Explore the vast range of titles available.

Frontier Figures is a tour-de-force exploration of how the American West, both as physical space and inspiration, animated American music. Examining the work of such composers as Aaron Copland, Roy Harris, Virgil Thomson, Charles Wakefield Cadman, and Arthur Farwell, Beth E. Levy addresses questions of regionalism, race, and representation as well as changing relationships to the natural world to highlight the intersections between classical music and the diverse worlds of Indians, pioneers, and cowboys. Levy draws from an array of genres to show how different brands of western Americana were absorbed into American culture by way of sheet music, radio, lecture recitals, the concert hall, and film. Frontier Figures is a comprehensive illumination of what the West meant and still means to composers living and writing long after the close of the frontier.

In a world dominated by the visual, could contemporary resistances be auditory? This timely and important book highlights sound's invisible, disruptive and affective qualities and asks whether the unseen nature of sound can support a political transformation.

Honorable Mention, 2019 Foreword INDIES Awards - Performing Arts & MusicHonorable Mention, Graphis 2021 Design Annual CompetitionPopular music has long been a powerful force for social change. Protest songs have served as anthems regarding war, racism, sexism, ecological destruction and so many other crucial issues. Music Is Power takes us on a guided tour through the past 100 years of politically-conscious music, from Pete Seeger and Woody Guthrie to Green Day and NWA. Covering a wide variety of genres, including reggae, country, metal, psychedelia, rap, punk, folk and soul, Brad Schreiber demonstrates how musicians can take a variety of approaches- angry rallying cries, mournful elegies to the victims of injustice, or even humorous mockeries of authority-to fight for a fairer world. While shining a spotlight on Phil Ochs, Gil Scott-Heron, The Dead Kennedys and other seminal, politicized artists, he also gives readers a new appreciation of classic acts such as Lesley Gore, James Brown, and Black Sabbath, who overcame limitations in their industry to create politically potent music Music Is Power tells fascinating stories about the origins and the impact of dozens of world-changing songs, while revealing political context and the personal challenges of legendary artists from Bob Dylan to Bob Marley.Supplemental material (Artist and Title List): https://d3tto5i5w9ogdd.cloudfront.net/wp-content/uploads/2020/07/24001955/Music_Is_Power_Supplementary_Artist_Title_List.doc 

In Spaces of Conflict, Sounds of Solidarity, Gaye Theresa Johnson examines interracial anti-racist alliances, divisions among aggrieved minority communities, and the cultural expressions and spatial politics that emerge from the mutual struggles of Blacks and Chicanos in Los Angeles from the 1940s to the present. Johnson argues that struggles waged in response to institutional and social repression have created both moments and movements in which Blacks and Chicanos have unmasked power imbalances, sought recognition, and forged solidarities by embracing the strategies, cultures, and politics of each others' experiences. At the center of this study is the theory of spatial entitlement: the spatial strategies and vernaculars utilized by working class youth to resist the demarcations of race and class that emerged in the postwar era. In this important new book, Johnson reveals how racial alliances and antagonisms between Blacks and Chicanos in L.A. had spatial as well as racial dimensions.

PTH 8: Miscellaneous 1, B304 (FCSH), September 5, 2025, 11:30 - 12:30 Introduction The World Health Organisation calls for evidence-based policy and practice about the specific health needs of refugees and migrants. Refugees and migrants need to be meaningfully involved as partners in the co-production of that evidence. However, there are challenges that inhibit partnership development e.g., linguistic barriers, mistrust. Culturally attuned methods, such as arts-based methods, support trust-building in intercultural social groups and, thus, may create participatory spaces that facilitate new inter-sectoral research partnerships. Aims Explore inter-sectoral, inter-cultural partnership development for refugee and migrant health research using an arts-based method known as the Irish World Music Cafe. Methods Following the principles of purposeful sample, twenty-five participants from the community (n = 9), health (n = 4) and arts or health academic sectors (n = 12) were recruited for five 2 hour music cafes (four on-line and one in-person). A questionnaire administered at the end of each music café evaluated participants’ enjoyment of the music cafes and their networking opportunities. These data were analysed using frequency analysis and social network analysis to see if health, community or academic sector actors were most central in the participant group. Semi-structured interviews were conducted after the cafes ended to complement the quantitative date. These were analysed using inductive, thematic analysis. Results The overall rates of enjoyment of music cafes were very high. Participants from the health sector were most central in the network at the first two music cafes. However, their centrality decreased and migrants from community-based organisations emerged as the more central actors in the network by the end of the fifth music café. Participants described several examples of how specific characteristics of music and singing shaped interactions and partnership building in the music cafes. Conclusions Music cafes as arts-based methods warrant further investigation as methods to optimise inter-sectoral, inter-cultural partnership development for refugee and migrant health research.

After the First World War, some musicians embraced ‘international’ identities in novel ways, requiring novel strategies. 6 During the 1920s, internationalist initiatives were launched in musicology, music education, folk music and more, joining a more general proliferation of institutions devoted to cultural internationalism. 7 In the domain of Western art music, the most high-profile internationalist organization of the era was the ISCM, founded in Salzburg in 1922. 8 The ISCM’s principal activity during the interwar period was to organize an annual contemporary music festival. This peripatetic event, hosted in a different European city each year, served two intertwined ambitions: to promote contemporary music and to further international cooperation. The latter aspiration gave rise to an unofficial nickname – the ‘musical League of Nations’ – encapsulating the ISCM’s perceived affinities with other, heftier internationalist endeavours. 9 A ‘musical League of Nations’ was, however, an ambivalent and precarious project: the moniker recognized, through analogy, a necessary proximity to the era’s chief prototype of an international structure; but it clung, by way of its adjective, to a degree of detachment from the treacherous waters of politics and diplomacy.

The perils of equating notions of freedom with artistic vitality Eloquently extolled by President John F. Kennedy, the idea that only artists in free societies can produce great art became a bedrock assumption of the Cold War. That this conviction defied centuries of historical evidence--to say nothing of achievements within the Soviet Union--failed to impact impregnable cultural Cold War doctrine. Joseph Horowitz writes: \"That so many fine minds could have cheapened freedom by over-praising it, turning it into a reductionist propaganda mantra, is one measure of the intellectual cost of the Cold War.\" He shows how the efforts of the CIA-funded Congress for Cultural Freedom were distorted by an anti-totalitarian \"psychology of exile\" traceable to its secretary general, the displaced Russian aristocrat/composer Nicolas Nabokov, and to Nabokov's hero Igor Stravinsky. In counterpoint, Horowitz investigates personal, social, and political factors that actually shape the creative act. He here focuses on Stravinsky, who in Los Angeles experienced a \"freedom not to matter,\" and Dmitri Shostakovich, who was both victim and beneficiary of Soviet cultural policies. He also takes a fresh look at cultural exchange and explores paradoxical similarities and differences framing the popularization of classical music in the Soviet Union and the United States. In closing, he assesses the Kennedy administration's arts advocacy initiatives and their pertinence to today's fraught American national identity. Challenging long-entrenched myths, The Propaganda of Freedom newly explores the tangled relationship between the ideology of freedom and ideals of cultural achievement.

Documents counterimperialism in Chilean music since the 1960s Gringos Get Rich: Anti-Americanism in Chilean Music examines anti-Americanism in Latin America as manifested in Chilean music in recent history. From a folk-based movement in the 1960s and early 1970s to underground punk rock groups during the Pinochet regime, to socially conscious hip-hop artists of postdictatorship Chile, Chilean music has followed several left-leaning transnational musical trends to grapple with Chile’s fluctuating relationship with the United States. Eunice Rojas’s innovative analysis introduces US readers to a wide swath of Chilean musicians and their powerful protest songs and provides a representative and long view of the negative influences of the United States in Latin America. Much of the criticism of the United States in Chile’s music centers on the perception of the United States as a heavy-handed source of capitalist imperialism that is exploitative of and threatening to Chile’s poor and working-class public and to Chilean cultural independence and integrity. Rojas incorporates Antonio Gramsci’s theories about the difficulties of struggles for cultural power within elitist capitalist systems to explore anti-Americanism and anti-capitalist music. Ultimately, Rojas shows how the music from various genres, time periods, and political systems attempts to act as a counterhegemonic alternative to Chile’s political, cultural, and economic status quo. Rojas’s insight is timely with recent political trends toward the right in the Americas. There is also increased interest in and acceptance of popular song lyrics as literary texts. The book will appeal to Latin Americanists, ethnomusicologists, scholars of popular culture and international relations, students, and general readers. .

Music, and folk music in particular, is often embraced as a form of political expression, a vehicle for bridging or reinforcing social boundaries, and a valuable tool for movements reconfiguring the social landscape.Reds, Whites, and Bluesexamines the political force of folk music, not through the meaning of its lyrics, but through the concrete social activities that make up movements. Drawing from rich archival material, William Roy shows that the People's Songs movement of the 1930s and 40s, and the Civil Rights Movement of the 1950s and 60s implemented folk music's social relationships--specifically between those who sang and those who listened--in different ways, achieving different outcomes. Roy explores how the People's Songsters envisioned uniting people in song, but made little headway beyond leftist activists. In contrast, the Civil Rights Movement successfully integrated music into collective action, and used music on the picket lines, at sit-ins, on freedom rides, and in jails. Roy considers how the movement's Freedom Songs never gained commercial success, yet contributed to the wider achievements of the Civil Rights struggle. Roy also traces the history of folk music, revealing the complex debates surrounding who or what qualified as \"folk\" and how the music's status as racially inclusive was not always a given. Examining folk music's galvanizing and unifying power,Reds, Whites, and Bluescasts new light on the relationship between cultural forms and social activity.

This paper aims to examine the literary strategies and political perspectives of Somnuek Chusil, a renowned Nora artist in the Southern Thai region. Contrast to recent international and Thai research on Nora dance that focused on the aspect of ritual, social function, and adaptation under the condition of global modernity, the authors’ analysis centers on the noted Nora artist’s lyrical composition, encompassing 40 of lyrics, to understand his political worldview and literary strategy as part of local experience to the changing of Thai society. The findings reveal four language strategies employed by Somnuek—simile, hyperbole, the use of idioms, and incorporation of the Southern Thai dialect. Of particular note is the dialect’s distinctive role in critiquing political figures and instilling a sense of awareness regarding rights, freedom, and democratic citizenship. Despite the diverse interpretations of political concepts in global academia, Somnuek skillfully harnesses various dialects and writing techniques making him being locally competent interlocutor, and ascending to the status of a famous folk artist in southern Thailand.