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In the early fourteenth century, musicians in France and later Italy established new traditions of secular and sacred polyphony. This ars nova, or "new art," popularized by theorists such as Philippe de Vitry and Johannes de Muris was the among the first of many later movements to establish the music of the present as a clean break from the past. The rich music of this period, by composers such as Guillaume de Machaut and Francesco Landini, is not only beautiful, but also rewards deep study and analysis. Yet contradictions and gaps abound in the ars nova of the fourteenth and early fifteenth centuries-how do we read this music? how do we perform this music? what was the cultural context of these performances? These problems are well met by the ingenuity of approaches and solutions found by scholars in this volume. The twenty-seven articles brought together reflect the broad methodological and chronological range of scholarly inquiry on the ars nova.
This is a welcome addition to recently published work on the popular musics which have emerged in many countries as a response to and as a result of the encounter of local musical traditions with Anglo-American pop/rock. . . . The empirical components make this an impressive book. . . . It is also quite unique. . . . The data collected is presented in a successful combination of quantitative information and 'windows' of text telling the story of different individual musicians, and tracing the influence on them of economics and politics, of local and foreign musicians. --Cambridge Journals "The book is a magnificent achievement and stands on par with the work by Wallis & Malm with which it inevitably must be compared. One looks forward to the companion volumes of the project. Of particular note is the research style that drew on 40 indigenous researchers from over 20 countries. This is a highly ambitious project in intercultural studies and stands as a landmark in intercultural cooperation." --Canadian Journal of Communication "Music at the Margins is the utopian experiment par excellence. . . . We are treated to an intriguing print montage of the current 'world music' landscape; this book's multicultural scholarship is a tour de force in cross-cultural dialogics. . . . The results of the studies help to set the agenda for further research in the field. . . . The book is an extremely ambitious project. . . . Music at the Margins . . . is a groundbreaking study of popular music in its international contexts. The book is a must for anyone interested in the subject." --Journal of Communication "Music at the Margins: Popular Music and Global Cultural Diversity fills an important scholarly gap by investigating the nature of the international recording industry and production of music by local performers working at the margins of that industry in a variety of national contexts. The authors report on cross-cultural research done by a large international team that "tests the cultural imperialism hypothesis" that a largely one-way flow of cultural texts is leading to worldwide cultural homogenization." --International Journal of Intercultural Relations "A very interesting, highly readable book about the global pop-music world, reflecting its complexity and its artistic, economic, cultural-social, and political involvement and influence. . . .Music at the Margins is a special book and will be relished by music fans, general readers, and students in music, sociology, economics and other courses." --Academic Library Book Review "One of the better books in the trend toward establishing legitimacy of popular culture studies through pseudoacademic trappings, this is a responsible attempt to collate and make sense of information and perceptions gleaned by researchers in more than 15 First-, Second-, and Third-World countries." --Choice "It inspires great respect for its authors. For someone who writes about popular music for a daily newspaper and magazines as well as academic settings, it has a lot of value and interest. The broad conceptual framework alone helps me think about what's happening with all aspects of pop culture, not just music. . . . Most important for me is the evidence the book provides of how the process of cultural production actually works at both individual and national levels." --Lynn Darroch, Mt. Hood Community College "An exhaustive academic account of the forces governing the international music industry. . . . Music at the Margins is an ambitious project encompassing many complex issues. . . . For anyone interested in the past, present and future of international popular music, it is an impressive and rewarding volume." --Tracking "An amazingly rich tour-de-force of contested territory: how meanings are negotiated between domination and diversity, cultural erosion and enrichment. Indispensable for students of mass media and popular culture, as well as of music." --George Gerbner, Annenberg School for Communication, University of Pennsylvania Popular music is a form of communication easily recognized and understood around the world. But as it spreads from culture to culture, is it becoming more homogenized? Or, conversely, is there a continuing and perhaps ever-increasing diversity of song styles and forms? Music at the Margins explores the debate surrounding popular music's spread, testing the more conventional "cultural imperialism" hypothesis as based on empirical findings from a study by the International Communication and Youth Culture Consortium. The primary focus is on how the process of popular music production is perceived by local musicians--people who are immersed in overlapping international, national, and local contexts of production. Discussions on theory, local case studies, and interview data are provided and integrated to show how societal influences are tempered by and interpreted through cultural and semiotic codes--as well as individual musicians' experiences and creative talents. Specific topics addressed include the rise of the international recording industry, music production in socialist or formerly socialist countries, censorship, and sociopolitical influences, to name but a few. Music at the Margins will appeal to a wide range of scholars and students in the fields of communication, popular culture, and sociology.
This is a welcome addition to recently published work on the popular musics which have emerged in many countries as a response to and as a result of the encounter of local musical traditions with Anglo-American pop/rock. . . . The empirical components make this an impressive book. . . . It is also quite unique. . . . The data collected is presented in a successful combination of quantitative information and 'windows' of text telling the story of different individual musicians, and tracing the influence on them of economics and politics, of local and foreign musicians. --Cambridge Journals "The book is a magnificent achievement and stands on par with the work by Wallis & Malm with which it inevitably must be compared. One looks forward to the companion volumes of the project. Of particular note is the research style that drew on 40 indigenous researchers from over 20 countries. This is a highly ambitious project in intercultural studies and stands as a landmark in intercultural cooperation." --Canadian Journal of Communication "Music at the Margins is the utopian experiment par excellence. . . . We are treated to an intriguing print montage of the current 'world music' landscape; this book's multicultural scholarship is a tour de force in cross-cultural dialogics. . . . The results of the studies help to set the agenda for further research in the field. . . . The book is an extremely ambitious project. . . . Music at the Margins . . . is a groundbreaking study of popular music in its international contexts. The book is a must for anyone interested in the subject." --Journal of Communication "Music at the Margins: Popular Music and Global Cultural Diversity fills an important scholarly gap by investigating the nature of the international recording industry and production of music by local performers working at the margins of that industry in a variety of national contexts. The authors report on cross-cultural research done by a large international team that "tests the cultural imperialism hypothesis" that a largely one-way flow of cultural texts is leading to worldwide cultural homogenization." --International Journal of Intercultural Relations "A very interesting, highly readable book about the global pop-music world, reflecting its complexity and its artistic, economic, cultural-social, and political involvement and influence. . . .Music at the Margins is a special book and will be relished by music fans, general readers, and students in music, sociology, economics and other courses." --Academic Library Book Review "One of the better books in the trend toward establishing legitimacy of popular culture studies through pseudoacademic trappings, this is a responsible attempt to collate and make sense of information and perceptions gleaned by researchers in more than 15 First-, Second-, and Third-World countries." --Choice "It inspires great respect for its authors. For someone who writes about popular music for a daily newspaper and magazines as well as academic settings, it has a lot of value and interest. The broad conceptual framework alone helps me think about what's happening with all aspects of pop culture, not just music. . . . Most important for me is the evidence the book provides of how the process of cultural production actually works at both individual and national levels." --Lynn Darroch, Mt. Hood Community College "An exhaustive academic account of the forces governing the international music industry. . . . Music at the Margins is an ambitious project encompassing many complex issues. . . . For anyone interested in the past, present and future of international popular music, it is an impressive and rewarding volume." --Tracking "An amazingly rich tour-de-force of contested territory: how meanings are negotiated between domination and diversity, cultural erosion and enrichment. Indispensable for students of mass media and popular culture, as well as of music." --George Gerbner, Annenberg School for Communication, University of Pennsylvania Popular music is a form of communication easily recognized and understood around the world. But as it spreads from culture to culture, is it becoming more homogenized? Or, conversely, is there a continuing and perhaps ever-increasing diversity of song styles and forms? Music at the Margins explores the debate surrounding popular music's spread, testing the more conventional "cultural imperialism" hypothesis as based on empirical findings from a study by the International Communication and Youth Culture Consortium. The primary focus is on how the process of popular music production is perceived by local musicians--people who are immersed in overlapping international, national, and local contexts of production. Discussions on theory, local case studies, and interview data are provided and integrated to show how societal influences are tempered by and interpreted through cultural and semiotic codes--as well as individual musicians' experiences and creative talents. Specific topics addressed include the rise of the international recording industry, music production in socialist or formerly socialist countries, censorship, and sociopolitical influences, to name but a few. Music at the Margins will appeal to a wide range of scholars and students in the fields of communication, popular culture, and sociology.
This Element presents an analysis of campaign finance in city council elections in four midsize Massachusetts cities. It shows that while money does not determine local election outcomes it plays a gatekeeping role – especially for nonincumbents. Moreover, this money comes from a very unrepresentative segment of the electorate. Although elections in these cities are nonpartisan, individual donors and interest groups are sorted into networks that function like political parties. The Element also shows that donors tend to be substantially more liberal than city residents. This can lead cities to adopt policies that are at odds with the views and needs of cities' less-wealthy inhabitants, including racial minorities. Despite low financial stakes relative to national races, campaign finance in midsize city elections reflects and reinforces broader patterns of political inequality. The result is a campaign finance system that disadvantages city residents who lack the cues that exist in other elections.
This Element presents an analysis of campaign finance in city council elections in four midsize Massachusetts cities. It shows that while money does not determine local election outcomes it plays a gatekeeping role – especially for nonincumbents. Moreover, this money comes from a very unrepresentative segment of the electorate. Although elections in these cities are nonpartisan, individual donors and interest groups are sorted into networks that function like political parties. The Element also shows that donors tend to be substantially more liberal than city residents. This can lead cities to adopt policies that are at odds with the views and needs of cities' less-wealthy inhabitants, including racial minorities. Despite low financial stakes relative to national races, campaign finance in midsize city elections reflects and reinforces broader patterns of political inequality. The result is a campaign finance system that disadvantages city residents who lack the cues that exist in other elections.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
""A Diary of Meditations"" is a spiritual guidebook written by St. Francis de Sales, a Catholic bishop and Doctor of the Church. The book is a collection of daily meditations and reflections on various aspects of the Christian faith, including prayer, love, humility, and obedience. The diary is organized into 12 months, with each month focusing on a specific theme, such as the love of God, the virtues of the saints, or the importance of spiritual discipline. Throughout the book, St. Francis de Sales offers practical advice and encouragement for those seeking to deepen their relationship with God and live a more meaningful and fulfilling life. His meditations are grounded in the teachings of the Bible and the Catholic Church, and are accessible to readers of all backgrounds and levels of spiritual experience. ""A Diary of Meditations"" is a timeless classic that has inspired generations of readers to live more fully in the presence of God. It is a valuable resource for anyone seeking to cultivate a deeper spiritual life and find peace and purpose in their daily lives.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.
From the in depth creative journey of The Beautiful Stuff Blog, comes the first contributor-led collection of poetry. Each poem a discussion of what it means to be human in the ways that we perceive our world, move through it, love, suffer, and learn. Each selection has been hand-picked by the veteran poet and creator of The Beautiful Stuff, S. E. Reichert. Enjoy an amazing journey through the sufferings and musings of some of the most talented poets of the year in this heartfelt and charming collection.
On the night of 14 November 1940, Reverend Richard Howard, Provost of Coventry Cathedral, was one of four firefighters who climbed onto the roof to smother with sand the incendiary bombs that were landing not just on the Cathedral but starting a firestorm across the city centre. At around 8pm a fire broke out inside the Cathedral and, despite extinguishing it, they could not control the other fires which ultimately led to its destruction.Howard writes "As I went into the ruined Cathedral on the morning after the destruction, there flashed into my mind the deep certainty that as the Cathedral had been crucified with Christ, so it would rise again with Him. How or when, we could not tell; nor did it matter. The Cathedral would rise again."In this moving and detailed account of the years that followed, Howard describes how the building of the new Cathedral was planned; how the architects and designers were chosen; with what materials they worked, and what their designs mean. It closes with the sight of the new Cathedral finished and ready for Consecration.Today, Coventry is a City of Peace and Reconciliation due in no small measure to the determination of Provost Howard to forgive those who had caused that terrible destruction. This brief and illuminating account of the Cathedral's destruction and rebuilding is an historic and inspiring document. Originally published by Coventry Cathedral in 1962 but long out of print, this new edition has been produced by Coventry Lord Mayor's Committee for Peace and Reconciliation who believe this important document deserves a permanent place on the bookshelves of all those who love this city and care about peace. A new foreword has been written by John Witcombe, the Dean of the Cathedral, who says "Reading this book was an important part of inspiring and equipping me for my own work." Most Revd. and Rt. Hon Justin Welby, Archbishop of Canterbury says about this bookThe story of Coventry Cathedral has been of deep significance in my own life and ministry, and is one which continues to inspire and move all those who hear it. It is a story of hope which will be told and retold through the ages. But there is a unique power in this account by Provost Howard, who not only knew the Cathedral intimately but who lived and breathed the very moments of its ruin and regeneration. In his story, we read how the extraordinary events of November 1940 and their aftermath brought Provost Howard to a new and vital encounter with Jesus Christ and the meaning of the cross. As he writes, 'On the night of its destruction, in an amazing and miraculous way, Coventry Cathedral became the living embodiment of the tremendous truth that, through the crucifixion and resurrection of Jesus Christ, all crucifixions in human experience can issue in resurrection'. This truth is the beating heart of the Coventry story, which Provost Howard proclaimed not only to that city but to the world. I pray that each person who reads this moving story will be inspired to find new ways to live it out today.
The Market in Babies tells the history of adoption in Australia from its beginnings in the 19th century to its decline at the beginning of the 21st. In the early years, supply outstripped demand; needy children were hard to place. In the mid-20th century, demand and supply grew together with adoption presented as the perfect solution to two social problems - infertility and illegitimacy. Supply declined in the 1970s, and demand turned to new global markets. Now these markets are closing, but technology provides new opportunities, and Australians are acquiring babies through the surrogacy markets of India and the US. As the rate of adoptions in Australia falls to a historic low, and with parliaments across the country apologizing to parents and children for the pain caused by past practices, this book identifies an historical continuum between the past and the present, and it challenges the view that the best interests of the child can ever be protected in an environment where the market for children is allowed to flourish. The book's authors are long-established scholars with expertise in the history of the family, welfare history, and the making of public policy in Australia. *** "The richness of this book lies in equal measure in the sources it uses and its ability to synthesize history and public policy. The voices of adoptees and parents gathered here are moving and sophisticated, even as they tell diverse stories about their experiences. Highly recommended." -- Choice, Vol. 52, No. 2, October 2014 ? ? ? ?
