Music

Improvising Across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument (AUMI) brings together scholars, musicians, and family members of people with disabilities to collectively recount years of personal experiences, research, and perspectives on the societal and community impact of inclusive musical improvisation. One of the lesser-known projects of composer, improviser, and humanitarian, Pauline Oliveros (1932-2016), the AUMI was designed as a liberating and affordable alternative to the constraints of instruments created only for normative bodies, thus opening a doorway for people of all ages, genders, abilities, races, and socioeconomic backgrounds to access artistic practice with others. More than a book about AUMI, this book is an invitation to readers to use AUMI in their own communities. This book, which contains wisdom from many who have been affected by their work with the instrument and the people who use it, is a representation of how music and extemporized performance have touched the lives and minds of scholars and families alike. Not only has AUMI provided the opportunity to grow in listening to others who may speak differently (or not at all), but it has been used as an avenue for a diverse set of people to build friendships with others whom they may have never otherwise even glanced at in the street. By providing a space for every person who comes across AUMI to perform, listen, improvise, and collaborate, the continuing development of this instrument contributes to a world in which every person is heard, welcomed, and celebrated.

Prepared by the Music Library Association, with thousands of records selected by experts in dozens of specialized and popular areas of music, A Basic Music Library constitutes the most authoritative music collection resource available.

In music education, can self-reflection on our pasts help inform better teaching? How can our actions help shape the future of music pedagogy? Before We Teach Music offers stories about childhood memories of music making that generate readers' own recollections and discovery. Drawing from student autobiographies, literature, and a case study of an opera written for babies, author Lori A. Custodero suggests there is much to be learned about our students before we teach them.

Innovation in Music: Technology and Creativity is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering composition and performance, and technology and innovation, this volume offers truly international perspectives on ever-evolving practices. Including chapters on audience interaction, dynamic music methods, AI, and live electronic performances, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.

Women, Music and Leadership offers a wide-ranging survey of women in musical leadership and their experiences, highlighting women's achievements and considering how they negotiate the challenges of the leadership space in music. Women have always participated in music as performers, teachers, composers, and professionals, but remain underrepresented in leadership positions. Covering women's leadership across a wide variety of roles and musical genres, this book addresses women in classical music, gospel, blues, jazz, popular music, electronic music, and non-Western musical contexts; and considers women working as composers, conductors, and in music management and the music business. Each chapter includes several case studies of women's careers, exploring their groundbreaking contributions to music, and the challenges they faced as leaders. Connecting management theory and leadership research with feminist musicology, this book paints a new picture of women's major contributions as leaders in music, and their ongoing struggles for equity. It will be relevant to students and scholars in arts and music management, as well as all those studying music, gender, or leadership, and women music professionals.

Eric Drott undertakes a wide-ranging study of the political economy of music streaming to engage in a broader reconsideration of music's complex relation to capitalism.

For thousands of years, music has acted as a powerful medium for evoking emotions, facilitating communication, and nurturing overall well-being. With the advent of new sophisticated neuroimaging technology, human responses to music and music therapy are being viewed through a new lens. As a consequence, new knowledge is being obtained about how music can produce significant improvements in cognitive, social, overt and agitated behaviours. The aim of this book is to provide an overview of neurocognitive music therapy, its impact and implications in the practice of evidence-based music interventions. The book seeks to provide researchers, psychologists, music therapists, musicians and physicians interested in the therapeutic applications of music, with a source of information about current techniques and novel music interventions. It is structured into several chapters, each of them presenting peer-reviewed research and evidence-based procedures carried out in a specific clinical context. Topics covered in the book include: Musical engagement for individuals with motor disabilities; Enhancing emotional processing in autism through music; Stroke rehabilitation via musical interventions; Musical neurofeedback for emotional disorders; Emotional modulation with music therapy in palliative care; and AI-driven personalisation in music interventions. The book highlights the profound capacity of music-based interventions to facilitate cognitive and emotional processing, enhance communication, and promote motor rehabilitation. At the same time, the book demonstrates how modern technologies offer new opportunities to evaluate, validate, and potentiate music-based interventions, allowing new and innovative possibilities and more personalised interventions. This book aims to contribute to the growing body of knowledge in this field and inspire further research and innovation in the practice of music therapy.