Are you sitting down? It turns out that everything you learned about the First Amendment is wrong. For too long, we’ve been treating small, isolated snippets of the text as infallible gospel without looking at the masterpiece of the whole. Legal luminary Burt Neuborne argues that the structure of the First Amendment as well as of the entire Bill of Rights was more intentional than most people realize, beginning with the internal freedom of conscience and working outward to freedom of expression and finally freedom of public association. This design, Neuborne argues, was not to protect discrete individual rights—such as the rights of corporations to spend unlimited amounts of money to influence elections—but to guarantee that the process of democracy continues without disenfranchisement, oppression, or injustice. Neuborne, who was the legal director of the ACLU and has argued numerous cases before the Supreme Court, invites us to hear the “music” within the form and content of Madison’s carefully formulated text. When we hear Madison’s music, a democratic ideal flowers in front of us, and we can see that the First Amendment gives us the tools to fight for campaign finance reform, the right to vote, equal rights in the military, the right to be full citizens, and the right to prevent corporations from riding roughshod over the weakest among us. Neuborne gives us an eloquent lesson in democracy that informs and inspires.
What can psychoanalysis learn from music? What can music learn from psychoanalysis? Can the analysis of music itself provide a primary source of psychological data? Drawing on Freud's concept of the oral road to the unconscious, Melodies of the Mind invites the reader to take a journey on an aural and oral road that explores both music and emotion, and their links to the unconscious. In this book, Julie Jaffee Nagel discusses how musical and psychoanalytic concepts inform each other, showing the ways that music itself provides an exceptional non-verbal pathway to emotion – a source of 'quasi' psychoanalytical clinical data. The interdisciplinary synthesis of music and psychoanalytic knowledge provides a schema for understanding the complexity of an individual's inner world as that world interacts with social 'reality'. There are three main areas explored: The Aural Road Moods and Melodies The Aural/Oral Road Less Travelled Melodies of the Mind is an exploration of the power of music to move us when words fall short. It suggests the value of using music and ideas of the mind to better understand and address psychological, social, and educational issues that are relevant in everyday life. It will be of interest to psychoanalysts, psychologists, music therapists, musicians, music teachers, music students, social workers, educators, professionals in the humanities and social services as well as music lovers. Julie Jaffee Nagel is a graduate of The Juilliard School, The University of Michigan, and The Michigan Psychoanalytic Institute. She is on the faculty of the Michigan Psychoanalytic Institute and is in private practice in Ann Arbor, Michigan.
Surveys the life of First Lady Dolley Madison, wife of the fourth president, who was renowned as a hostess, a lady of fashion, and a heroine of the War of 1812.
Essays by various authors detailing the richness of music that has emanated from Upper Cumberland region of Tennessee and Kentucky since the 1700's.
The Sourcebook for Research in Music, in this revised and greatly expanded second edition, is an invaluable guide to the researcher in navigating the vast proliferation of materials in music research. The editors emphasize English-language and recent sources, and also include essential materials in other languages. An opening chapter of introductory materials, including a list of common bibliographical terms with definitions, German and French bibliographical terms, and the plan of the Library of Congress and the Dewey Decimal music classification systems, is followed by seven bibliographical chapters, covering lists of sources as well as collective annotations that introduce and identify specific items. A reference tool containing varied information relating to research in music, the Sourcebook will serve as a classroom text and as a resource for individual music researchers, librarians, faculty members, students, performing and teaching musicians, and musical amateurs.
First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
Regardless of the subject matter, our studies are always searching for a sense of the universal in the specific. Drawing, etchings and paintings are a way of communicating ideas and emotions. The key word here is to communicate. Whether the audience sees the work as laborious or poetic depends on the creative genius of the artist. Some painters use the play of light passing through a landscape or washing over a figure to create an evocative moment that will be both timeless and transitory. The essential role of art remains what is has always been, a way of human expression. This is the role that our participants concentrate on as they discuss art as the expression of the spirit, a creative act through which the artist makes manifest what is within him. Spirit suggests the unity of feeling and thought. Avoiding broad generalities, our participants address specific areas in orchestration with music, architecture, literature and phenomenology. Profs. Souiller, Scholz, Etlin, Sweetser, Josephs show us at what point art is an intimate, profound expression and the magic of a civilization as a whole, springing from its evolving thoughts and embodying ideals, such as the Renaissance, the Baroque, Modernism and at what point it reflects the trans formation of a particular society and its mode of life.
This music reference contains biographical details of over 8000 composers, musicians, singers, arrangers, writers, conductors, soloists and managers. The revised appendices section includes listings of orchestras, opera companies, music libraries, music orgnizations and societies worldwide.
This book is based on a symposium which took place in April 2009 and was part of a year-long celebration of the 25th anniversary of the founding of the Max Kade Institute for German-American Studies at the University of Wisconsin-Madison. It presents ten essays by scholars from North America and Europe working in the humanities, social sciences, and natural sciences that endeavor to move the discipline of German-American studies away from the narrowly conceived historical investigation of the migration of ethnic Germans to America that has dominated the field for decades. The traditional understanding of what it meant to be German-American as well as the myths associated with the ethnicity, language, and literature of this large group of immigrants are thrown into question and reassessed, and potential directions for the future of the field - as it exists on both sides of the Atlantic - are posited. The novel approach of this volume examines German-American studies from historical, literary, cultural, geographical, and linguistic perspectives, among others, and seeks to redefine the field as the study of the total experience of German-speaking immigrants and their descendants as seen in a global, multicultural, and interdisciplinary context.
Margaret S. Barrett and Sandra L. Stauffer We live in a “congenial moment for stories” (Pinnegar & Daynes, 2007, p. 30), a time in which narrative has taken up a place in the “landscape” of inquiry in the social sciences. This renewed interest in storying and stories as both process and product (as eld text and research text) of inquiry may be attributed to various methodological and conceptual “turns,” including the linguistic and cultural, that have taken place in the humanities and social sciences over the past decades. The purpose of this book is to explore the “narrative turn” in music education, to - amine the uses of narrative inquiry for music education, and to cultivate ground for narrative inquiry to seed and ourish alongside other methodological approaches in music education. In a discipline whose early research strength was founded on an alignment with thesocialsciences,particularlythepsychometrictradition,oneofthekeychallenges for those embarking on narrative inquiry in music education is to ensure that its use is more than that of a “musical ornament,” an elaboration on the established themes of psychometric inquiry, those of measurement and certainty. We suggest that narrative inquiry is more than a “turn” (as noun), “a melodic embellishment that is played around a given note” (Encarta World English Dictionary, 2007, n. p. ); it is more than elaborationon a position, the adding of extra notes to make a melody more beautiful or interesting.
This volume features new research and collaborations in the neuroscience of music and to its visibility within the broader scientific community. Contributors include scientists, clinicians, and students in the fields of neuroscience and music. The primary focus is on issues related to music and medicine, by focusing on musical disorders and plasticity. NOTE: Annals volumes are available for sale as individual books or as a journal. For information on institutional journal subscriptions, please visit www.blackwellpublishing.com/nyas. ACADEMY MEMBERS: Please contact the New York Academy of Sciences directly to place your order (www.nyas.org). Members of the New York Academy of Science receive full-text access to the Annals online and discounts on print volumes. Please visit http://www.nyas.org/MemberCenter/Join.aspx for more information about becoming a member.
Humor, a topic that engaged Sigmund Freud both early and late in his career, is richly intertwined with character, with creativity, and with the theory and practice of psychoanalytic therapy. Yet, until very recently, analysts ignored Freud's lead and relegated humor to the periphery of their concerns. Humor and Psyche not only remedies previous neglect of the role of humor in the psychoanalytic situation but opens to a broad and balanced consideration of the role of humor in psychological life. Section I provides historical and theoretical perspectives on the concept of humor. Contributors review Freudian and post-Freudian theories of humor, address the inseparability of humor and play, adumbrate a postmodernist perspective on humor, and focus on the unique cognitive and affective properties of humor. In Section II contributors turn to the relationship of humor to various aspects of the therapeutic process, including the relationship of humor to transference interpretation, the enlivening effects of humor on the therapeutic process, and the multiple meanings of humorous exchanges between therapists and patients. Section III concludes the volume with three fascinating essays on the relationship of humor to character and creativity. They focus, respectively, on the role of humor in the 25-year correspondence of Freud and Sándor Ferenczi, on the interweaving of D. W. Winnicott's comic spirit and theoretical innovations, and on the relationship between humor and creativity in the music of the American composer Charles Ives. Taken together, the contributors reestablish the importance of humor as a topic of psychotherapeutic relevance more than 70 years after Freud's final essay on the topic. Delightfully readable from beginning to end, Humor and Psyche edifies as it entertains.
The ANTHOLOGY FOR MUSIC IN WESTERN CIVILIZATION, Media Update, Volume I, together with its companion Volume II, contains a total of 224 scores representing all the major European styles, genres, and composers. The anthologies include an introduction to, a score for, and (where applicable) lyrics and translation for each piece discussed in Wright and Simms's MUSIC IN WESTERN CIVILIZATION and included in the supplementary CD set. Volume I of the anthology is correlated to Chapters 1 through 40 in the text, while Volume II is correlated to Chapters 41 through 83 in the text. The anthologies are available in a two-volume set to provide instructors with maximum flexibility. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.
From patriotic "God Bless America" to wistful "White Christmas," Irving Berlin's songs have long accompanied Americans as they fall in love, go to war, and come home for the holidays. Irving Berlin's American Musical Theater is the first book to fully consider this songwriter's immeasurable influence on the American stage. Award-winning music historian Jeffrey Magee chronicles Berlin's legendary theatrical career, providing a rich background to some of the great composer's most enduring songs, from "There's No Business Like Show Business" to "Puttin' on the Ritz." Magee shows how Berlin's early experience singing for pennies made an impression on the young man, who kept hold of that sensibility throughout his career and transformed it into one of the defining attributes of Broadway shows. Magee also looks at darker aspects of Berlin's life, examining the anti-Semitism that Berlin faced and his struggle with depression. Informative, provocative, and full of colorful details, this book will delight song and theater aficionados alike as well as anyone interested in the story of a man whose life and work expressed so well the American dream.
For most of the history of film-making, music has played an integral role serving many functions - such as conveying emotion, heightening tension, and influencing interpretation and inferences about events and characters. More recently, with the enormous growth of the gaming industry and the Internet, a new role for music has emerged. However, all of these applications of music depend on complex mental processes which are being identified through research on human participants in multimedia contexts. The Psychology of Music in Multimedia is the first book dedicated to this fascinating topic. The Psychology of Music in Multimedia presents a wide range of scientific research on the psychological processes involved in the integration of sound and image when engaging with film, television, video, interactive games, and computer interfaces. Collectively, the rich chapters in this edited volume represent a comprehensive treatment of the existing research on the multimedia experience, with the aim of disseminating the current knowledge base and inspiring future scholarship. The focus on empirical research and the strong psychological framework make this book an exceptional and distinctive contribution to the field. The international collection of contributors represents eight countries and a broad range of disciplines including psychology, musicology, neuroscience, media studies, film, and communications. Each chapter includes a comprehensive review of the topic and, where appropriate, identifies models that can be empirically tested. Part One presents contrasting theoretical approaches from cognitive psychology, philosophy, semiotics, communication, musicology, and neuroscience. Part Two reviews research on the structural aspects of music and multimedia, while Part Three focuses on research examining the influence of music on perceived meaning in the multimedia experience. Part Four explores empirical findings in a variety of real-world applications of music in multimedia including entertainment and educational media for children, video and computer games, television and online advertising, and auditory displays of information. Finally, the closing chapter in Part Five identifies emerging themes and points to the value of broadening the scope of research to encompass multisensory, multidisciplinary, and cross-cultural perspectives to advance our understanding of the role of music in multimedia. This is a valuable book for those in the fields of music psychology and musicology, as well as film and media studies.
In this book, the glory days of progressive rock are relived in a series of insightful essays about the key bands, songwriters and songs that made prog-rock such an innovative style.
For more than 100 years, the Pacific Northwest has been making music history. In this new retrospective, rare photographs evoke the musical memories of days gone by, from the earliest 19th-century brass bands to Roaring Twenties jazz combos, 1940s hillbilly twangers, 1950s rhythm-and-blues singers, and generations of rock 'n' rollers, including the original 1950s rockabillies, 1960s "Louie Louie"-era garage bands and psychedelic acid-rock acts, 1970s punks, and 1980s new-wave artistes and heavy metal headbangers. Readers will discover how a scrappy backwoods region struggled to build the necessary infrastructure to eventually create a viable music industry and an underground scene that would ultimately earn global recognition as the home base of the 1990s grunge movement.