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Throughout the long nineteenth-century the sounds of liberty resonated across the Anglophone world. Focusing on radicals and reformers committed to the struggle for a better future, this book explores the role of music in the transmission of political culture over time and distance. Following in the footsteps of relentlessly travelling activists – women and men - it brings to light the importance of music making in the lived experience of politics. It shows how music encouraged, unified, divided, consoled, reminded, inspired and, at times, oppressed. The book examines iconic songs; the sound of music as radicals and reformers were marching, electioneering, celebrating, commemorating as well as striking, rioting and rebelling; and it listens within the walls of a range of associations where it was a part of a way of life, inspiring, nurturing, though at times restrictive. It provides an opportunity to hear history as it happened.
This book examines how music education presents opportunities to shape democratic awareness through political, pedagogical, and humanistic perspectives. Focusing on democracy as a vital dimension in teaching music, the essays in this volume have particular relevance to teaching music as democratic practice in both public schooling and in teacher education. Although music educators have much to learn from others in the educational field, the actual teaching of music involves social and political dimensions unique to the arts. In addition, teaching music as democratic practice demands a pedagogical foundation not often examined in the general teacher education community. Essays include the teaching of the arts as a critical response to democratic participation; exploring democracy in the music classroom with such issues as safe spaces, sexual orientation, music of the Holocaust, improvisation, race and technology; and music teaching/music teacher education as a form of social justice. Engaging with current scholarship, the book not only probes the philosophical nature of music and democracy, but also presents ways of democratizing music curriculum and human interactions within the classroom. This volume offers the collective wisdom of international scholars, teachers, and teacher educators and will be essential reading for those who teach music as a vital force for change and social justice in both local and global contexts.
Originally published in 1983. Song has always been a natural way to record everyday experiences – an expression of celebration, commiseration, complaint and protest. This innovative book is a study of popular and working-class song combining several approaches to the subject. It is a history of working-class song in Britain which concentrates not simply on the songs and the singers but attempts to locate such song in its cultural context and apply principles of literary criticism to this essentially oral medium. It triggered controversy: some critics castigated its Marxist approach, others enthused that ‘such unabashed partisanship amply reveals the outstanding characteristic of Watson's book’. The author discusses the way in which the popular song, from Victorian times onwards, has been forced by the entertainment industry out of its roots in popular culture, to become a blander form of art with minimal critical potential. The book ends by considering the possibilities for a continued flourishing of a genuine popular song culture in an electronic age. It has become a standard title in bibliographies and curricula. Much has changed since 1983, not least in music; but this then innovative book still has a lot to say about popular song in its social and historical context.
Chartist poetry was written by and for workers. In contrast with the portrayal of workers by mainstream Victorian writers, Chartist verse is intellectual, complex, and socially conscious and reflects an international outlook.
For a century and more, the idea of democracy has fuelled musicians’ imaginations. Seeking to go beyond music’s proven capacity to contribute to specific political causes, musicians have explored how aspects of their practice embody democratic principles. This may involve adopting particular approaches to compositional material, performance practice, relationships to audiences, or modes of dissemination and distribution. Finding Democracy in Music is the first study to offer a wide-ranging investigation of ways in which democracy may thus be found in music. A guiding theme of the volume is that this takes place in a plurality of ways, depending upon the perspective taken to music’s manifold relationships, and the idea of democracy being entertained. Contributing authors explore various genres including orchestral composition, jazz, the post-war avant-garde, online performance, and contemporary popular music, as well as employing a wide array of theoretical, archival, and ethnographic methodologies. Particular attention is given to the contested nature of democracy as a category, and the gaps that frequently arise between utopian aspiration and reality. In so doing, the volume interrogates a key way in which music helps to articulate and shape our social lives and our politics.
On the 200th anniversary of Abraham Lincoln’s birth, renowned choreographer and director Bill T. Jones developed three tributes: Serenade/The Proposition, 100 Migrations, and Fondly Do We Hope . . . Fervently Do We Pray. These widely acclaimed dance works incorporated video and audio text from Lincoln’s writings as they examined key moments in his life and his enduring legacy. Democracy Moving explores how these works provided both an occasion and a method by which democracy and history might be reconceived through movement, positioning dance as a form of both history and historiography. The project addresses how different communities choose to commemorate historical figures, events, and places through art—whether performance, oratory, song, statuary, or portraiture—and in particular, Black US American counter-memorial practices that address histories of slavery. Advancing the theory of oscillation as Black aesthetic praxis, author Ariel Nereson celebrates Bill T. Jones as a public intellectual whose practice has contributed to the project of understanding America’s relationship to its troubled past. The book features materials from Bill T. Jones/Arnie Zane Company’s largely unexplored archive, interviews with artists, and photos that document this critical stage of Jones’s career as it explores how aesthetics, as ideas in action, can imagine more just and equitable social formations.
Heritage, Labour and the Working Classes is both a celebration and commemoration of working class culture. It contains sometimes inspiring accounts of working class communities and people telling their own stories, and weaves together examples of tangible and intangible heritage, place, history, memory, music and literature. It represents an innovative and useful resource for heritage and museum practitioners, students and academics concerned with understanding community heritage and the debate on social inclusion/exclusion. It offers new ways of understanding heritage, its values and consequences, and presents a challenge to dominant and traditional frameworks for understanding and identifying heritage and heritage making.