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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.
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.
CD contains musical excerpts referenced in the text.
It is common to hear talk of how music can inspire crowds, move individuals and mobilise movements. We know too of how governments can live in fear of its effects, censor its sounds and imprison its creators. At the same time, there are other governments that use music for propaganda or for torture. All of these examples speak to the idea of music's political importance. But while we may share these assumptions about music's power, we rarely stop to analyse what it is about organised sound - about notes and rhythms - that has the effects attributed to it. This is the first book to examine systematically music's political power. It shows how music has been at the heart of accounts of political order, at how musicians from Bono to Lily Allen have claimed to speak for peoples and political causes. It looks too at the emergence of music as an object of public policy, whether in the classroom or in the copyright courts, whether as focus of national pride or employment opportunities. The book brings together a vast array of ideas about music's political significance (from Aristotle to Rousseau, from Adorno to Deleuze) and new empirical data to tell a story of the extraordinary potency of music across time and space. At the heart of the book lies the argument that music and politics are inseparably linked, and that each animates the other.
Music's role in animating democracy--whether through protests and demonstrations, as a vehicle for political identity, or as a means of overcoming social divides--is well understood. Yet musicians have also been drawn to the potential of embodying democracy itself through musical processes and relationships. In this book, author Robert Adlington uses modern democratic theory to explore what he terms the 'musical modelling of democracy' as manifested in modern and experimental music of the global North. Throughout the book, Adlington demonstrates how composers and musicians have taken strikingly different approaches to this kind of musical modelling. For some, democratic principles inform the textural relationships inscribed into musical scores, as in the case of Elliott Carter's 'polyvocal' compositions. Pioneers of musical indeterminacy sought to democratise the relationship between composer and performers by leaving open key decisions about the realisation of a work. Musicians have involved audiences in active participation to liberate them from the passivity of spectatorship. Free improvisation groups have experimented with new kinds of egalitarian relationships between performers to reject old hierarchies. In examining these different approaches, Adlington illuminates the achievements and ambiguities of musical models of democracy. As a result, this book not only offers an important new perspective on modern musicians' engagement with a central political idea of the past century, but it also encourages a deeper and more critical engagement with the idea of democracy within present-day musical life.
Music and Democracy explores music as a resource for societal transformation processes. This book provides recent insights into how individuals and groups used and still use music to achieve social, cultural, and political participation and bring about social change. The contributors present outstanding perspectives on the topic: From the promise and myth of democratization through music technology to the use of music in imposing authoritarian, neoliberal or even fascist political ideas in the past and present up to music's impact on political systems, governmental representation, and socio-political realities. The volume further features approaches in the fields of gender, migration, disability, and digitalization.
All recordings document life, arising from a specific time and place, and if that place is artificial, the results will be as well. Culled from a lifetime of learning through failure and designed to provoke thought and inspiration for artists in every medium, How Music Dies (or Lives) is a virtual how-to manual for those on a quest for authenticity in an age of airbrushed and Auto-Tuned so-called “artists.” Author and Grammy-winning producer Ian Brennan chronicles his own journeys to find new and ancient sounds, textured voices, and nonmalleable songs, and he presents readers with an intricate look at our technological society. His concise prose covers topics such as: •The damages of colonization in generalizing distinctive variations •The need for imperfection •The gaps between manufacturing and invention •The saturation of music in everyday life This guide serves those who ask themselves, “What’s wrong with our culture?” Along with possible answers are lessons in using the microphone as a telescope, hearing the earth as an echo, and appreciating the value of democratizing voices. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.
"One of the most important books on political regimes written in a generation."—Steven Levitsky, New York Times–bestselling author of How Democracies Die A new understanding of how and why early democracy took hold, how modern democracy evolved, and what this history teaches us about the future Historical accounts of democracy’s rise tend to focus on ancient Greece and pre-Renaissance Europe. The Decline and Rise of Democracy draws from global evidence to show that the story is much richer—democratic practices were present in many places, at many other times, from the Americas before European conquest, to ancient Mesopotamia, to precolonial Africa. Delving into the prevalence of early democracy throughout the world, David Stasavage makes the case that understanding how and where these democracies flourished—and when and why they declined—can provide crucial information not just about the history of governance, but also about the ways modern democracies work and where they could manifest in the future. Drawing from examples spanning several millennia, Stasavage first considers why states developed either democratic or autocratic styles of governance and argues that early democracy tended to develop in small places with a weak state and, counterintuitively, simple technologies. When central state institutions (such as a tax bureaucracy) were absent—as in medieval Europe—rulers needed consent from their populace to govern. When central institutions were strong—as in China or the Middle East—consent was less necessary and autocracy more likely. He then explores the transition from early to modern democracy, which first took shape in England and then the United States, illustrating that modern democracy arose as an effort to combine popular control with a strong state over a large territory. Democracy has been an experiment that has unfolded over time and across the world—and its transformation is ongoing. Amidst rising democratic anxieties, The Decline and Rise of Democracy widens the historical lens on the growth of political institutions and offers surprising lessons for all who care about governance.
How honeybees make collective decisions—and what we can learn from this amazing democratic process Honeybees make decisions collectively—and democratically. Every year, faced with the life-or-death problem of choosing and traveling to a new home, honeybees stake everything on a process that includes collective fact-finding, vigorous debate, and consensus building. In fact, as world-renowned animal behaviorist Thomas Seeley reveals, these incredible insects have much to teach us when it comes to collective wisdom and effective decision making. A remarkable and richly illustrated account of scientific discovery, Honeybee Democracy brings together, for the first time, decades of Seeley's pioneering research to tell the amazing story of house hunting and democratic debate among the honeybees. In the late spring and early summer, as a bee colony becomes overcrowded, a third of the hive stays behind and rears a new queen, while a swarm of thousands departs with the old queen to produce a daughter colony. Seeley describes how these bees evaluate potential nest sites, advertise their discoveries to one another, engage in open deliberation, choose a final site, and navigate together—as a swirling cloud of bees—to their new home. Seeley investigates how evolution has honed the decision-making methods of honeybees over millions of years, and he considers similarities between the ways that bee swarms and primate brains process information. He concludes that what works well for bees can also work well for people: any decision-making group should consist of individuals with shared interests and mutual respect, a leader's influence should be minimized, debate should be relied upon, diverse solutions should be sought, and the majority should be counted on for a dependable resolution. An impressive exploration of animal behavior, Honeybee Democracy shows that decision-making groups, whether honeybee or human, can be smarter than even the smartest individuals in them.
The worlds of new music and historically informed performance might seem quite distant from one another. Yet, upon closer consideration, clear points of convergence emerge. Not only do many contemporary performers move easily between these two worlds, but they often do so using a shared ethos of flexibility, improvisation, curiosity, and collaboration—collaboration with composers past and present, with other performers, and with audiences. Bringing together expert scholars and performers considering a wide range of issues and case studies, Historical Performance and New Music—the first book of its kind—addresses the synergies in aesthetics and practices in historical performance and new music. The essays treat matters including technologies and media such as laptops, printing presses, and graphic notation; new music written for period instruments from natural horns to the clavichord; personalities such as the pioneering singer Cathy Berberian; the musically “omnivorous” ensembles A Far Cry and Roomful of Teeth; and composers Luciano Berio, David Lang, Molly Herron, Caroline Shaw, and many others. Historical Performance and New Music presents pathbreaking ideas in an accessible style that speaks to performers, composers, scholars, and music lovers alike. Richly documented and diverse in its methods and subject matter, this book will open new conversations about contemporary musical life.