Making Music Together

Elsewhere 1 we were concerned with fundamental aspects of the question how man can comprehend his fellow-men. We analyzed man's subjective experiences of the Other and found in them the basis for his understanding of the Other's subjective processes of consciousness. The very assumption of the existence of the Other, however, introduces the dimension of intersub jectivity. The world is experienced by the Self as being inhabited by other Selves, as being a world for others and of others. As we had occasion to point out, intersubjective reality is by no means homogeneous. The social world in which man finds himself exhibits a complex structure; fellow-men appear to the Self under different aspects, to which correspond different cognitive styles by which the Self perceives and apprehends the Other's thoughts, motives, and actions. In the present investigation it will be our main task to describe the origin of the differentiated structures of social reality as well as to reveal the principles underlying its unity and coherence. It must be stressed that careful description of the processes which enable one man to understand another's thoughts and actions is a prerequisite for the methodology of the empirical social sciences. The question how a scientific interpretation of human action is possible can be resolved only if an adequate • From: De, sinnha/te A II/ball tler sowuen WeU, Vienna, 1932; 2nd ed. 1960 (Sektion IV: Strukturanalyse der Sozialwelt, Soziale Umwelt, Mitwelt, Vorwelt, English adaptation by Professor Thomas Luckmann.

Popular music studies is a rapidly expanding field with changing emphases and agenda. This is a multi-volume resource for this area of study

This book is the result of our love for music, for our families, our musical colleagues, and even our dogs. The story is by no means chronological, though after a "Prelude," it does follow very loosely accounts of our youth, our education, our musical experiences, and adventures. Those experiences have included playing with the Pittsburgh Symphony, the Boston Pops, Peter Nero's Philly Pops, our concerts in Moscow (in the midst of a revolution), St. Petersburg, Carnegie Hall, the Salzburg Festival, Havana, Puerto Rico, Mexico, Japan, Taiwan, Slovenia, Denmark, Norway, Italy, England, Germany, Peru, and the Library of Congress. It is also a history of Orchestra 2001, the Swarthmore College- and Philadelphia-based contemporary music ensemble I founded and directed from 1988 to 2015. It includes in the appendices a complete list of O2001's concerts, repertoire, and recordings, as well as highlights and critical commentary about many of those performances and CDs.

Elsewhere 1 we were concerned with fundamental aspects of the question how man can comprehend his fellow-men. We analyzed man's subjective experiences of the Other and found in them the basis for his understanding of the Other's subjective processes of consciousness. The very assumption of the existence of the Other, however, introduces the dimension of intersub jectivity. The world is experienced by the Self as being inhabited by other Selves, as being a world for others and of others. As we had occasion to point out, intersubjective reality is by no means homogeneous. The social world in which man finds himself exhibits a complex structure; fellow-men appear to the Self under different aspects, to which correspond different cognitive styles by which the Self perceives and apprehends the Other's thoughts, motives, and actions. In the present investigation it will be our main task to describe the origin of the differentiated structures of social reality as well as to reveal the principles underlying its unity and coherence. It must be stressed that careful description of the processes which enable one man to understand another's thoughts and actions is a prerequisite for the methodology of the empirical social sciences. The question how a scientific interpretation of human action is possible can be resolved only if an adequate • From: De, sinnha/te A II/ball tler sowuen WeU, Vienna, 1932; 2nd ed. 1960 (Sektion IV: Strukturanalyse der Sozialwelt, Soziale Umwelt, Mitwelt, Vorwelt, English adaptation by Professor Thomas Luckmann.

Infused with a warm, affable tone, Making Music in Montessori is the Guide’s guide to music education, providing Montessori teachers all at once a snappy, practical handbook, music theory mentor, pedagogical manual, and resource anthology.The book’s goal: To give teachers confidence in music, so that when their children walk away from a lesson all fired up to compose their own music, their teacher will know how to guide them. Before Making Music in Montessori, teachers may have only dreamed of a classroom buzzing with children working, learning, and growing with music alongside all of the other subject areas in the Montessori curriculum. Now, it’s a reality. If children’s minds are a fertile field, then Making Music in Montessori will stir Montessori teachers of all musical backgrounds to don their overalls, roll up their sleeves, sow the musical seeds, and watch them blossom under their children’s flaming imagination.

For most of the twentieth century, modernity has been characterised by the formalisation of social relations as face to face interactions are replaced by impersonal bureaucracy and finance. As we enter the new millennium, however, it becomes increasingly clear that it is only by stepping outside these formal structures that trust and co-operation can be created and social change achieved. In a brilliant theoretical tour de force, illustrated with sustained case studies of changing societies in the former eastern Europe and of changing forms of interaction within so-called virtual communities, Barbara Misztal, argues that only the society that achieves an appropriate balance between the informality and formality of interaction will find itself in a position to move forward to further democratisation and an improved quality of life.