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Housed on the campus of the University of Michigan in Ann Arbor, the University Musical Society is one of the oldest performing arts presenters in the country. A past recipient of the National Medal of Arts, the nation’s highest public artistic honor, UMS connects audiences with wide-ranging performances in music, dance, and theater each season.Between 1987 and 2017, UMS was led by Ken Fischer, who over three decades pursued an ambitious campaign to expand and diversify the organization’s programming and audiences—initiatives inspired by Fischer’s overarching philosophy toward promoting the arts, “Everybody In, Nobody Out.” The approach not only deepened UMS’s engagement with the university and southeast Michigan communities, it led to exemplary partnerships with distinguished artists across the world. Under Fischer’s leadership, UMS hosted numerous breakthrough performances, including the Vienna Philharmonic’s final tour with Leonard Bernstein, appearances by then relatively unknown opera singer Cecilia Bartoli, a multiyear partnership with the Royal Shakespeare Company, and artists as diverse as Yo-Yo Ma, Jawole Willa Jo Zollar, Elizabeth Streb, and Nusrat Fateh Ali Khan. Though peppered with colorful anecdotes of how these successes came to be, this book is neither a history of UMS nor a memoir of Fischer’s significant accomplishments with the organization. Rather it is a reflection on the power of the performing arts to engage and enrich communities—not by handing down cultural enrichment from on high, but by meeting communities where they live and helping them preserve cultural heritage, incubate talent, and find ways to make community voices heard.
Audio Production and Critical Listening: Technical Ear Training, Second Edition develops your critical and expert listening skills, enabling you to listen to audio like an award-winning engineer. Featuring an accessible writing style, this new edition includes information on objective measurements of sound, technical descriptions of signal processing, and their relationships to subjective impressions of sound. It also includes information on hearing conservation, ear plugs, and listening levels, as well as bias in the listening process. The interactive web browser-based "ear training" software practice modules provide experience identifying various types of signal processes and manipulations. Working alongside the clear and detailed explanations in the book, this software completes the learning package that will help you train you ears to listen and really "hear" your recordings. This all-new edition has been updated to include: Audio and psychoacoustic theories to inform and expand your critical listening practice. Access to integrated software that promotes listening skills development through audio examples found in actual recording and production work, listening exercises, and tests. Cutting-edge interactive practice modules created to increase your experience. More examples of sound recordings analysis. New outline for progressing through the EQ ear training software module with listening exercises and tips.
From classic films like Carmen Jones to contemporary works like The Diary of Sally Hemings and U-Carmen eKhayelitsa, American and South African artists and composers have used opera to reclaim black people's place in history. Naomi André draws on the experiences of performers and audiences to explore this music's resonance with today's listeners. Interacting with creators and performers, as well as with the works themselves, André reveals how black opera unearths suppressed truths. These truths provoke complex, if uncomfortable, reconsideration of racial, gender, sexual, and other oppressive ideologies. Opera, in turn, operates as a cultural and political force that employs an immense, transformative power to represent or even liberate. Viewing opera as a fertile site for critical inquiry, political activism, and social change, Black Opera lays the foundation for innovative new approaches to applied scholarship.
Keeping Hold of Justice focuses on a select range of encounters between law and colonialism from the early nineteenth century to the present. It emphasizes the nature of colonialism as a distinctively structural injustice, one which becomes entrenched in the social, political, legal, and discursive structures of societies and thereby continues to affect people’s lives in the present. It charts, in particular, the role of law in both enabling and sustaining colonial injustice and in recognizing and redressing it. In so doing, the book seeks to demonstrate the possibilities for structural justice that still exist despite the enduring legacies and harms of colonialism. It puts forward that these possibilities can be found through collaborative methodologies and practices, such as those informing this book, that actively bring together different disciplines, peoples, temporalities, laws and ways of knowing. They reveal law not only as a source of colonial harm but also as a potential means of keeping hold of justice.
Queer Dance challenges social norms and enacts queer coalition across the LGBTQ community. The book joins forces with feminist, anti-racist, and anti-colonial work to consider how bodies are forces of social change.
In Singing Like Germans, Kira Thurman tells the sweeping story of Black musicians in German-speaking Europe over more than a century. Thurman brings to life the incredible musical interactions and transnational collaborations among people of African descent and white Germans and Austrians. Through this compelling history, she explores how people reinforced or challenged racial identities in the concert hall. Throughout the nineteenth and twentieth centuries, audiences assumed the categories of Blackness and Germanness were mutually exclusive. Yet on attending a performance of German music by a Black musician, many listeners were surprised to discover that German identity is not a biological marker but something that could be learned, performed, and mastered. While Germans and Austrians located their national identity in music, championing composers such as Bach, Beethoven, and Brahms as national heroes, the performance of their works by Black musicians complicated the public's understanding of who had the right to play them. Audiences wavered between seeing these musicians as the rightful heirs of Austro-German musical culture and dangerous outsiders to it. Thurman explores the tension between the supposedly transcendental powers of classical music and the global conversations that developed about who could perform it. An interdisciplinary and transatlantic history, Singing Like Germans suggests that listening to music is not a passive experience, but an active process where racial and gendered categories are constantly made and unmade.
“Are We Not New Wave? is destined to become the definitive study of new wave music.” —Mark Spicer, coeditor of Sounding Out Pop New wave emerged at the turn of the 1980s as a pop music movement cast in the image of punk rock’s sneering demeanor, yet rendered more accessible and sophisticated. Artists such as the Cars, Devo, the Talking Heads, and the Human League leapt into the Top 40 with a novel sound that broke with the staid rock clichés of the 1970s and pointed the way to a more modern pop style. In Are We Not New Wave? Theo Cateforis provides the first musical and cultural history of the new wave movement, charting its rise out of mid-1970s punk to its ubiquitous early 1980s MTV presence and downfall in the mid-1980s. The book also explores the meanings behind the music’s distinctive traits—its characteristic whiteness and nervousness; its playful irony, electronic melodies, and crossover experimentations. Cateforis traces new wave’s modern sensibilities back to the space-age consumer culture of the late 1950s/early 1960s. Three decades after its rise and fall, new wave’s influence looms large over the contemporary pop scene, recycled and celebrated not only in reunion tours, VH1 nostalgia specials, and “80s night” dance clubs but in the music of artists as diverse as Rihanna, Lady Gaga, Miley Cyrus, and the Killers.
How eugenics became a keystone of modern educational policy
There is an alluring desire that research should lead us to find the practical knowledge that enables people to live a good life in a just and equitable society. This desire haunted the 19th century emergence of the social sciences as a discipline, then became more pronounced in the postwar mobilizations of research. Today that desire lives on in the international assessments of national schools and in the structure of professional education, both of which influence government modernization of schools and also provide for people’s well-being. American policy thus reflects research in which reforms are verified by “scientific, empirical evidences” about “what works” in experiments, and “will work” therefore in society. The book explores the idea that practical and useful knowledge changes over time, and shows how this knowledge has been (re)visioned in contemporary research on educational reform, instructional improvement, and professionalization. The study of science draws on a range of social and cultural theories and historical studies to understand the politics of science, as well as scientific knowledge that is concerned with social and educational change. Research hopes to change social conditions to create a better life, and to shape people whose conduct embodies these valued characteristics—the good citizen, parent, or worker. Yet this hope continually articulates the dangers that threaten this future. Thomas Popkewitz explores how the research to correct social wrongs is paradoxically entangled with the inscription of differences that ultimately hamper the efforts to include.