harrison Postlude to Chapter Two Jennie Gottschalk Chapter Three: Separation and Continuity in Chiyoko Szlavnics’ Gradients of Detail Richard Glover Postlude to Chapter Three Jennie Gottschalk Chapter Four: Filtering Temporality in Ryoji Ikeda’s +/- Richard Glover Postlude to Chapter Four Bryn Harrison Chapter Five: Granulated Time: Toshiya Tsunoda’s O Kokos Tis Anixis Jennie Gottschalk Postlude to Chapter Five Bryn Harrison Chapter Six: Monoliths: Laurie Spiegel’s The Expanding Universe and André O. Möller’s musik für orgel und eine(n) tonsetzer(in) Jennie Gottschalk Postlude to Chapter Six Richard Glover Chapter Seven: Observations on Musical Behaviors and Temporality Richard Glover, Jennie Gottschalk, and Bryn Harrison Epilogue Appendix: Suggested Further Reading and Listening
£104.50
Continuum Publishing Corporation They Might Be Giants' Flood
Book SynopsisFor a few decades now, They Might Be Giants’ album Flood has been a beacon (or at least a nightlight) for people who might rather read than rock out, who care more about science fiction than Slayer, who are more often called clever than cool. Neither the band’s hip origins in the Lower East Side scene nor Flood’s platinum certification can cover up the record's singular importance at the geek fringes of culture. Flood’s significance to this audience helps us understand a certain way of being: it shows that geek identity doesn’t depend on references to Hobbits or Spock ears, but can instead be a set of creative and interpretive practices marked by playful excess—a flood of ideas. The album also clarifies an historical moment. The brainy sort of kids who listened to They Might Be Giants saw their own cultural options grow explosively during the late 1980s and early 1990s amid the early tech boom and America’s advancing leftist social tides. Whether or not it was the band's intention, Flood’s jubilant proclamation of an identity unconcerned with coolness found an ideal audience at an ideal turning point. This book tells the story.Trade ReviewAs always with books in this series[…] the read is highly recommended. It’s enthusiastic and, in many ways, fan-ish, but makes its case clearly, logically and in an engaging writing style. I learned a great deal about the band’s historical context and the decade build up to Flood. And, as I’ve already mentioned, reading it has led me to re-listen and notice details and connections I’ve never previously noticed. And that really has to be the aim of all writing about music – to inspire further and deeper listening. -- Adriane Elmer * Cyclic Defrost *Reed and Sandifer are clearly fans, and not just because they say so–their writing demonstrates a level of familiarity with TMBG that belongs to the long-time listener...Overall, Reed and Sandifer’s Flood is a neat book. It’s worth reading,not only if you’re a fan of TMBG and/or Flood, but also if you’re interested in geek culture and geek rock. * ProfAwesome.com *Table of ContentsPROLOGUE: THEME FROM FLOOD 1. WHO MIGHT BE GIANTS? 2. LINCOLN 3. BROOKLYN’S AMBASSADORS OF LOVE 4. AMERICA 5. FLOODING 6. CHILDHOOD 7. MEDIALITY 8. GEEK CULTURE 9. POST-COOLNESS EPILOGUE: AFTER THE FLOOD
£9.49
Bloomsbury Publishing Plc Text and Drugs and Rock 'n' Roll: The Beats and
Book SynopsisText and Drugs and Rock'n'Roll explores the interaction between two of the most powerful socio-cultural movements in the post-war years - the literary forces of the Beat Generation and the musical energies of rock and its attendant culture. Simon Warner examines the interweaving strands, seeded by the poet/novelists Jack Kerouac, Allen Ginsberg, William Burroughs and others in the 1940s and 1950s, and cultivated by most of the major rock figures who emerged after 1960 - Bob Dylan, the Beatles, Bowie, the Clash and Kurt Cobain, to name just a few. This fascinating cultural history delves into a wide range of issues: Was rock culture the natural heir to the activities of the Beats? Were the hippies the Beats of the 1960s? What attitude did the Beat writers have towards musical forms and particularly rock music? How did literary works shape the consciousness of leading rock music-makers and their followers? Why did Beat literature retain its cultural potency with later rock musicians who rejected hippie values? How did rock musicians use the material of Beat literature in their own work? How did Beat figures become embroiled in the process of rock creativity? These questions are addressed through a number of approaches - the influence of drugs, the relevance of politics, the effect of religious and spiritual pursuits, the rise of the counter-culture, the issue of sub-cultures and their construction, and so on. The result is a highly readable history of the innumerable links between two of the most revolutionary artistic movements of the last 60 years.Trade Review[U]ndoubtedly, the most comprehensive survey of "British Beat" (interviews with Michael Horovitz, Pete Brown,Kevin Ring..), as well as informative Q & A's with American Beat scholars, Levi Asher and Jonah Raskin, and a whole lot more. * The Allen Ginsberg Project *Simon Warner's new book is an intriguing and absorbing read that weaves together the Beat poets and novelists of the 1940s and '50s and their direct influence on rock musicians in the 1960s and onwards... A wide-ranging, ambitious 'bigger picture' book that's well worth a read for fans of these seminal and creative people. * Vive le Rock *Those with an interest in the relationship between the Beats and rock, or between the world of words and the world music more generally, are certain to find this a useful publication. -- Ian Collinson, Macquarie University * IASPM@Journal *Fascinating and impeccably researched... Warner’s massive contribution to the literary and musical legacy of the Beat generation should be, along with Ann Charters’s The Portable Beat Reader, the standard reference on the subject. -- Edwin Pouncey * The Wire *Impressively comprehensive and frequently fascinating... Text and Drugs and Rock ‘n’ Roll succeeds because its eclecticism and its boldness in bringing genres together – it includes not only scholarly essays, but also interviews, reviews and obituaries – is consistent with the qualities he identifies in the Beats’ artistic productions and their links with popular culture, as well as his own desire to break free of “disciplinary rigidity”. -- James Peacock * European Beat Studies Network *The lingering buzz of what we do get is more valuable: A deeper appreciation, sans Baby Boomer/Sixties clichés, of a period of anything-goes, no-rules creativity, and the feeling that, damn, it must have been a lot of fun to be there. -- Jim Derogatis * WEBZ.org - PopNStuff *Impressive and well researched * Yorkshire Post *[One of] two excellent new books...I'm particularly proud to be in this book now that I see what a handsome volume it is. -- Levi Asher * Literary Kicks *Warner’s academic and exhaustive examination provides a fascinating analysis on the pivotal confluence of two artistic movements. This book will prove valuable to students and to those deeply interested in music, literature, and Anglo-American cultural history of the mid- to late 20th century. -- James Collins * Library Journal *Interesting book… -- Pat Gilbert * Mojo Magazine *Text and Drugs and Rock'n'Roll is a well-researched and fascinating investigation into the relationship between rock music and the Beats, and the ways in which this interaction inspired a mode of expression that was to find common ground in the final third of the twentieth century. Warner offers readers a wealth of information on the Beats' rebellious and varied lifestyles, poetry and novels and how and why they influenced both iconic and lesser known musicians from the 1960s counterculture, through punk, heavy metal and grunge. Extended interviews with seminal figures, conversations, obituaries and a series of Q&As with individuals with close connections to the Beat-rock crossover add to the authority of this groundbreaking and timely text, while evidencing the growing importance of interdisciplinary studies for academics, researchers, students and mainstream readers alike. -- Dr. Sheila Whiteley, Queen's University, CanadaAn exhaustive and always illuminating account of the Beats' profound and still-registering impact on radical pop from Dylan to punk and even hip hop. Warner has left no stone unturned in tracing his inter-generational lines of influence, and his overview of the subject is commanding. -- Barney Hoskyns, author of "Lowside of the Road: A Life of Tom Waits"At long last an electrifying exploration of the Beat Generation writers and the wild guitarists and poetic songwriters who transformed world culture. Bravo to Simon Warner for breaking down all the sound barriers and for bridging the musical and literary geniuses of our time. Hail Hail Text and Drugs and Rock'N'Roll, a book that's bound to be around for a long time. -- Jonah Raskin, author of "Rock and Roll Women: Portraits of a Generation"Table of ContentsAcknowledgements Credits Preface Rock and rock’n’roll: A short note to the reader Introduction i) How the Beats met rock: Some history and some context ii) Charting the Beats: Background and impact iii) Beat and rock: A survey of association iv) The Beats’ own recordings: A selective discography Chapter 1 – Sifting the shifting sands: Allen Ginsberg, ‘Howl’ and the American landscape in the 1950s Interlude A – Lawrence Ferlinghetti: A survivor surveys Interview 1 - David Amram, jazz musician and Beat composer, including the Pull My Daisy soundtrack Chapter 2 – Chains of flashing memories: Bob Dylan and the Beats, 1959-1975 Interview 2 – Michael McClure, poet and author of The Beard Chapter 3 – Muse, moll, maid, mistress? Beat women and their rock’n’roll legacy Chapter 4 – Raising the consciousness: Re-visiting Allen Ginsberg’s 1965 trip to Liverpool Q&A 1 – Michael Horovitz, poet, publisher and British Beat Interview 3 – Larry Keenan, photographer of ‘The Last Gathering of the Beats’ in San Francisco in 1965 Obituary 1 – Peter Orlovsky, ‘Member of the Beat Generation, poet and lover of Allen Ginsberg’ Interlude B – All Neal: Cassady celebrated in downtown Denver Q&A 2 – Mark Bliesener, rock band manager and a founder of Neal Cassady's memorial day in Denver Chapter 5 – The British Beat: Rock, Literature and the British Counterculture in the 1960s Interview 4 – Pete Brown, British poet and rock lyricist for Cream Q&A 3 – Jonah Raskin, Ginsberg biographer and cultural historian Chapter 6 – The Sound of the Summer of Love? The Beatles and Sgt. Pepper, the hippies and Haight-Ashbury Q&A 4 – Levi Asher, founder of acclaimed Beat website Literary Kicks Interview 5 – Ronald Nameth, Beat film-maker and director of the film of the Exploding Plastic Inevitable Chapter 7 – The Meltzer chronicles: Poet, novelist, musician and historian of Beat America Review 1 – Book: David Meltzer, Beat Thing Interview 6 – Bill Nelson, British rock guitarist and Beat follower Q&A 5 – Jim Sampas, notable Beat record producer including Kerouac: Kicks Joy Darkness Chapter 8 – Versions of Cody: Jack Kerouac, Tom Waits and the song ‘On the Road’ Chapter 9 – Feeling the bohemian pulse: Locating Patti Smith within a post-Beat tradition Chapter 10 – Jim Carroll: Poetry prodigy, post-Beat and rocker Obituary 2 – Jim Carroll, ‘Poet and punk musician who documented his teenage drug addiction in The Basketball Diaries’ Chapter 11 – All cut up? William Burroughs and Genesis P-Orridge’s beatnik past Interview 7 – Steven Taylor, Ginsberg's guitarist and member of the Fugs Chapter 12 – Steven Taylor: A Beat Englishman in New York Q&A 6 – Pete Molinari, British singer-songwriter with Beat leanings Chapter 13 – Return to Lowell: A visit to the Commemorative and Kerouac’s grave Review 2 – Film: One Fast Move or I'm Gone: Kerouac's Big Sur Review 3 – Album: One Fast Move or I'm Gone: Kerouac's Big Sur Q&A 7 – Chris T-T, British political singer-songwriter Obituary 3 – Tuli Kupferberg, ‘Key figure in the US 1960s counterculture’ Q&A 8 – Kevin Ring, editor of the magazine Beat Scene Review 4 – Album: On the Road: Original Motion Picture Soundtrack Appendix – Jack & Neal on record Bibliography, Discography, Filmography, Broadcasts, Personal Communication and Interviews
£19.79
Equinox Publishing Ltd Turkish Folk Music between Ghent and Turkey
Book SynopsisIn our twenty-first-century world, shaped by the transformative processes of migration, diasporization, and cosmopolitanization, musical performance conditions and contexts constantly change, while musical forms newly emerge and evolve. The development of Turkish folk music is well-documented, providing rich material for study in the motherland as well as in the diaspora. This book aims at exploring, describing, interpreting, and linking musical, contextual, and functional aspects of the manifestation of Turkish folk music in contemporary Turkey and the Turkish diaspora in the city of Ghent (Belgium). The Turkish presence in Ghent is particular in its size (approximately ten percent of the population) and constitution (mostly originating in the West Anatolian town of Emirdag). Anchored in detailed ethnographic reality, this book expands our views on what Turkish folk music signifies in the early twenty-first century, and adds to the apprehension and appreciation of this multifaceted, topical musical phenomenon. Its employed multi-sited, transnational comparative outlook is unique, with an added dimension generated by the inclusion of rural and small-town contexts complementing the urban perspective. Other contributions to the field include the transcription and analysis of performance styles, the evaluation of TRT discourses and practices, and the coverage of understudied research contexts (Ghent/Belgium and Emirdag).
£23.70
Jessica Kingsley Publishers Music, Music Therapy and Trauma: International
Book SynopsisMusic communicates where words fail, and music therapy has been proven to connect with those who were thought to be unreachable, making it an ideal medium for working with those who have suffered psychological trauma. Music, Music Therapy and Trauma addresses the need for an exploration of current thinking on music and trauma. With chapters written by many of today's leading specialists in this area, music and trauma is approached from a wide range of perspectives, with contributions on the following:* neurology of trauma and music;* music and trauma in general;* social and cultural perspectives on trauma;* contextualising contemporary classical music and conflict;* music and trauma in areas where there is war, community unrest and violence (Northern Ireland, Bosnia-Herzegovina, South Africa);* music, trauma and early development.Including specific examples and case studies, this book addresses the growing interest in the effects of trauma and how music therapy can provide a way through this complex process.Trade ReviewAll the essays in Music, Music Therapy and Trauma are deceptively simple - the reader does not need a sophisticated knowledge of music to follow the arguments, nor a degree in psychology - but this is what makes them so appealing given the scarcity of material on this subject. These essays should be treated as sparks to the kindling of thinking, as laying the foundations for more rigorous readings and theorizations. If the connection between music and trauma interests you, then this volume is a must'. -- Years's Work in Critical and Cultural TheoryTable of ContentsIntroduction, Julie Sutton, Belfast and Dublin; Clinical Advisor, Pavarotti Music Centre, Mostar, Bosnia. PART ONE, TRAUMA PERSPECTIVES. 1. Trauma: Trauma in context, Julie Sutton. 2. Neurology: The brain - its music and its emotion. The neurology of trauma, Dr Michael Swallow, OBE, FRCP. PART TWO, CULTURE, SOCIETY AND MUSICAL PERSPECTIVES. 3. Culture and Society: The role of creativity in healing and recovering one's power after victimisation, Dr Marie Smyth, University of Ulster, and the Initiative on Conflict Resolution and Ethnicity. 4. Music: The politics of silence: the Northern Ireland composer and the Troubles, Hilary Bracefield, University of Ulster. PART THREE, INTERNATIONAL CLINICAL PERSPECTIVES. 5. South Africa: Fragile rhythms and violent listenings: Music therapy with South African children, Dr Mercedes Pavlicevic, University of Pretoria. 6. UK: Music and human rights, Matthew Dixon, Medical Foundation for the Care of Victims of Torture. 7. Ireland: See me, hear me, play with me: Working with the trauma of early abandonment and deprivation in psychodynamic music therapy, Ruth Walsh Stewart, Our Lady's Children's Hospital, Dublin, and David Stewart. 8 . Bosnia: A music therapy service in a post-war environment, Louise Lang and Una McInerney, Pavarotti Music Centre, Mostar. 9. UK: 'In the Music Prison': The story of Pablo, Helen Tyler, Nordoff-Robbins Music Therapy Centre, London. 10. Israel: Trauma and its relation to sound and music, Adva Frank-Schwebel, Bar Ilan University and David Yellin College, Jerusalem . PART FOUR, THE SUPPORT PERSPECTIVE. 11. Processes in listening together: An experience of distance supervision of work with traumatised children, Louise Lang, Una McInerney, Rosemary Monaghan and Julie Sutton, Bosnia and the UK. 12. The voice of trauma: A wounded healer's perspective, Diane Austin, New York University. Afterword, Julie Sutton. References. Index.
£24.99
Jessica Kingsley Publishers Music Therapy and Group Work: Sound Company
Book SynopsisThe fascinating and diverse descriptions contained in this text begin the process of developing indigenous understandings of music therapy in group work and alert the reader to issues for future exploration. A fascinating text, describing a range of clients - I highly recommend it.'- Nordic Journal of Music TherapyGroup music therapy has been widely practised for many years, especially within institutional settings, and features substantially in training, yet there has been no publication devoted to the discussion of this area of therapy. Music Therapy and Group Work fills this gap by bringing together the experiences of group music therapy practitioners who work with diverse client groups in various settings. Whilst acknowledging that the practice of group music therapy incorporates many theoretical and practical issues in common with those of mainstream group work, the editors emphasize that this field needs to develop some further theoretical discourse of its own, primarily because its main contrast from regular group work is that it draws on a non-verbal medium alongside the ordinary verbal exchange.The book combines clinical examples with theory to provide a comprehensive introduction to group music therapy. Practitioners not only of music therapy, but also those working in related disciplines, will find this to be an informative and stimulating read.Table of ContentsForeword. Marina Jenkyns. PART ONE: Music Therapy Groups with Adults. 1. Introduction, Eleanor Richards, Anglia Polytechnic University and Alison Davies, Guildhall School of Music and Drama. 2. Sound company: Psychodynamic music therapy as facilitating environment. David Stewart, Barnardo's Northern Ireland Project. 3. Drummed out of mind: A music therapy group with forensic patients. John Glyn, Three Bridges Regional Security Unit. 4. One man's journey and the importance of time: Music therapy in an NHS mental health day centre. Helen Odell-Miller, Anglia Polytechnic University, Cambridge. 5. Music therapy with elderly adults. Rachel Darnley-Smith, Barnet, Enfield and Haringey Mental Health Trust. 6. 'There's no getting away from anything in here': A music therapy group within an inpatient programme for adults with eating disorders. Helen Loth, Barnet, Enfield and Haringey Mental Health Trust. 7. A music therapy group in a neurological rehabilitation ward. Catherine Durham, Welsh College of Music and Drama. 8. Finding a space to play: A music therapy group for adults with learning disabilities. Eleanor Richards, Anglia Polytechnic University, Cambridge and Hayley Hind, Cambridgeshire and Peterborough Mental Health Partnership NHS Trust. 9. A music and art therapy group for people with learning disabilities. Tessa Watson, Roehampton Institute, London and Linda Vickers, NHS and private practice. PART TWO: Music Therapy Groups with Children. 10. A music therapy group to assist in clinical diagnosis in child and family psychiatry. Amelia Oldfield, Anglia Polytechnic University, Cambridge and Emma Carter, Cambridge Child and Family Psychiatric Unit. 11. 'Harry's saying hello on the drum': Increasing socio-emotional communication in children with autistic spectrum disorder. Ruth Walsh-Stewart, music therapist and psychotherapist. 12. Preparing a potential space for a group of children with special needs. Julie Sutton, Pavarotti Music Centre, Mostar, Bosnia. 13. A children's group: An exploration of the framework necessary for therapeutic work. Doris Knak, Tavistock Centre and Katherine Grogan, South West London and St George's NHS Mental Health Trust. 14. Working, playing and relating: Issues in group music therapy for children with special needs. Helen Tyler, Nordoff-Robbins Music Therapy Centre. 15. 'Could I play a different role?': Group music therapy with severely learning disabled adolescents. Tuulia Nicholls, music therapist. PART THREE: Group Work in Supervision and with Music Therapy Students. 16. An understanding of music therapy groups informed by the writing of S.H.Foulkes. Esme Towse, psychotherapist and Catherine Roberts, Peak School, High Peak, Derbyshire. 17. Some observations on music therapy training groups. Elaine Streeter, Anglia Polytechnic University, Cambridge and Guildhall School of Music. 18. A group analytic look at experiential training groups: How can music earn its keep? Alison Davies, Guildhall School of Music and Drama and Sue Greenland, Lincolnshire Healthcare NHS Trust. References. Index.
£35.88
Jessica Kingsley Publishers Groups in Music: Strategies from Music Therapy
Book SynopsisMusic in Groups happens all the time: in the street, the classroom, in music colleges, community centres, hospitals, prisons, churches and concert halls; at raves, weddings, music festivals, public ceremonies, music therapy sessions, group music lessons, concerts and rehearsals.Some group musicking seems to 'work' (and play) better than others; some sessions feel exhausting even if things are going well; and at other times, we can't begin to explain the complex musical and relational textures of group music work to funders, employers, friends, colleagues, or line managers. In this book, music therapist Mercédès Pavlicevic develops a broad-based discourse to describe, analyse and guide the practice of group musicking, drawing on her own extensive experience. The text is illustrated with vignettes drawn from a range of formal and informal settings that include spontaneous public occasions, collective rituals, special and mainstream education, music therapy, the concert hall, the music appreciation group and community work.This book makes you think about balancing individual and group needs, the development of group time, dealing with over-enthusiastic performers who 'hog' the group sound, undercurrents in music groups, the complications of dealing with institutions, preparing music listening programmes and buying instruments for group work - if you're involved in any kind of group musicking, this book is for you.Trade ReviewIt is certainly a book to revisit - to have at hand when planning a project, to dip into it at points during a period of active practice- but also one to read with time to ponder for the broadly applicable insights it holds. -- British Journal of Music EducationWhat impressed me the most is that throughout the book Pavlicevic is not afraid to show her work in a full manner. In her own vignettes, where she personally conducts the group, she writes not only about successes, good feelings and interventions that went well, but also about mistakes, failures, interventions that did not work., and uneasy and uncomfortable feelings she had while conducting the session. I find it very refreshing, important, and useful for music therapists as well as other music group leaders. In summary, I recommend the book for music therapists who work with groups, and especially for the beginner music therapist. The book helps to understand group music work from its various angles and dimensions. -- Nordic Journal of Music TherapyI wish we had read Pavlicevic when we set up our Blues band - Information is easily accessed through a detailed Table of Contents and numbered sub-headings to allow the book to be read straight through or dipped into as a reference or instruction manual. A colleague has already found that my review copy has changed his approach and made him more ambitious bringing live music on to inner London psychiatric wards. -- British Journal of Music TherapyTable of ContentsIntroduction: Music, society, and shifting music therapy. PART ONE: Planning: Thinking ahead. 1. Planning our discourses. 2. Institutions, idiosyncrasies, and the larger picture. 3. In-groups, out-groups, norms and membership. 4. Instrumental thinking and sound thoughts. 5. On being formed by music. 6. Considering the music space. 7. Aims, tasks, roles and the outer track. PART TWO: Executing: `Doing'. 8. Forming groups and groups forming: Quick time, music time and sound deeds. 9. Group flow, group pulse - finding the groove. 10. Whose group? Whose music? (And whose expectations?) 11. Group rituals. 12. Live meanings - listening to music. 13. Team building and conflict resolution. PART THREE: Reflecting: Thinking back and forth. 14. How formed is your listening? (And how informed is your speaking?) 15. Persons as music (and finding the groove). 16. Group music, identity and society. 17. Absence, presence and climate control. 18. Group process and the `inner track'. 19. Evaluating and ending. In Conclusion. Recommended Reading. Index.
£27.85
Jessica Kingsley Publishers Community Music Therapy
Book SynopsisMusic therapists from around the world working in conventional and unconventional settings have offered their contributions to this exciting new book, presenting spirited discussion and practical examples of the ways music therapy can reflect and encourage social change. From working with traumatized refugees in Berlin, care-workers and HIV/AIDS orphans in South Africa, to adults with neurological disabilities in south-east England and children in paediatric hospitals in Norway, the contributors present their global perspectives on finding new ways forward in music therapy.Reflecting on traditional approaches in addition to these newer practices, the writers offer fresh perceptions on their identity and role as music therapists, their assumptions and attitudes about how music, people and context interact, the sites and boundaries to their work, and the new possibilities for music therapy in the 21st century. As the first book on the emerging area of Community Music Therapy, this book should be an essential and exciting read for music therapists, specialists and community musicians.Trade ReviewThis text has consolidated the debate and further articulated the discourse. I believe it is an important contribution to the development of music therapy. -- Nordic Journal of Music TherapyThis is a book which challenges traditional boundaries and definitions of music therapy. It takes seriously how culture informs our ways of perceiving therapeutic needs, and seeks to develop new perspectives, role identities and ways of doing music therapy. It is essential reading for the socially engaged music therapist. -- from the Foreword by Even RuudTable of ContentsForeword. Even Ruud. Introduction: The Ripple Effect. Mercédès Pavlicevic and Gary Ansdell. Part I. New Name, Old Game? 1. Learning from Thembalethu: Towards Responsive and Responsible Practice in Community Music Therapy. Mercédès Pavlicevic. 2. Therapy to Community: Making Music in Neuro-Rehabilitation. Stuart Wood, Rachel Verney and Jessica Atkinson. Part II. What has Theory Got to do With it? 3.Rethinking Music and Community: Theoretical Perspectives in Support of Community Music Therapy. Gary Ansdell. 4. Community Music Therapy: Culture, Care and Welfare. Brynjulf Stige. 5.What Can the Social Psychology of Music Offer Community Music Therapy? Jane Davidson. Part III. Is Community Music Therapy a Challenge to the Consensus Model? 6. Whatever Next? Community Music Therapy for the Institution. Anna Maratos. 7. A Pied Piper Among White Coats and Infusion Pumps: Community Music Therapy in a Paediatric Hospital Setting. Trygve Aasgaard. Part IV. But Is It Music Therapy? 8. A Dream Wedding: From Community Music to Community Music Therapy with a Community. Harriet Powell. 9. Conversations of Creating Community: Performance as Music Therapy in New York City. Kenneth Aigen.10. Playing Politics: Community Music Therapy in a Non-medical Mental Health Setting. Simon Procter. Part V. What has Culture got to do With it? 11. Promoting Integration and Socio-Cultural Change: Community Music Therapy With Traumatised Refugees in Berlin. Oksana Zharinova-Sanderson. 12. Community Music Therapy and the Challenge of Multiculturalism. Dorit Amir. Part VI. What has Context got to do With it? 13. Music, Space and Health: the story of MusicSpace. Leslie Bunt. 14. Transformational Contexts in Music Therapy. David Stewart. Afterword. Mercédès Pavlicevic and Gary Ansdell. Conclusion. Mercédès Pavlicevic and Gary Ansdell. Index.
£28.99
Jessica Kingsley Publishers Case Study Designs in Music Therapy
Book SynopsisResearch and clinical work are often perceived as opposites in the field of music therapy. This book shows, for the first time, how these two areas of work can creatively complement one another, proving beneficial to both disciplines. Each chapter is written by a leading researcher and practitioner in the field, and the book covers a wide spectrum of approaches within different settings. Beginning with methodological and musicological approaches to case studies, the book then moves on to more specific topics such as the use of case studies in an interactive play setting and in music therapy with the elderly. Later chapters explore theoretical aspects, looking at a worked example of music and progressive change during therapy, and how case study designs can be used in practice. A must for all professionals working and studying within the music therapy area, this is also an informative and useful book for health researchers.Trade Reviewthe text is a welcome contribution to the music therapy literature, as it richly and effectively conveys the editor's message on both the plurality and unique advantages of case study designs in music therapy. The text is perhaps best suited as a reference source for examples of different case study designs, as well as for examples of cases themselves. Such a reference source could benefit music therapy clinicians and researchers (particularly the final chapter on guidelines for designing and implementing case study research). Moreover, with supplemental resources on the basic elements of case study design, it could also benefit music therapy students (undergraduate and graduate) and educators. -- British Journal of Music Therapy, Brian Abrams, PhD, MT-BC, LPC, LCAT, FAMI, has been a practising music therapist since 1995, and currently serves as Assistant Professor and Director of Music Therapy at Immaculata University in Pennsylvania, USATable of Contents1. A story told from practice. David Aldridge, University Witten Herdecke. 2. Therapeutic narrative analysis as a narrative case study approach. Gudrun Aldridge, University Witten Herdecke. 3. `How wonderful that I've been born - otherwise you would have missed me very much!' Barbara Griessmeier, University Hospital, Frankfurt. 4. Song creations by children with cancer - process and meaning. Trygve Aasgaard, National Hospital of Norway. 5. A case study in Guided Imagery and Music (BMGIM). Denise Grocke, University of Melbourne. 6. The use of single case designs in an interactive play setting. Petra Kern, University of North Carolina. 7. The use of single case designs in testing a specific hypothesis. Cochavit Elefant, Bar Ilan University. 8. Music and sound vibration: testing hypotheses as a series of case studies. Tony Wigram, Aalborg University. 9. Music therapy with the elderly: complementary data as a rich approach to understanding communication. Hanne Mette Ridder, Aalborg University. 10. Cannabis, brain physiology, changes in states of consciousness and music perception. Jörg Fachner, University Witten Herdecke. 11. Guidelines for case study design research in music therapy. David Aldridge, University Witten Herdecke. References. Subject index. Author index.
£24.99
Jessica Kingsley Publishers Music Therapy and Neurological Rehabilitation:
Book SynopsisThe central tenet of this innovative collection is that identity can be regarded as a performance, achieved through and in dialogue with others. The authors show that where neuro-degenerative disease restricts movement, communication and thought processes and impairs the sense of self, music therapy is an effective intervention in neurological rehabilitation, successfully restoring the performance of identity within which clients can recognise themselves. It can also aid rehabilitation of clients affected by dementia, traumatic brain injury, and multiple sclerosis, among other neuro-generative diseases.Music Therapy and Neurological Rehabilitation is an authoritative and comprehensive text that will be of interest to practising music therapists, students and academics in the field.Trade ReviewReaders may pick chapters of particular interest to them or read the whole book. While it is not a light read, those wanting to deepen their thinking about the way music therapy works and how it can be applied, will find it a feast worth digesting. -- Journal of Dementia CareA stimulating feature of the book is th wide variety of writing styles, type of study and perspective. Aldridge's commitment to rigorous research in arts therapies does not limit subject matter. -- Journal of Dementia CareThis inspiring book provides a wide-ranging, honest and in-depth discussion of many issues relating to music therapy interventions for people living with degenerative illnesses in health care settings. It will be a compelling read for music therapists but also of interest to managers and other health professionals working in neuro-rehabilitation or dementia care, particularly if arts therapies are being considered or are already a party of the care plan. -- Journal of Dementia CareMusic Therapy and Neurological Rehabilitation: Performing Health, edited by David Aldridge, provides an overview of the use of music therapy as a form of neurological rehabilitation. The collection examines the use of music as therapy for a range of neurological conditions, from multiple sclerosis to work with clients in a vegetative state. -- DementiaDavid Aldridge's latest text, Music Therapy and Neurological Rehabilitation: Performing Health, provides much needed summaries of research in the area of neurorehabilitation. -- The Nordic Journal of Music TherapyTwo hundred and sixty pages, ten chapters, and eight experienced music therapy clinicians and researchers are what makes up David Aldridge's latest text Music Therapy and Neurological Rehabilitation: Performing Health. The profile of music therapy within the neurorehabilitaiton field is mounting and this text contributes to the growing body of knowledge supporting this emerging clinical area. -- The Nordic Journal of Music TherapyThis book will be of great value to anyone doing post graduate research in Music Therapy, and a gift to studentsasked to write an essay on Music Therapy in neurological rehabilitation. For those working in the field of Music Therapy for various neurological disorders, there is much useful information and the book is valuable for deepening understanding of the problems of people with such disorders and how they can be helped. What I liked about the book is it's carefully researched data - useful information for anyone working in neurological rehabilitation, nit just Music Therapists. -- Positive HealthA stimulating feature of the book is the wide variety of writing styles, type of study and perspective. Aldridge's commitment to rigorous research in arts therapies does not limit subject matter. -- Dementia Care MagazineTable of Contents1. Looking for the why, how and when, David Aldridge. 2. Gesture and dialogue: music therapy as praxis aesthetic and embodied hermeneutic, David Aldridge. 3. Dialogic degenerative diseases and health as a performed aesthetic, David Aldridge. 4. An overview of therapeutic initiatives when working with patients suffering from dementia, Hanne Mette Ridder. 5. Music therapy in neurorehabilitation with people who have experienced traumatic brain injury: a literature review, Simon K. Gilbertson. 6. Encounter with the conscious being of patients in persistent vegetative state, Ansgar Herkenrath. 7. `Swing in my brain': active music therapy for people living with multiple sclerosis, Wolfgang Schmid. 8. A music therapy intervention for patients suffering with chronic aphasia: a controlled study, Monika Jungblut. 9. `Traditional oriental music therapy' in neurological rehabilitation, Gerhard Tucek. 10. What are the therapeutic effects of art therapies in the primary treatment of paraplegic patients? A qualitative study with 21 patients treated at the Herdecke community hospital, Anke Scheel-Sailer. 11. Coda, David Aldridge. References. Index.
£999.99
Jessica Kingsley Publishers Interactive Music Therapy - A Positive Approach:
Book SynopsisIn Interactive Music Therapy - A Positive Approach, Amelia Oldfield explains how her approach to music therapy sessions establishes a constructive musical dialogue with children that emphasises positive experiences - these establish trust and allow feelings to be expressed through music. Describing the general benefits of this approach, the author also details its application for specific clinical groups including children with autistic spectrum disorders, relationship difficulties or physical disabilities. Individual chapters focus specifically on child development issues and in child and brief case studies throughout the text illustrate points of particular importance. This practical book will be of use to other clinicians and teachers working with children with a variety of needs, including children on the autism spectrum and children with learning disabilities. It is also of use to music therapy trainers, their students and academics whose interests include music therapy.Trade ReviewThe book Interactive Music Therapy - A Positive Approach, describes the author's work in a child development center (CDC) and explores the characteristics of her specific music therapy approach. The author clarifies her special interactive and positive approach through her clinical work with various types of preschool children and their parents: children with autistic spectrum disorder, children with severe physical and mental difficulties and children with no clear diagnosis. The book presents case studies, reports (some of which written by parents and colleagues) and research investigation. These tools enable the reader to gain a deeper understanding of different aspects of the authors' music therapy approach and its implications. This easily read book is of use both for music therapists and for members of multi-disciplinary teams, who work with children with special needs. I recommend the book for music therapists who work with the mentioned client groups and especially with autistic spectrum disorder children and for those who work jointly with parents. This book takes the reader through a journey of experience which inspires the reader to have an insight into his own developing approach with a specific client group. -- Nordic Journal of Music TherapyThis practical book will be of use to music therapists, nurses and occupational therapists working with children from a variety of clinical groups, including children on the autism spectrum and children with learning disabilities. It is also of use to music therapy trainers, their students and academics whose interests include music therapy. -- British Society for Music TherapyTable of ContentsContents: Introduction. 1. Characteristics of my Music Therapy Approach. 2. Working with Pre-School Children with Autistic Spectrum Disorder and their Parents: Setting and Case Studies 3. Working with Pre-School Children with Autistic Spectrum Disorder and their Parents: Characteristics of my Approach. 4. Music Therapy with Individual Children with Severe Physical and Mental Difficulties. 5. Music Therapy with Individual Children with No Clear Diagnosis. 6. Music Therapy Groups at the Child Development Centre. 7. Investigation into Music Therapy for Ten Pre-School Children with Autistic Spectrum Disorder and their Parents. Conclusion. Coda. Appendices. References. Indexes.
£31.87
Jessica Kingsley Publishers Roots of Musicality: Music Therapy and Personal
Book SynopsisRoots of Musicality offers an accessible and original theoretical approach to a holistic music therapy based on the notion of musicality as an expression of self, with the power to energise, balance and harmonise.The author considers neuroscience and psychobiology to identify analogies with the potential of musical expression to bring about therapeutic change, as observed during his work with children with autistic spectrum and pervasive developmental disorders. Perret also explores the five elements - earth, water, fire, air and space - as means of connecting nature and human spirit. Taken together, these two approaches are instrumental in bridging the gap between music and life and fostering the expression and development of personal energy and spirit in a range of contexts, from arts therapy, music education, performance, and personal and spiritual growth.Roots of Musicality is a key text for music therapists, art therapists, sound healers, music teachers and musicians. It will be of particular interest to those using music therapy with children on the autism spectrum.Trade ReviewI would recommend it to music therapists who are seeking another frame of reference for their work or new musical ideas. -- Australian Journal of Music TherapyThis is a book about music and the human spirit. It…explain[s] how the spirit of a child may be enlivened by music. Daniel Perret plays in dialogue with young minds and bodies to liberate them from restraint and isolation. There is always a chance that music will spark the fire of life and creativity, setting a spirit free and bringing happiness. In skilled and sympathetic hands, it can educate and heal. -- From the Foreword by Colwyn TrevarthenTable of ContentsForeword by Colwyn Trevarthen. Introduction. 1. The Psycho-energetic Approach to Music. 2. The Five Elements in Music. 3. Neuro-Musical Thresholds. 4. Teacher, Musician, Therapist or Shaman? Conclusion. Appendices. References. Subject index. Author index.
£20.89
Jessica Kingsley Publishers Music and Altered States: Consciousness,
Book SynopsisThis international collection examines the opportunities for using music-induced states of altered consciousness to promote physical and mental healing, treat substance dependence, and in spiritual and palliative care.The contributors describe the successful use of altered states and their therapeutic potential, providing examples from different cultures and clinical, therapeutic and spiritual settings. Their observations cover a wide range of music types capable of inducing altered states, including polyrhythmic music, monotonous drumming, Western pop, and Arab musical schemata, complemented by theoretical and clinical approaches to applications in music therapy.This book will be a useful reference for practising music therapists, musicologists, and ethnomusicologists, students and academics in the field.Trade ReviewI welcome the book as a good starting point in a very good starting point in a very important discussion of music and ASC that needs to be unfolded from both a clinical and a research perspective. -- Nordic Journal of Music TherapyFor the specialist in music or music therapy or altered states of consciousness, this book is must reading. -- The Christian ParapsychologistAldridge and Fachner (both qualitative research in medicine, U of Witten-Herdecke) bring together 13 chapters discussing how music is used to create altered consciousness in different cultures. Contributors from around the world in medicine, music therapy, psychology, and music fields examine music used for states of trance, medicine in the Adygh culture of North Caucasus, drug-induced states, healing with hallucinogens, in the treatment of substance abusers, with spirituality and suffering, and therapy for end-stage illnesses. Types of music studied include monotonous drumming and Western and Arab music. The book is intended for music therapists, musicologists, ethnomusicologists and students. -- Book NewsTable of Contents1. Music, Consciousness and Altered States, David Aldridge, University of Witten-Herdecke, Germany. 2. Music and Altered States of Consciousness: An Overview, Jörg Fachner, University of Witten-Herdecke, Germany. 3. Music and Trance, John J. Pilch, Georgetown University, USA. 4. The Effects of Monotonous Drumming on Subjective Experiences, Csaba Szabó, Debrecen University, Hungary. 5. Perception and Responses to Schemata in Different Cultures: Western and Arab Music, Dalia Cohen, Hebrew University, Israel. 6. Music and Medicine: The Adyghs' Case, Alla N. Sokolova, Adyghea State University, Russia. 7. Music and Drug Induced Altered States of Consciousness, Jörg Fachner, University of Witten-Herdecke, Germany. 8. The Role of Music in Healing with Hallucinogens: Tribal and Western Studies, Marlene Dobkin de Rios, University of California, USA. 9. Polyrhythms Supporting a Pharmacotherapy: Music in the Iboga Initiation Ceremony in Gabon, Uwe Maas and Süster Strubbelt, affiliation tbc. 10. Dangerous Music: Working with the Destructive and Healing Powers of Popular Music in the Treatment of Substance Abusers, Tsvia Horesh, Hebrew University, Israel. 11. "On a Journey to Somatic Memory": Theoretical and Clinical Approaches for the Treatment of Traumatic Memories in Music Therapy Based Drug Rehabilitation, Marko Punkanen, University of Jyväskyla, Finland. 12. Music Therapy and Spirituality: A Transcendental Understanding of Suffering, David Aldridge, University of Witten-Herdecke, Germany. 13. Music Therapy and Spirituality and the Challenges of End-Stage Illnesses, Lucanne Magill, Memorial Sloan Kettering Cancer Center, USA. References. Index.
£24.99
Jessica Kingsley Publishers Microanalysis in Music Therapy: Methods,
Book SynopsisIn the context of music therapy, microanalysis is the detailed analysis of that short period of time during a music therapy session during which some kind of significant change takes place. These moments are crucial to the therapeutic process, and there is increasing interest amongst music therapists in understanding how they come about and whether there are ways of initiating them.The contributors to this groundbreaking book look at methods of micro process analyses used in a variety of music therapy contexts, both clinical and research-based. They outline their methods, which include using video and audio materials, interviewing, and monitoring the client's heart rate, and also give examples of the practical application of microanalysis from their clinical experience, including work with clients who have psychiatric illness, autism and other conditions.Microanalyses in Music Therapy provides a wealth of important theoretical and practical information for music therapy clinicians, educators and students.Trade ReviewThere is clarity from each author's contribution that inspires the reader not only to want to look further but also to use and adapt their individual thinking in practice. Wosch and Wigram have provided us with a clear and useful text that will be invaluable for practising music therapists, researchers, educators and students. -- British Journal of Music TherapyMicroanalysis in Music Therapy provides ample evidence of the science and technology behind music therapy, and helps to bust the myth that music therapy means having a sing-along with your patients. Microanalysis in this context refers to the detailed analysis of events in music therapy sessions using verbal, musical and/or video data that can then be used to explore and document significant changes that occur in the process of therapy. Each chapter introduces a model or technique for studying one or more processes in music therapy and a context for its application. The applications range widely from developmental disorders, brain injuries and mental health in children and adults, to tools for assessment and education of trainee music therapists. The book is directed at practising music therapists, researchers, educators and students however, I think school music teachers, researchers and health professionals from a range of disciplines will find much of interest here as well. -- Drug and Alcohol ReviewTable of ContentsForeword by Barbara L. Wheeler. 1. Microanalysis in Music Therapy: Introduction and Theoretical Basis. Thomas Wosch, University of Applied Sciences, Wuerzburg and Schweinfurt, Germany and Tony Wigram, Aalborg University, Demark. Part One: Video Microanalyses. 2. An Ethnographic Descriptive Approach to Video Microanalysis. Ulla Holck, Aalborg University, Denmark.3. Microanalysis of Preverbal Communication in Music Therapy. Christine Plahl, University of Applied Sciences, Munich, Germany. 4. Microanalysis on Selected Video Clips with Focus on Communicative Response in Music Therapy. Hanne Mette Ridder, Aalborg University, Denmark. 5. Microanalysis of Interaction in Music Therapy (MIMT) with Children with Developmental Disorders. Julia Scholtz, Universitatsklinik, Dresden, Germany, Melanie Voigt, Kinderzentrum Munchen, Germany and ThomasWosch. 6. The "AQR-instrument" (Assessment of the Quality of Relationship) - An Observation Instrument to Assess the Quality of a Relationship. Karin Schumacher, University of Arts, Berlin, Germany and Claudine Calvet, University of Arts, Berlin, Germany. 7. The Use of Improvisation Assessment Profiles (IAPs) and RepGrid in Microanalysis of Clinical Music Improvisation. Brian Abrams, ImmaculataUniversity, US. Part Two: Music Microanalyses. 8. Using Voice Analysis Software to Analyse the Sung and Spoken Voice. Felicity Baker, University of Queensland, Australia. 9. Analysis of Notated Music Examples Selected from Improvisations of Psychotic Patients. Jos De Backer, College of Art and Science, Leuven, Belgium and TonyWigram. 10. Music Therapy Toolbox (MTTB) - An Improvisation Analysis Tool for Clinicians and Researchers. Jaakko Erkkilä, University of Jyväskylä, Finland. 11. A Structural Model of Music Analysis. Denise Grocke, University of Melbourne, Australia. 12. Microanalysis of Emotional Experience and Interaction in Single Sequences of Active Improvisatory Music Therapy. Ute A.A. Inselmann, University of Wüzburg, Germany. 13. The Music Interaction Rating Scale (Schizophrenia) (MIR(S)) Microanalysis of Co-improvisation in Music Therapy with Adults Suffering from Chronic Schizophrenia. Mercédès Pavlicevic, Nordoff-Robbins Music Therapy Centre, UK. 14. The Use of Micro-musical Analysis and Conversation Analysis of Improvisation: `The Invisible Handshake' - Free Musical Improvisation as Conversation. Julie Sutton, Centre for Psychotherapy, Belfast, Northern Ireland. 15. A Phenomenologically Inspired Approach to Microanalyses of Improvisation in Music Therapy. Gro Trondalen, Norwegian Academy of Music, Oslo, Norway. 16. Event-based Analysis of Improvisations Using the Improvisation Assessment Profiles (IAPs). TonyWigram. 17. Measurement of Emotional Transitions in Clinical Improvisations with EQ 26.5. ThomasWosch. 18. Microanalysis of Processes of Interactions in Clinical Improvisation with IAP-Autonomy. ThomasWosch. 19. Steps in Researching the Music in Therapy. Lars Ole Bonde, Aalborg University, Denmark. Part Three: Text Microanalyses. 20. Understanding Music Therapy Experiences Through Interviewing: A Phenomenological Microanalysis. Katrina McFerran, University of Melbourne, Australia and Denise Grocke. 21. Text Analysis Method for Micro Processes (TAMP) of Single Music Therapy Sessions. Kerstin Ortlieb, University of Applied Science, Magdeburg and Stendal, Germany, Maria Sembdner,Otto-von-Guericke University, Magdeburg, Germany, ThomasWosch and Jörg Frommer, Otto-von-Guericke University, Magdeburg, Germany. 22. Microanalysis in Music Therapy: A Comparison of Different Models and Methods and their Application in Clinical Practice, Research and Teaching Music Therapy. TonyWigram and ThomasWosch. List of Contributors. Subject Index. Author Index.
£32.99
Jessica Kingsley Publishers Dying, Bereavement and the Healing Arts
Book SynopsisDying, Bereavement and the Healing Arts describes a range of successful programmes pioneered by artists, writers, nurses, musicians, therapists, social workers, and chaplains in palliative care settings. These range from simple painting and writing activities to organized communal activities like writing and performing a play.The arts are shown to offer a means to reflect on memories, hopes, fears and anxieties, and gently explore the emotional, spiritual, and psychological issues which can aid a fuller understanding of oneself and one's condition. The arts also serve as a way to communicate difficult and complex feelings to professionals or family members not possible in everyday conversation.Dying, Bereavement and the Healing Arts offers valuable insights and inspiration for any practitioner working in a palliative care setting.Trade ReviewThis book should be sought by anyone interested in the potential of their own creativity and others to help them discover fresh and fulfilling ways to heal in the complex situations surrounding serious illness and loss. It can also be recommended to students and researchers in the palliative field to help them develop a truly holistic mode to investigate this field. -- Hospice Information Bulletin, Kate Powis, lecturer and researcher at St Helena Hospice, Colchester, UKBolton's collection serves up national and international sources of inspiration in the healing arts...This text...can be seen not only as offering accounts of the role of creativity in varying context of palliative care, but also as a collation of creative acts in their own right. Poetry, photographs, painting, excerpts from dialogue and profoundly moving reflexive writing are all presented to inspire the reader to consider their own creative responses to the world and their part in it...This book should be sought by anyone interested in the potential of their own creativity and others to help them discover fresh and fulfilling ways to heal in the complex situations surrounding serious illness and loss. It can also be recommended to students and researchers in the palliative field to help them develop a truly holistic mode to investigate this field. -- Hospice Information Bulletin, Kate Powis, lecturer and researcher at St Helena Hospice, Colchester, UKThe writing is blunt, the topics heart-wrenching, and the words poignant, addressing issues such as the death of a beloved child, spouse, parent or friend; the pain of illness and treatment; and the helplessness of watching a loved one suffer. Although these are hard topics to consider, it can also be a relief to have difficult subjects acknowledged... DYING BEREAVEMENT AND THE HEALING ARTS reminds readers that creative expression is available to everyone as a means to understanding and growing through life's changes and challenges. -- Journal of the American Art Therapy AssociationGillie Bolton has been an inspirational voice and a practitioner in the involvement which has simulated a wider appreciation of what "makes" health. This volume of twenty essays is a delight - rather like a well-prepared buffet - something to nourish those seeking deeper food for thought and practice. This book will both feed any reader who wishes to be enriched by listening to experience and also find a way to express what is humane in the face of human frailty. -- The Christian ParapsychologistFor anyone curious about how it is that the arts can evoke, enliven, reassure, educate, recount and then enable us to share with others, this is the place to start. -- Bereavement CareEach chapter is very diverse with contributions from patients, survivors, professional healthcare workers and artists. I would recommend this book to all. As healthcare professionals we can never stop trying to understand our fellow human beings hopes and fears. -- Journal of Community NursingDying, Bereavement and the Healing Arts offers valuable insights and inspiration for any practitioner working in a palliative care setting. In my opinion, this is a rare case of something doing exactly what it says on the tin. -- DramatherapyThis is a thought provoking book which invites the reader to consider how art can be healing for the patient, the bereaved and the healthcare professional... The common thread throughout the chapters is how being creative often speaks new leases of life in both patient and those surround her. At the end of the day the book shows how the creative arts have hidden health benefits for patients, the bereaved and healthcare professionals whether that comes from looking at Van Gogh, listening to Bach, writing a poem or moulding some clay. -- Ian Stirling, Scottish Journal of Healthcare ChaplaincyTable of ContentsForeword, Baroness Professor Ilora Finlay of Llandaff.Preface Poem: Nest, Penelope Shuttle 1: Introduction: Dying,Bereavement and the Healing Arts, Gillie Bolton. 2: A Death Photographed: Michael Willson's Story, Paul Schatzberger and Gillie Bolton 3: Arts, Electronic Media, Movement: Rosetta Life, Filipa Pereira-Stubbs and Chris Rawlence. 4: Theatre for Professional Development, Ashley Barnes 5: Visual Art for Professional Development, Sandra Bertman 6: Healing Arts in Palliative Care, Christina Mason. 7: Imagination and Health in Cancer Care and Palliative Care, John Graham-Pole 8: Visual Art in Cancer Care and Palliative Care, Anna Lidzey, Michele Angelo Petrone, Julie Sanders and Gillie Bolton 9: Making Music in Children's Hospices, Lesley Schatzberger 10: Healing Writing in Palliative Care, Sheelagh Gallagher, Kate D'Lima, Kaichiro Tamba, Hilary Elfick, with David Head and Gillie Bolton 11: Creating The Tuesday Group: A Palliative Care Play, Bobbie Farsides and Sue Eckstein 12: The Power of Music, Diana Greenman, Frans Meulenberg and Mike White 13: Writing through Bereavement: River Wolton, Haifa Al Sanousi, Amy Kuebelbeck, Judy Clinton and Robert Hamberger 14: A Legacy of Understanding, Monica Suswin 15: Reading to Help Practitioners and Patients, Ted Bowman and Rogan Wolf 16: Artists: Survivors, Tim Jeeves, Mitzi Blennerhassett and Michele Angelo Petrone, Artist 17: Professionals: Artists, Steve Seagull, Tim Metcalf, Oliver Samuel, Kieran Walsh and Christopher Johns 18: Spiritual and Artistic Care: Memorial Services, Mark Cobb and Giles Legood 19: The Art of Care, Yvonne Yi-Wood Mak , Ann Williams, Corine Koppenol and Sinead Donnelly 20: Reflections Towards the Future, Nigel Hartey. List of Contributors. References. Subject Index. Author Index.
£24.99
Jessica Kingsley Publishers Music Therapy Research and Practice in Medicine:
Book SynopsisIn this interdisciplinary and wide-ranging volume, David Aldridge explores the power of music as a healing treatment for a broad spectrum of physical and mental conditions including AIDS, cancer, coma, senile dementia and autism.This eye-opening book is valuable reading not only for music therapists but also creative arts therapists, occupational therapists, healthcare professionals, hospice workers and any other professional or student who works with chronically ill patients or the dying.Interweaving theory and practice, Aldridge demonstrates the many ways in which a culture of research may be developed in a practice setting to the benefit of all. With case studies he illustrates the use of music therapy as an effective treatment in a range of medical settings. By providing an account of the development of a research programme, he also shows how research may be structured to describe and analyse the clinical benefits of music therapy.Music Therapy Research and Practice in Medicine is a trenchant argument for the linking of music and medicine. Human beings, Aldridge demonstrates, are not mechanical but rather 'symphonic' beings, and for this reason music can be an immensely powerful and effective factor in rehabilitation and palliative care.Trade ReviewThe book provides detailed documentation of medical and psychological literature relating to music therapy practice which will be a rich resource for the music therapy practitioner and researcher. Hopefully, it will inspire a whole body of carefully constructed research based in practice. It leaves me with the overall feeling of a highly skilled and sensitive observer looking at and working alongside another profession. David Aldridge avoids a polarisation into differing camps and eventual political debate fostering a climate of tolerance that he views as a mark of a mature profession. -- British Jouranal Of Music Therapy[the] theme of integrating authenticity and communication is the core issue of the book ... The chapter on single-case-study research designs is certainly recommended reading for any art therapist pursuing this style of research. Aldridge provides an exceptional overview of both quantitative and qualitative approaches to case study research, followed by an in-depth example of qualitative case study research. The method he uses exemplifies the goal stated at the beginning of the book - to tie research to clinical practice ... Aldridge has written a very useful book for those in the fields of the arts therapies who are interested in pursuing research to better understand clinical work. His statement "we need an approach to music therapy research that stays close to the practice of the individual clinician" is one that I hope continues to drive future research in the creative arts therapies. -- ARTherapy, the Journal of the American Art Therapy AssociationIn this impressive book, the author has more than realized the promise of the title, that is, a very thorough consideration of the special challenges that are implicit in music therapy research and practice in medicine - the book is an extremely useful sourcebook of the state-of-the-art of music therapy research in medicine - the complete work provides an encyclopaedic review of music in medicine - a significant and valuable contribution. -- The Arts in PsychotherapyI recommend this book as a fascinating insight into another complementary therapy. -- Growth PointScholarly, but also very human, his regard for human beings as essentially "symphonic" rather than "mechanical", and his view of a person's identity as "a musical form that is continually being composed in the world" make one warm to his approach. Aldridge clarifies the problems realistically, pointing the way forward to possible solutions. There is much here also of interest to professionals other than music therapists. The author's enthusiasm for music therapy, and his commitment to finding research approaches which uphold its central tenets, are always evident. Above all, the message is that music therapy research has to be done, that "rather than sit around for ever discussing what will be the best way", we have to actually try it out. David Aldridge's book is certainly an encouragement and guide to doing just that. -- Self and Society`...the book is stimulating and relevant to my present music therapy work. I can recommend this as a reference book to anyone who is interested in music therapy, as I think it is both informative and thought-provoking.' -- Therapy WeeklyThis is a book that will be of use to any professional interested in asking questions about their work, and will be of particular relevance to those undertaking research. This is a thorough but also a personal book that contains much of Aldridge's own philosophy of research in general and music therapy in particular. Most importantly it encourages research at all levels into the challenging complex area of clinical music therapy. By including a mixture of the theoretical and the personal in this way, this book should serve to encourage and support any professional considering research for the first time. -- British Journal of Therapy and RehabilitationTable of Contents1. Getting Started 2. Health as Performance 3. Communication and the Playing of Improvised Music 4. Music Therapy Research in the Medical Literature 5. Aesthetics and the Individual in the Practice of Research 6. Single Case Designs for the Creative Music Therapist 7. Shared Meanings 8. Music Therapy and Inflammatory Bowel Disease 9. Music Therapy with the Elderly 10. Hope, Meaning and Music Therapy in the Treatment of Life-Threatening Illness 11. Creative Music Therapy in the Treatment of Children with Developmental Delay 12. The Credible Practitioner in the Community of Inquiry. References. Index.
£999.99
Jessica Kingsley Publishers Music Therapy: Intimate Notes
Book SynopsisThe stories and reflections in this book describe powerful encounters between nine music therapists and their clients. These clients include four-year-old Giorgios, who is terminally ill; Wendy, a passionate, battered child who has been rejected by her mother; Olive, suffering from senile dementia; Martha, whose successful life is in crisis; and Steve, who is living with HIV/AIDS. Through music therapy the clients - and therapists - discover their creativity, and, in the process, come to terms with suffering. The stories reveal the passion and integrity of nine music therapists who themselves undergo profound changes as a result of their work.Music Therapy - Intimate Notes is a practical and inspiring introduction to music therapy, showing its range of possibilities in various settings. The book provides a lively and informal theoretical foundation, and connects music to our intimate lives.Trade ReviewWhat is striking and engaging in this excellent book is that it makes us reflect on the whole business of communication - what it is for us humans to be conversational creatures. It challenges some over-easy conclusions about who is and who and isn't capable of conversing - but that, of course, is exactly what the whole work of music therapy is about. But it also shows the difficulty and importance of genuine communication: the degree to which we don't know what we mean unless and until we find an answering rhythm in a listener; the degree to which we foreclose the processes of communication because we want to spare ourselves the letting-go and taking time involved. That our humanity is realised most fully in a literal shared attunement of some kind is a more suggestive thought than volumes of ethics or metaphysics. Pavlicevic gives us a real narrative philosophy in these stories, poignantly and vividly told and sensitively and self-critically thought through. -- The Most Revd. and Rt Hon Rowan Williams, Archbishop of CanterburyThis beautiful and moving book is a riveting collage of nine music therapy case histories, shared by a group of music therapists who were interviewed by Mercedes Pavlicevic. Pavlicevic intended these personalised interviews to be experienced as directly as possible, as oral texts in the first person. This group of sensitive therapists speaks openly, not only of their successes; they are equally candid in sharing their own frustrations and insecurities. As a result, these "stories" bring the reader much closer to the living dynamics of exchange that occurs between therapists and clients than would be possible in a more academic style of reporting. Each "story" is followed by Pavlicevic's reflections that conclude each chapter with a helpful kind of discussion and summary in response to these diverse histories. Through reading these wonderful stories, the richness of which can only be hinted at in the context of this review, we clearly see how music therapy reaches people at the deepest levels of their humanity. -- The Arts in PsychotherapyThis book retells the stories of nine different music therapists and their work with one or two of their clients. All the music therapists use improvisational techniques in their work, and their clients come from a wide range of backgrounds and have varying abilities and disabilities… Each story is followed by Pavlicevic's reflections which examine the story in a more clinical manner where improvisational techniques are explained and the meaning of the music is explored. However, this is no textbook with quantifiable outcomes. Rather, there is an exploration of the complex meaning of the music and the insights gained from this… As a practising music therapist who rarely uses the technique of improvisation, I started reading this book with interest, but perhaps with an underlying feeling that improvisation in music therapy would be a technique that I may never personally never grasp. This book, however, has inspired me to use improvisation more often in my own work as I feel that I have gained a greater insight after reading this book. The book in itself is easy to read, but does not trivialise the issues which are discussed. It would be a valuable text for anyone who has a basic interest in music those therapy and professionals who are already working in the field and would like to know more about other therapists experiences. -- Bulletin of the Australian Music Therapy AssociationThe variety of clients, environments and music therapy interventions described provide a wealth of information to the reader. Each story is individual, giving a different perspective of music therapy. The honesty and clarity of the music therapists' stories is refreshing. It is enlightening to read about the therapists' fear and to be informed about what approaches are successful and those that are less successful... This book provides a friendly introduction to music therapy. The case studies describe a variety of clients with differing needs and a mixture of approaches for consideration. The honesty of the therapists is moving and their intimate stories are enlightening. This book is an excellent way to gain a greater understanding of what music therapists can offer. -- OTPLD NewsletterTable of Contents1. Introduction: Finding our muses. PART I: MUSIC THERAPY WITH CHILDREN. 2. Daniel: Blossoms and baptism. 3. Wendy: `I used to be crying every day...` 4. Sinead: `Here is my arm...' 5. Giorgos: Isolation in a hospital ward. PART II: MUSIC THERAPY WITH ADULTS. 6. Martha: Working with wellness. 7. Shireen: Into the void of brain injury. 8. Olive and Jim: Senility and wisdom. 9. Mirian and Seaun: Danger and inimacy in a secure unit. 10. Mary and Steve: Creativity and terminal illness. 11. Conclusion: Intimate notes. Bibliography. Index.
£26.24
Jessica Kingsley Publishers Clinical Applications of Music Therapy in
Book SynopsisClinical Applications of Music Therapy in Psychiatry provides valuable insight into the work of professional music therapists in their clinical practice. The contributors, who are all internationally-renowned music therapists, discuss work with a diverse range of clients, including those suffering from Alzheimer's, anorexia nervosa, schizophrenia, psychosis, personality disorder, anxiety and psychosomatic disorder. Their chapters develop psychotherapeutic theory alongside music therapy practice, and are intended to be read by the psychiatric professions as well as music therapists, reflecting the medical establishment's growing receptivity to music therapy.Trade Review`The contributions of this book are very important for us as health carers to increase our knowledge of this form of therapy, so that we can understand its power and limits. It is a book about music therapy where clinical applications are successfully documented in a very professional and clear way. The quality of the contributions proves that music therapy has a legitimate and due place in the spectrum of psychotherapeutic interventions in psychiatric clinical practice.' -- From the Foreword by Jozef Peuskens`provides an articulate discussion surrounding the components and the quality of the therapeutic relationship involving the patient, the music, and the music therapist. The writers lead the reader through a hallway of psychiatric terms such as transference, release, and containment, all within the context of the music therapist's perspective. They emphasize the importance of music therapists' personal expertise in the musical instruments they choose for use with patients. They highlight a respect for one's limitations and fears in stressing that "music therapists be able to analyze and work through personal fears of loss of control in order to deal in a therapeutic way with psychiatric patients" (p. 20). They state that the musical experience is necessary in helping the patients acquire the insight needed to work through conflict.Through the variety of clinical presentations offered by this international forum of music therapy professionals, the reader has witnessed a rich balance and blending of psychotherapeutic theory and clinical music therapy in action. The range of contributions, although at times perhaps more reflective of the international approach to music therapy with its emphasis on music improvistaion, nonetheless makes a serious contribution to the annals of muscia therapy literature in the psychiatric setting. The benefits of reading this anthology to those serving the needs of the psychiatric client will endure long after the settling of first reflections.' -- The Arts in PsychotherapyTable of ContentsPreface, Jan Van Camp. Preface, Jos Peuskens. 1. Specific aspects of the music therapy relationship with psychiatric patients, Jos De Backer and Jan Van Camp. 2. Music therapy as holding and re-organizing work with schizophrenic and psychotic patients, Inge Nygaard Pedersen, Aalborg University, Denmark. 3. Music therapy with psychiatric in-patients: A case study with a young schizophrenic man, Bent Jensen, Psychiatric Hospital of Aarhus, Denmark. 4. The meaning of music - from the client's perspective, Brynjulf Stige, University of Oslo. 5. Definition and use of the musical transference relationship, Elaine Streeter, Guildhall School of Music and Drama, London and Anglia Polytechnic University, Cambridge. 6. Psychoanalytically informed music therapy in psychiatry, Susanne Metzner, Hochschule fur Musik und Theater, Hamburg. 7. Investigating the value of music therapy in psychiatry: Developing research tools arising from clinical perspectives, Helen Odell-Miller, Anglia Polytechnic University, Cambridge. 8. Vocal improvisation in analytically-oriented music therapy with adults, Diane Austin, New York University. 9. Relaxing through pain and anxiety at the extremities of life: Applications of music therapy in childbirth and older adulthood, Suzanne Hanser, Berkeley College of Music, Boston MA. 10. Working through loss and mourning in music therapy, Chava Sekeles, David Yellin College, Jerusalem. 11. The music which underpins pivotal moments in Guided Imagery and Music, Denise Erdonmez-Grocke, Austria. 12. Analysis of musical improvisations to understand and work with elements of resistance in a client with anorexia nervosa, Britta Vinkler Frederiksen, Aalborg Psychiatric Hospital, Denmark. 13. Music therapy and the meaning of affect regulations for psychomatic patients, Mechtild Langenberg, Hochschule der Kunste, Berlin. 14. The sound of music in the dimming, anguished world of Alzheimer's disease, May Gaertner, Montpellier. 15. Reflections on music in music therapy, Jan Van Camp. Index.Clinical Applications of Music Therapy in Psychiatry & Clinical Applications of Music Therapy in Developmental Disability, Paediatrics and Neurology 2 volume set
£35.88
