front cover of Music, Sound, and Technology in America
Music, Sound, and Technology in America
A Documentary History of Early Phonograph, Cinema, and Radio
Timothy D. Taylor, Mark Katz, and Tony Grajeda, eds.
Duke University Press, 2012
This unique anthology assembles primary documents chronicling the development of the phonograph, film sound, and the radio. These three sound technologies shaped Americans' relation to music from the late nineteenth century until the end of the Second World War, by which time the technologies were thoroughly integrated into everyday life. There are more than 120 selections between the collection's first piece, an article on the phonograph written by Thomas Edison in 1878, and its last, a column advising listeners "desirous of gaining more from music as presented by the radio." Among the selections are articles from popular and trade publications, advertisements, fan letters, corporate records, fiction, and sheet music. Taken together, the selections capture how the new sound technologies were shaped by developments such as urbanization, the increasing value placed on leisure time, and the rise of the advertising industry. Most importantly, they depict the ways that the new sound technologies were received by real people in particular places and moments in time.
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Rethinking American Music
Edited by Tara Browner and Thomas L. Riis
University of Illinois Press, 2019
In Rethinking American Music, Tara Browner and Thomas L. Riis curate essays that offer an eclectic survey of current music scholarship. Ranging from Tin Pan Alley to Thelonious Monk to hip hop, the contributors go beyond repertory and biography to explore four critical yet overlooked areas: the impact of performance; patronage's role in creating music and finding a place to play it; personal identity; and the ways cultural and ethnographic circumstances determine the music that emerges from the creative process. Many of the articles also look at how a piece of music becomes initially popular and then exerts a lasting influence in the larger global culture. The result is an insightful state-of-the-field examination that doubles as an engaging short course on our complex, multifaceted musical heritage. Contributors: Karen Ahlquist, Amy C. Beal, Mark Clagu,. Esther R. Crookshank, Todd Decker, Jennifer DeLapp-Birkett, Joshua S. Duchan, Mark Katz, Jeffrey Magee, Sterling E. Murray, Guthrie P. Ramsey Jr., David Warren Steel, Jeffrey Taylor, and Mark Tucker
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Russia Abroad
Driving Regional Fracture in Post-Communist Eurasia and Beyond
Anna Ohanyan, Editor
Georgetown University Press, 2018

While we know a great deal about the benefits of regional integration, there is a knowledge gap when it comes to areas with weak, dysfunctional, or nonexistent regional fabric in political and economic life. Further, deliberate “un-regioning,” applied by actors external as well as internal to a region, has also gone unnoticed despite its increasingly sophisticated modern application by Russia in its peripheries.

This volume helps us understand what Anna Ohanyan calls “fractured regions” and their consequences for contemporary global security. Ohanyan introduces a theory of regional fracture to explain how and why regions come apart, consolidate dysfunctional ties within the region, and foster weak states. Russia Abroad specifically examines how Russia employs regional fracture as a strategy to keep states on its periphery in Eurasia and the Middle East weak and in Russia's orbit. It argues that the level of regional maturity in Russia’s vast vicinities is an important determinant of Russian foreign policy in the emergent multipolar world order.

Many of these fractured regions become global security threats because weak states are more likely to be hubs of transnational crime, havens for militants, or sites of protracted conflict. The regional fracture theory is offered as a fresh perspective about the post-American world and a way to broaden international relations scholarship on comparative regionalism.

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Sound Pedagogy
Radical Care in Music
Edited by Colleen Renihan, John Spilker, and Trudi Wright. Foreword by William Cheng
University of Illinois Press, 2024
Music education today requires an approach rooted in care and kindness that coexists alongside the dismantling of systems that fail to serve our communities in higher education. But, as the essayists in Sound Pedagogy show, the structural aspects of music study in higher education present obstacles to caring and kindness like the entrenched master-student model, a neoliberal individualist and competitive mindset, and classical music’s white patriarchal roots. The editors of this volume curate essays that use a broad definition of care pedagogy, one informed by interdisciplinary scholarship and aimed at providing practical strategies for bringing transformative learning and engaged pedagogies to music classrooms. The contributors draw from personal experience to address issues including radical kindness through universal design; listening to non-human musicality; public musicology as a forum for social justice discourse; and radical approaches to teaching about race through music.

Contributors: Molly M. Breckling, William A. Everett, Kate Galloway, Sara Haefeli, Eric Hung, Stephanie Jensen-Moulton, Mark Katz, Nathan A. Langfitt, Matteo Magarotto, Mary Natvig, Frederick A. Peterbark, Laura Moore Pruett, Colleen Renihan, Amanda Christina Soto, John Spilker, Reba A. Wissner, and Trudi Wright

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