The conventional way of understanding what musicians do as performers is to treat them as producers of sound; some even argue that it is unnecessary to see musicians in performance as long as one can hear them.  But musical performance, counters Philip Auslander, is also a social interaction between musicians and their audiences, appealing as much to the eye as to the ear. In Concert: Performing Musical Persona he addresses not only the visual means by which musicians engage their audiences through costume and physical gesture, but also spectacular aspects of performance such as light shows.

Although musicians do not usually enact fictional characters on stage, they nevertheless present themselves to audiences in ways specific to the performance situation.  Auslander’s term to denote the musician’s presence before the audience is musical persona.  While presence of a musical persona may be most obvious within rock and pop music, the book’s analysis extends to classical music, jazz, blues, country, electronic music, laptop performance, and music made with experimental digital interfaces. The eclectic group of performers discussed include the Beatles, Miles Davis, Keith Urban, Lady Gaga, Nicki Minaj, Frank Zappa, B. B. King, Jefferson Airplane, Virgil Fox, Keith Jarrett, Glenn Gould, and Laurie Anderson.

Have you ever wondered why some work teams greatly out-perform others within the same organizational settings? Have you questioned whether work teams from very different sectors of the economy and society achieved a high performance level by using similar means? Have you considered what you or others might do to help eams increase their chances of becoming truly high performing? Increasing the Odds for High-Performance Teams is written for the business leader who is inquisitive but busy—who seeks new lessons about high team performance but wants them to be succinct and efficient.
     The book is intended to assist professionals in private, public, and not-for-profit organizations who want to use teams to enhance job performance. Also, it is intended to be helpful to the team members, team leaders, mentors, coaches, and administrators across these sectors who want to diagnose their team and organizational conditions, in order to make improvements.

To stay relevant, art curators must keep up with the rapid pace of technological innovation as well as the aesthetic tastes of fickle critics and an ever-expanding circle of cultural arbiters. Issues in Curating Contemporary Art and Performance argues that, despite these daily pressures, good curating work also requires more theoretical attention.

In four thematic sections, a distinguished group of contributors consider curation in light of interdisciplinary and emerging practices, examine conceptions of curation as intervention and contestation, and explore curation’s potential to act as a reconsideration of conventional museum spaces. Against the backdrop of cutting-edge developments in electronic art, art/science collaboration, nongallery spaces, and virtual fields, contributors propose new approaches to curating and new ways of fostering critical inquiry. Now in paperback, this volume is an essential read for scholars, curators, and art enthusiasts alike.