Shared Musical Lives

Shared Musical Lives makes the case for the epistemological and ethical significance of musical experience. Music can be a source of self-knowledge and self-expression, and hence reveal important dimensions of the self to others. This knowledge--of both self and of others--has a moral force as well. Shared musical experience can transform and establish new modes of being with others, cultivate virtues, and expand the moral imagination. The term sonification (which means translating data into non-verbal audible tones) provides an organizing principle for the arguments in the book. Transposing the concept into a philosophical key, this book explores two forms of sonification: first, the process by which musical experience reveals dimensions of the self and relationships with others; and second, philosophical sonification, or the critical examination of philosophical concepts, arguments, and theories in view of what musical experience reveals. These two kinds of sonification are discussed specifically in the context of disability. In this book, author Licia Carlson brings the musical lives of people with cognitive and intellectual disabilities into the foreground in order to challenge and broaden existing conceptions of disability and music and provide new ways of thinking about the philosophies of music and disability.

Cover -- Half title -- Title Page -- Copyright Page -- Table of Contents -- Acknowledgements -- Introduction: The quest to understand diverse musical experiences -- My experiences and motivations -- Key questions -- A developing field of scholarship -- Methodology -- The chapters -- Notes -- 1. Setting the scene -- St Aldates Church -- Worship staff, musical values and conceptions -- Notes -- 2. Music, attachment, ethics and community -- Evangelical ontologies of musical neutrality -- The connection between music and ethics -- The problem of tastes and preferences

Everyday Musical Life among the Indigenous Bunun, Taiwan contributes to multidisciplinary research on music in everyday human life by pushing beyond the urbanized Western populations routinely featured in such writing. Based on ethnographic study in Buklavu, a village in southern Taiwan mostly inhabited by the indigenous Bunun, the book explores villagers’ contemporaneous musical engagements and pathways, paying heed both to imported music—such as TV theme tunes, karaoke singing, church hymns—and to the transformation of Bunun traditions through school and community interventions and folkloric festivals. The case study underpins a new, widely applicable, theoretical model for the study of music in everyday life in global society which is historically engaged, sensitive to individual and group diversity, cognizant of the interplay of the mundane and the exceptional, and primed to support applied research.

As we listen and move to music, sing, compose, and play, we engage in musical experiences. These happen in formal learning settings, such as schools and rehearsal halls, but also in informal settings, such as homes and community centers. Musical experiences are fundamentally social and can teach us about ourselves and our relationship to others. This book explores some of the many ways we experience music and create musical meaning from infancy through older adulthood. While vignettes, narratives, and cases form the primary focus of each chapter, the contributors of the book use extant research and theory to deepen understanding of a particular phenomenon, idea, or experience. Chapters are written by leading experts who examine music teaching and learning. They employ various qualitative research methodologies, including case study, narrative inquiry, oral history, and ethnography, yet their contributions are readable, engaging, and refreshingly insightful.

"A gathering chiefly of talks given either by invitation or at conferences throughout the world over the last quarter century. The topics range widely, but recurrent themes include the place of classical music in contemporary society and culture, the fraught relationship between aesthetics and ethics, and the responsibilities of scholarship in an age of spin"--

The Bloomsbury Guide to Philosophy of Disability is a revolutionary collection encompassing the most innovative and insurgent work in philosophy of disability. Edited and anthologized by disabled philosopher Shelley Lynn Tremain, this book challenges how disability has historically been represented and understood in philosophy: it critically undermines the detrimental assumptions that various subfields of philosophy produce; resists the institutionalized ableism of academia to which these assumptions contribute; and boldly articulates new anti-ableist, anti-sexist, anti-racist, queer, anti-capitalist, anti-carceral, and decolonial insights and perspectives that counter these assumptions. This rebellious and groundbreaking book's chapters–most of which have been written by disabled philosophers–are wide-ranging in scope and invite a broad readership. The chapters underscore the eugenic impetus at the heart of bioethics; talk back to the whiteness of work on philosophy and disability with which philosophy of disability is often conflated; and elaborate phenomenological, poststructuralist, and materialist approaches to a variety of phenomena. Topics addressed in the book include: ableism and speciesism; disability, race, and algorithms; race, disability, and reproductive technologies; disability and music; disabled and trans identities and emotions; the apparatus of addiction; and disability, race, and risk. With cutting-edge analyses and engaging prose, the authors of this guide contest the assumptions of Western disability studies through the lens of African philosophy of disability and the developing framework of crip Filipino philosophy; articulate the political and conceptual limits of common constructions of inclusion and accessibility; and foreground the practices of epistemic injustice that neurominoritized people routinely confront in philosophy and society more broadly. A crucial guide to oppositional thinking from an international, intersectional, and inclusive collection of philosophers, this book will advance the emerging field of philosophy of disability and serve as an antidote to the historical exclusion of disabled philosophers from the discipline and profession of philosophy. The Bloomsbury Guide to Philosophy of Disability is essential reading for faculty and students in philosophy, disability studies, political theory, Africana studies, Latinx studies, women's and gender studies, LGBTQ studies, and cultural studies, as well as activists, cultural workers, policymakers, and everyone else concerned with matters of social justice. Description of the book's cover: The book's title appears on two lines across the top of the cover which is a salmon tone. The names of the editor and the author of the foreword appear in white letters at the bottom of the book. The publisher's name is printed along the right side in white letters. At the centre, a vertical white rectangle is the background for a sculpture by fibre artist Judith Scott. The sculpture combines layers of shiny yarn in various colours including orange, pink, brown, and rust woven vertically on a large cylinder and horizontally around a smaller cylinder, as well as blue yarn woven around a protruding piece at the bottom of the sculpture. The sculpture seems to represent a body and head of a being sitting down, a being with one appendage, a fat person, or a little person.

This book explores how the rise of widely available digital technology impacts the way music is produced, distributed, promoted, and consumed, with a specific focus on the changing relationship between artists and audiences. Through in-depth interviewing, focus group interviewing, and discourse analysis, this study demonstrates how digital technology has created a closer, more collaborative, fluid, and multidimensional relationship between artist and audience. Artists and audiences are simultaneously engaged with music through technology—and technology through music—while negotiating personal and social aspects of their musical lives. In light of consistent, active engagement, rising co-production, and collaborative community experience, this book argues we might do better to think of the audience as accomplices to the artist.

My Musical Life by Walter Damrosch: Walter Damrosch's autobiography "My Musical Life" offers a firsthand account of his illustrious career as a conductor, composer, and music educator. Through personal anecdotes and reflections, Damrosch shares his passion for music and the transformative power of the art form. Key Aspects of the Book "My Musical Life": Musical Journey: Damrosch takes readers on a captivating journey through the milestones of his musical career, from his early days as a musician to his rise as a prominent conductor. Encounters with Great Musicians: The book features encounters and collaborations with legendary musicians, providing a glimpse into the world of classical music during Damrosch's era. Musical Education: "My Musical Life" emphasizes the importance of music education and its role in shaping a deeper appreciation for the arts. Walter Damrosch was a highly esteemed German-American conductor and composer who made significant contributions to the classical music scene in the United States. Born in 1862, Damrosch's passion for music and his efforts to promote musical education continue to inspire generations of musicians and music enthusiasts. In "My Musical Life," Damrosch's memoirs reflect his unwavering dedication to the world of music and the profound impact of music on the human soul.