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Motherhood in the Music Education
Academy

Motherhood in the Music Education Academy

<ul><li>Motherhood in the Music Education Academy: An Introduction</li> <li>Section 1. Framing Motherhood Conceptually in the Music Academy</li> <li>1: Elizabeth Cassidy Parker: Re-Centering Care: Role Conflict and Parenting in Music Education</li> <li>1.1: Ashley D. Allen: A Moment to Pause</li> <li>2: Women, Life, Freedom: Stories of Mothering, Motherhood, and Non-motherhood</li> <li>3: Vanessa L. Bond: Work-Family Enrichment: Viewing Academic Motherhood from an Asset Perspective</li> <li>3.1: Angela M. Munroe: A Moment to Pause</li> <li>Section 2. Blending the Scholarly and the Personal: Essays on Motherhood</li> <li>4: Lisa Huisman Koops: Positive Personal Impact of Structural University Support on Faculty Motherhood</li> <li>4.1: Debbie Rohwer: A Moment to Pause</li> <li>5: Catheryn Shaw Foster and Tami J. Draves: Learning to be Visible Without Saying "I'm Sorry"</li> <li>6: Whitney Mayo: Navigating Identities: Becoming a Mother and a Doctoral Student</li> <li>6.1: Libby Hearn: A Moment to Pause</li> <li>7: Elizabeth W. Chappell: Navigating the Academy Through my Mother-lens: Caring as a Subversive Act</li> <li>8: Rachel Grimsby and Ashley D. Allen: Re-emergence of Pre-pandemic Issues for Women in Academia: Music Teacher Educator Mothers' Perspectives</li> <li>8.1: Bridget Sweet: A Moment to Pause</li> <li>Section 3. Intersectional Experiences of Motherhood</li> <li>9: Jacqueline C. Henninger: The Life of a Single Mom of Color in Academia: Challenges and Rewards</li> <li>10: Erin M. Hansen: "So, Who's the Real Mother?": Reflections of a Queer Music Teacher Educator</li> <li>10.1: Kate Fitzpatrick-Harnish: A Moment to Pause</li> <li>11: Linda Thornton and Layla Thornton: Perspectives of a Mother and Daughter on Growing Up in the Academy</li> <li>11.1: Linda Thornton and Layla Thornton (19): A Moment to Pause</li> <li>12: Shawn L. O'Connor: Music Education, Motherhood, and Mental Health</li> <li>Section 4. Considering Different Stages of Motherhood and the Academic Journey</li> <li>13: Michquelena Potlunas Ferguson: Pregnancy, the Academy, and Marching Band: An Autoethnography</li> <li>13.1: Bridget Sweet: A Moment to Pause</li> <li>14: Vanessa L. Bond: The Countdown of Two Clocks: Pregnancy and the Pre-Tenure Years</li> <li>15: Christa R. Kuebel: Reflecting and Reimagining: Entering Motherhood at Mid-Career</li> <li>15.1: Robin Giebelhausen: A Moment to Pause</li> <li>Memories from an Empty Nester Professor</li> <li>17: Janet Revell Barrett: The Courses of a Scholarly Life</li> <li>17.1: Erin Hansen: A Moment to Pause</li> <li>18: Robin Giebelhausen: Hatchlin' Hatchling(s): Experiences of Becoming a Stepmother, Mother, and Early Childhood Music Coordinator</li> <li>19: Libby Hearn: A Season of Loss and Learning: Becoming a (Single) Mother Scholar</li> <li>20: Eve E. Harwood: The Question</li> <li>20.1: Jacqueline C. Henninger: A Moment to Pause</li> <li>21: Angela M. Munroe: Parenting in Academia: Balance or Permeable Boundaries</li> <li>22: Raychl Smith: Creating Boundaries as a Mothering Professor</li> <li>23: Jessica Vaughan-Marra and Melissa Baughman: Navigating Motherhood within Dual-Career Academic Families</li> <li>23.1: Elizabeth Cassidy Parker: A Moment to Pause</li> <li>Section 6. Coda</li> <li>Considering the Path Forward</li> </ul>

New Directions in Critical Criminology

Theorizing Resistance examines the extent to which music constructions provide windows for opposition and resistance to forms of state crime and violence such as war, human rights abuses, oppression, and corruption. Drawing on the work of Michel Maffesoli, the Birmingham Centre for Contemporary Cultural Studies and more recently Jeff Ferrell, this book makes a unique and original contribution to ongoing academic debates about power, alienation and resistance and will be fascinating reading for courses in cultural and critical criminology, state crime, human rights and the sociology of popular music.

Theorizing Resistance examines the extent to which music constructions provide windows for opposition and resistance to forms of state crime and violence such as war, human rights abuses, oppression, and corruption. The analysis is based on rich ethnographic, documentary, and participant observation research with politically active independent punk rock musicians. Drawing on the work of Michel Maffesoli, the Birmingham Centre for Contemporary Cultural Studies and more recently Jeff Ferrell, this book makes a unique and original contribution to ongoing academic debates about power, alienation and resistance and will be fascinating reading for courses in cultural and critical criminology, state crime, human rights and the sociology of popular music.

Music, Politics, and the Crimes of the Powerful

Theorizing Resistance

Music Theory in Britain, 1500–1700: Critical Editions

A Critical Edition, Volume 1

Thomas Morley: A Plaine and Easie Introduction to Practicall Musick (1597)

Thomas Morley (1557/8-1602) has long been regarded as the most important English music theorist of the early modern period. His treatise, A Plaine and Easie Introduction to Practicall Musicke was published in a luxurious folio format in 1597 and a second edition appeared in 1608. The three parts of the treatise set forth elementary music ('teaching to sing') and beginning and advanced counterpoint ('treating of descant' and 'treating of composing or setting of songs'). The text, written in dialogue format, is enlivened by remarkable descriptions of music, musicians, musical performance and compositional practice. Jessie Ann Owens introduces the facsimile, explaining why the 1608 version has been chosen.

Thomas Morley (1557/8-1602) has long been regarded as the most important English music theorist of the early modern period. His treatise, A Plaine and Easie Introduction to Practicall Musicke was published in a luxurious folio format in 1597 and a second edition appeared in 1608. The three parts of the treatise set forth elementary music ('teaching to sing') and beginning and advanced counterpoint ('treating of descant' and 'treating of composing or setting of songs'). The text, written in dialogue format, is enlivened by remarkable descriptions of music, musicians, musical performance and compositional practice.   Jessie Ann Owens introduces the facsimile, explaining why the 1608 version has been chosen.

A Facsimile of the 1608 Edition

Thomas Morley's Plaine and Easie Introduction to Practicall Musicke

Play It!

A Superfast Way to Learn Awesome Songs on Your Piano or Keyboard

Play It! Children’s Songs for Piano (Level 2)

The authors of the popular Play It! series are back with a fun and easy guitar guide, with helpful instruction on beloved children's songs, perfect for the budding musician in your life.

A Superfast Way to Learn Awesome Songs on Your Guitar

Play It! Children's Songs for Guitar

Processual Tonality and the Psychoacoustics of Chromaticism

SOAS Studies in Music

Musical improvisation is a complex form of creative human expression. In this book, Sabina Rakcheyeva explores the logical outcomes of performance, relating them to existing theories and expanding those theories with new findings. Rakcheyeva begins with an examination of the attributes of musical improvisation, how it is practised, its logic, the creativity of the process and the role of the audience in performance. The book's second half is devoted to a description of a performance-based research project involving the author, a violinist, and members of her ensemble. A self-referent endeavour involving cross-cultural and cross-disciplinary analyses, investigates aspects of improvisation in recent musical practice, juxtaposing this onto the author's own performance experience and elaborating, in particular, on how improvisation encapsulates processes of imagination, creation, and collaboration among musicians from different music backgrounds. Taking the music performance to a next stage, the author explores the ways of how musical collaboration as a tool of public engagement can contribute to promoting understanding and preventing and resolving conflict, in a search of methodology for improving the effectiveness of current practices

Musical improvisation is a complex form of creative human expression. In this book, Sabina Rakcheyeva explores the logical outcomes of performance, relating them to existing theories and expanding those theories with new findings. Rakcheyeva begins with an examination of the attributes of musical improvisation, how it is practised, its logic, the creativity of the process and the role of the audience in performance. The book’s second half is devoted to a description of a performance-based research project involving the author, a violinist, and members of her ensemble. A self-referent endeavour involving cross-cultural and cross-disciplinary analyses, investigates aspects of improvisation in recent musical practice, juxtaposing this onto the author’s own performance experience and elaborating, in particular, on how improvisation encapsulates processes of imagination, creation, and collaboration among musicians from different music backgrounds. Taking the music performance to a next stage, the author explores the ways of how musical collaboration as a tool of public engagement can contribute to promoting understanding and preventing and resolving conflict,in a search of methodology for improving the effectiveness of current practices.

Music as Cultural Diplomacy: Using Improvisation as a Creative Tool

The Study of Sound

Bringing concepts from early film theory into dialogue with the vibrant field of contemporary sound studies, Wild Sound turns an analytic eye and ear to the role of the soundscape in cinema, particularly the way that film soundtracks capture, create, represent, and even critique our sonic environment. Listening beyond music and dialogue, this book draws attention to the oft-ignored background soundscape-film's "wild sound"-which plays a quiet but substantial role in determining how film audiences feel about certain places, people, and processes. It explores the relationship between location sound and wider practices of phonographic field recording in the creation of a cinematic sonic environment. The latter half of the book shifts attention from from the controlled soundscapes of cinema to the relatively chaotic sonic environments of the world around us. Michael Pigott ultimately demonstrates how a theory of cinematic soundscapes helps us develop practical strategies for investigating the sonic environment in our personal and natural sound worlds, beyond the cinema auditorium.

Wild Sound

Perspectives on Music Production

Innovation in Music: Current Research Perspectives is a ground-breaking collection, bringing together contributions from instructors, researchers and professionals, focussing on the joy of discovery in the context of music production, music technology and music performance.With chapters on music production and accessibility for visually impaired producers, the use of AI tools to produce music and using distortion as part of synthesis and sampling workflows, this book is recommended reading for students, researchers and professionals looking for global insights into the fields of music production, business and technology.

Innovation in Music: Current Research Perspectives

Play It! Patriotic Songs for Piano

Adolph Bernhard Marx (1795-1866) may be the single most influential music theorist before Heinrich Schenker; he is also among the least understood. Although he is chiefly known today as the first to codify the elements of sonata form, his four-volume Lehre von der musikalischen Komposition, praktisch-theoretish (1838-47) covered a wide range of subjects and was of enormous impact. But a full understanding of Marx's influence has been hampered by misinterpretation, often itself the result of mistranslation. Patrick Wood Uribe here offers close readings of Marx's writing as a corrective to these misapprehensions and re-evaluates the assumptions resting on previous readings.

Adolph Bernhard Marx (1795-1866) may be the single most influential music theorist before Heinrich Schenker; he is also among the least understood. Although he is chiefly known today as the first to codify the elements of sonata form, Marx's four-volume Lehre von der musikalischen Komposition, praktisch-theoretish (1838-47) covered a wide range of subjects and was of enormous impact.  But a full understanding of Marx's influence has been hampered by misinterpretation, often itself the result of mistranslation. Patrick Wood Uribe here offers close readings of Marx's writing as a corrective to these misapprehensions and re-evaluates the assumptions resting on previous readings.  Among the results of his careful assessment is a new understanding of the way in which Marx's theories have shaped our understanding of sonata form. Uribe also counters recent scholarship that finds, in Marx's writings, the roots of the uglier side of German nationalism. A closer examination of precisely what Marx had to say, placed in its proper political context, absolves the theorist of a modern label that is perhaps over-reliant on hindsight.

The Rules That Set Us Free: Adolph Bernhard Marx as Theorist, Thinker and Critic

Motherhood in the Music Education Academy

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