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Pandemic Playlist: An Exploration of COVID-inspired Popular Music takes readers back to 2020, when the COVID-19 pandemic wreaked havoc on the music industry. Focusing on those artists who responded directly to the pandemic with their music, Kevin Farrell explores a selection of songs written and recorded about COVID-19. These songs range from the hilariously tongue-in-cheek to the painfully earnest to the self-righteously angry, coming from musicians obscure, world famous, and up-and-coming. Farrell argues that these songs, both originals and repurposed covers, are best classified by rhetorical approach, rather than musical style, identifying four basic categories of COVID-inspired popular music: the Coronavirus Anthem (Bono’s “Let Your Love Be Known,” Alicia Keys’ “Good Job”), Pandemic Pop (Cardi B and iMarkkeyz’s “Coronavirus,” Curtis Roach and Tyga’s “Bored in the House”), the COVID Cover (Gal Gadot’s “Imagine,” Juvenile’s “Vax That Thang Up”), and Pandemic Protest (Ian Brown’s “Little Seed Big Tree,” Kid Rock’s “We The People”). Through a study of these songs, and many more, this book seeks to understand what the pandemic and the music it inspired can teach us about the previously unimaginable.
This collection of essays represents the first of its kind in exploring the conjunction of translation and social media communication, with a focus on how these practices intersect and transform each other against the backdrop of the cascading COVID-19 crisis. The contributions in the book offer empirical case studies as well as personal reflections on the topic, illuminating a broad range of themes such as knowledge translation, crisis communications, language policies, cyberpolitics and digital platformization. Together they demonstrate the vital role of translation in the trust-based construction of global public health discourses, while accounting for the new medialities that are reshaping the conception, experience and critique of translation in response to the cultural, political and ecological challenges in the post-pandemic world. Written by leading scholars in translation studies, media studies and literary studies, this volume sets to open up new conversations among these fields in relation to the global pandemic and its aftermath. The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.
Sounds of the Pandemic offers one of the first critical analyses of the changes in sonic environments, artistic practice, and listening behaviour caused by the Coronavirus outbreak. This multifaceted collection provides a detailed picture of a wide array of phenomena related to sound and music, including soundscapes, music production, music performance, and mediatisation processes in the context of COVID-19. It represents a first step to understanding how the pandemic and its by-products affected sound domains in terms of experiences and practices, representations, collective imaginaries, and socio-political manipulations. This book is essential reading for students, researchers, and practitioners working in the realms of music production and performance, musicology and ethnomusicology, sound studies, and media and cultural studies.
Brings together new research that lays out the current state of contagion studies, from the perspective of media studies, monster studies, and the medical humanities. Offers fresh perspectives on contagion studies from disciplines such as the social sciences and the medical humanities, introducing new methods of collaboration and avenues of research, and demonstrating how these disciplines have already been working in parallel for several decades. Covers a wide variety of international media and contexts, including literature, film, television, public policy, and social networks. Includes key, recent case studies (including public health documents and the popular Netflix series Santa Clarita Diet) that have not yet been analysed anywhere else in the field. Bucks the current trend of going back to plague literature and historical plagues in the search for meaning to address current and late-20th century epidemics, diseases, and monsters.
This book provides an interdisciplinary overview of the causes and impacts of COVID-19 on populations, economies, politics, institutions and environments from all world regions. The book maps the causes, effects and impacts of the virus and describes the impact of the virus on among others health care, teaching and learning, travel, tourism, daily life, local and regional economies, media impacts, elections, and indigenous populations and much more. Contributions to this book come from the humanities, social and policy science disciplines as well as from emerging transdisciplinary fields including climate change, sustainability, health care and epidemiology, security, art, visualization, economic and social well-being, law and borderland studies. As such, this book will be a rich source of information to all those geographers, social scientists and urban and regional planners working in this field.
The multidisciplinary anthology Religious Fundamentalism in the Age of Pandemic provides deep insights concerning the current impact of Covid-19 on various religious groups and believers around the world. Based on contributions of well-known scholars in the field of Religious Fundamentalism, the contributors offer about a window into the origins of religious fundamentalism and the development of these movements as well as the creation of the category itself. Further recommendations regarding specific (fundamentalist) religious groups and actors and their possible development within Buddhism, Christianity, Islam and Judaism round up the discussion about the rise of Religious Fundamentalism in the Age of Pandemic.
How do we develop social inclusion through musical activities? What is the power of music in enhancing individual inclusion, group cohesion, and cross-community work in post-conflict environments? How can we investigate social music programmes and interventions? This comprehensive volume offers new research on these questions by an international team of experts from the fields of music education, music psychology, ethnomusicology, and community music. The book celebrates the rich diversity of ways in which learners of all ages participate in social music projects in complex settings. Contributions focus broadly on musical and social processes, considering its conceptualisation and practices in a number of contexts. The authors examine how social music projects can be fostered in complex settings, drawing examples from schools and community settings. These critical chapters will inspire readers to think deeply about social music interventions and their development. The book will be of crucial interest to educators, policymakers, researchers, and students, as it draws on applied research from across 14 countries, of which ten are in the Global South.
This intimate book explores the experiences of two psychoanalysts during the COVID-19 pandemic. It presents Angelo Antonio Moroni’s psychoanalytic diary and Pietro Roberto Goisis’s clinical diary, two highly personal perspectives that explore the interplay of the personal and the psychoanalytic during a time of collective trauma. Angelo’s account, written from his ‘camp tent’, examines how fundamental, time-tested procedures are suddenly questioned. Roberto’s diary is the story of his own experience as a COVID patient, the mutually therapeutic caring relationships he encounters and his efforts to keep his analytical expertise alive and well. The two accounts share painful and graphic experiences of the trauma of the pandemic, and how the authors were forced to reconsider the issues of analytical ‘asymmetry’ and ‘neutrality’. Psychoanalytic Diaries of the COVID-19 Pandemic will be of great interest to psychoanalysts in practice and in training, and to readers with an interest in clinical and personal accounts of the COVID-19 pandemic.
Building on her earlier work, 'The Power of Music: A Research Synthesis of the Impact of Actively Making Music on the Intellectual, Social and Personal Development of Children and Young People', this volume by Susan Hallam and Evangelos Himonides is an important new resource in the field of music education, practice, and psychology. A well-signposted text with helpful subheadings, 'The Power of Music: An Exploration of the Evidence' gathers and synthesises research in neuroscience, psychology, and education to develop our understanding of the effects of listening to and actively making music. Its chapters address music’s relationship with literacy and numeracy, transferable skills, its impact on social cohesion and personal wellbeing, as well as the roles that music plays in our everyday lives. Considering evidence from large population samples to individual case studies and across age groups, the authors also pose important methodological questions to the research community. 'The Power of Music' defends qualitative research against a requirement for randomised control trials that can obscure the diverse and often fraught contexts in which people of all ages and backgrounds are exposed to, and engage with, music. This magnificent and comprehensive volume allows the evidence about the power of music to speak for itself, thus providing an essential directory for those researching music education and its social, personal, and cognitive impact across human ages and experiences.
Why do many popular songs positively reference God if our culture is widely viewed as secular? Why is it a challenge to tell the Christian story when many say they are spiritual and believe in God? Why do we draw so much meaning from the popular songs we listen to? And might a deeper understanding of popular-music culture help us to explore the bigger stories we listen to throughout our lives, such as the Christian story? Primarily using Zygmunt Bauman's understanding of "liquid modernity" we look at the social forces that shape Western society and consider why, while many are looking for "authentic," ontologically based stories to understand their life experiences, historic providers of the big stories that shape our lives, such as the church, favor a different, epistemological way of telling them. How do these different approaches to storytelling affect their reception and what insight might we draw from that? Whilst this book is written primarily with those in Christian ministry in mind, it will be of interest, too, to those who use music to explore life experiences through their work, who are interested in the social forces that shape society, or who simply enjoy listening to popular music.