Bøker i Routledge Research in Music-serien

Looking at musical globalization and vocal music, this collection of essays studies the complex relationship between the human voice and cultural identity in 20th- and 21st-Century music in both East Asian and Western musical traditions.

AWARD WINNER OF THE 2018 SOCIETY OF ETHNOMUSICLOGY ELLEN KOSKOFF PRIZEThis is the first sustained examination of ecomusicology-the study of the intersections of music/sound, culture/society, and nature/environment.

This edited collection seeks to explore the role of DIY or Pro-Am (Professional-Amateur) practitioners of popular music archiving and preservation. It looks critically at ideas around `DIY preservationism¿, `self-authorised¿ and `unauthorised¿ heritage practice and the `DIY institution¿, while also unpacking the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music¿s material history. With an international scope and an interdisciplinary approach, this is an important reference for scholars of popular music, heritage studies and cultural studies.

AWARD WINNER OF THE 2018 SOCIETY OF ETHNOMUSICLOGY ELLEN KOSKOFF PRIZEThis is the first sustained examination of ecomusicology-the study of the intersections of music/sound, culture/society, and nature/environment.

This book explores multicultural representation in western European operatic genres in the modern world. It reveals approaches to reflecting identity, transmitting meaning, and inspiring creation, and the ambiguities of cultural values and practices that occur across the time and place(s) of performance. In theorizing coloniality through intercultural exchange in opera, essays explore topics that involve immigrant, indigenous, exoticist, and other cultural representations. The book offers a more integrated understanding of the interdisciplinary fields inherent in opera, including musicology, sociology, anthropology, and others in Theatre, Gender, and Cultural Studies.

As percussion music has progressed and become woven into the fabric of Western musical culture, several divergent paths comprised of various traditions and a multiplicity of aesthetic sensibilities have since emerged for the percussionist to pursue. This edited collection highlights the progressive developments that continue to investigate uncharted musical grounds. Using historical studies, philosophical insights, analyses of performance practice, and anecdotal reflections authored by some of today's most engaged performers, composers, and scholars, this book aims to illuminate the unique destinations found in the artistic journey of the modern percussionist.

A contribution to the field of urban music studies, this book presents new interdisciplinary approaches to the study of music in urban social life. It takes musical performance as its key focus, exploring how and why different kinds of performance are evolving in contemporary cities in the interaction among social groups, commercial entrepreneurs, and institutions. From conventional concerts in rock clubs to new genres such as the flash mob, the forms and meanings of musical performance are deeply affected by urban social change and at the same time respond to the changing conditions. Music has taken on complex roles in the post-industrial city where culture and cultural consumption have an unprecedented power in defining publics, policies, and marketing strategies. Further, changes in real estate markets and the penetration of new media have challenged even fairly modern music cultures. At the same time, new music cultures have emerged, and music has become a driver for cultural events and festivals, channeling the dynamics of a society characterized by the social change, media intensity, and the neoliberal forces of post-industrial urban contexts. The volume brings together scholars from a broad range of disciplines to build a shared understanding of post-industrial contexts in Europe and the United States. Most directly grounded in contemporary developments in music studies and urban studies, its broad interdisciplinary range serves to strengthen the relevance of urban music studies to fields such as anthropology, sociology, urban geography, and beyond. Offering in-depth studies of changing music culture in concert venues, cultural events, and neighborhoods, contributors visit diverse locations such as Barcelona, Berlin, London, New York, and Austin.

Looking at musical globalization and vocal music, this collection of essays studies the complex relationship between the human voice and cultural identity in 20th- and 21st-Century music in both East Asian and Western musical traditions.

This book studies the effects of repetitive musical rhythm on the brain and nervous system, and in doing so integrates diverse fields including ethnomusicology, psychology, neuroscience, anthropology, religious studies, music therapy, and human health. It presents aspects of musical rhythm and biological rhythms, and in particular rhythmic entrainment, in a way that considers cultural context alongside theoretical research and discussions of potential clinical and therapeutic implications. Considering the effects of drumming and other rhythmic music on mental and bodily functioning, the volume hypothesizes that rhythmic music can have a dramatic impact on mental states, sometimes catalyzing profound changes in arousal, mood, and emotional states via the stimulation of changes in physiological functions like the electrical activity in the brain. This comprehensive volume will appeal to scholars in cognition, ethnomusicology, and music perception who are interested in the therapeutic potential of music.

This book addresses the ways in which masculinity is negotiated, constructed, represented, and problematized within operatic music and practice. Although the consideration of masculine ontology and epistemology has pervaded cultural and sociological studies since the late 1980s, and masculinity has been the focus of recent if sporadic musicological discussion, the relationship between masculinity and opera has so far escaped detailed critical scrutiny. Operating from a position of sympathy with feminist and queer approaches and the phallocentric tendencies they identify, this study offers a unique perspective on the cultural relativism of opera by focusing on the male operatic subject. Anchored by musical analysis or close readings of musical discourse, the contributions take an interdisciplinary approach by also engaging with theatre, popular music, and cultural musicology scholarship. The various musical, theoretical, and socio-political trajectories of the essays are historically dispersed from seventeenth to twentieth- first-century operatic works and practices, visiting masculinity and the operatic voice, the complication or refusal of essentialist notions of masculinity, and the operatic representation of the `crisis¿ of masculinity. This volume will not only enliven the study of masculinity in opera, but be an appealing contribution to music scholars interested in gender, history, and new musicology.