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Through provisional, idiosyncratic, and non-normative listening practices, Queer Ear: Remaking Music Theory counters music theory's continuing tendencies towards rationality, unity, unilinearity, teleology, and logical certainty. In this volume, editor Gavin S.K. Lee brings together a diverse group of music theorists who issue queer challenges to both music theory and musicology and show that queerness is integral to music-theoretical practice. These investigations of the "queer ear" and queer soundings, while drawing upon a broad range of approaches, are united by the repurposing of "hard" music-theoretical apparatuses, as well as "soft" apparatuses like narratology and cultural theory, for queer ends. Such repurposings contribute to the search for general principles--or a theory--of queering that counters mainstream music theory's proclivities, instead encouraging everyone to experiment with queer ways of listening. Through the lenses of queer temporality, queer narratology, and queer music analysis, the essays examine a wide variety of artists and composers, including Sun Ra, Cowell, Czernowin, Henze, Schubert, and Schumann; theories ranging from Schenker to queer shame, disability studies, and posthumanism; and authors such as Edward Cone and Edward Prime-Stevenson. Together, they rethink the field's major tenets, examine hidden histories, and view listening practices from the perspective of non-normative subjectivities. Ultimately, Queer Ear works to queer the field of music theory while paying heed to the ways in which music theory intersects with diverse, embodied LGBTQ lives.
Music therapy is an established profession that is recognized around the world. As a catalyst to promote health and wellbeing music therapy is both objective and explorative. The Oxford Handbook of Queer and Trans Music Therapy (QTMT) is a celebration of queer, trans, bisexual and gender nonconforming identities and the spontaneous creativity that is at the heart of queer music-making. As an emerging approach in the 21st century QTMT challenges perspectives and narratives from ethnocentric and cisheteronormative traditions, that have dominated the field. Raising the essential question of what it means to create queer and trans spaces in music therapy, this book presents an open discourse on the need for change and new beginnings. The therapists, musicians and artists included in this book collectively embody and represent a range of theory, research and practice that are central to the essence and core values of QTMT. This book does not shy away from the sociopolitical issues that challenge music therapy as a dominantly white, heteronormative, and cisgendered profession. Music as a therapeutic force has the potential to transform us in unique and extraordinary ways. In this book music and words are presented as innovative equals in describing and evaluating QTMT as a newly defined approach.
This book examines queer activism and queer social movements (QSMs) in Indonesia and Malaysia, broadly engaging with these topics on three different levels: macro (global and national discourses), meso (organizational level – activities), and micro (individual – the activist). The micro level perspective allows for moving beyond the “traditional” political movement paradigm by understanding activism in Foucauldian terms as the ethics of the self (Foucault, 1984). In other words, the queer subject is seen as an active agent in taking care of the self by queering/resisting gender norms as well as heteronormative practices and regimes in their social environment through embodiment and actions. This kind of ethical being has the potential to build support and community between and amongst individuals.
Inside the global music industry and the racialized and gendered assumptions we make about what we hear Fearing the rapid disappearance of indigenous cultures, twentieth-century American ethnographers turned to the phonograph to salvage native languages and musical practices. Prominent among these early “songcatchers” were white women of comfortable class standing, similar to the female consumers targeted by the music industry as the gramophone became increasingly present in bourgeois homes. Through these simultaneous movements, listening became constructed as a feminized practice, one that craved exotic sounds and mythologized the ‘other’ that made them. In Modernity’s Ear, Roshanak Kheshti examines the ways in which racialized and gendered sounds became fetishized and, in turn, capitalized on by an emergent American world music industry through the promotion of an economy of desire. Taking a mixed-methods approach that draws on anthropology and sound studies, Kheshti locates sound as both representative and constitutive of culture and power. Through analyses of film, photography, recordings, and radio, as well as ethnographic fieldwork at a San Francisco-based world music company, Kheshti politicizes the feminine in the contemporary world music industry. Deploying critical theory to read the fantasy of the feminized listener and feminized organ of the ear, Modernity’s Ear ultimately explores the importance of pleasure in constituting the listening self.
The song remains the most basic unit of modern pop music. Shaped into being by historical forces—cultural, aesthetic, and technical—the song provides both performer and audience with a world marked off by a short, discrete, and temporally demarcated experience. One-Track Mind: Capitalism, Technology, and the Art of the Pop Song brings together 16 writers to weigh in on 16 iconic tracks from the history of modern popular music. Arranged chronologically in order of release of the tracks, and spanning nearly five decades, these essays zigzag across the cultural landscape to present one possible history of pop music. There are detours through psychedelic rock, Afro-pop, Latin pop, glam rock, heavy metal, punk, postpunk, adult contemporary rock, techno, hip-hop, and electro-pop here. More than just deep histories of individual songs, these essays all expand far beyond the track itself to offer exciting and often counterintuitive histories of transformative moments in popular culture. Collectively, they show the undiminished power of the individual pop song, both as distillations of important flashpoints and, in their afterlives, as ghostly echoes that persist undiminished but transform for succeeding generations. Capitalism and its principal good, capital, help us frame these stories, a fact that should surprise no one given the inextricable relationship between art and capitalism established in the twentieth century. At the root, readers will find here a history of pop with unexpected plot twists, colorful protagonists, and fitting denouements.
NEW YORK TIMES BESTSELLER • WOMEN'S PRIZE FOR NON-FICTION FINALIST • THE REAL ORIGIN OF OUR SPECIES: a myth-busting, eye-opening landmark account of how humans evolved, offering a paradigm shift in our thinking about what the female body is, how it came to be, and how this evolution still shapes all our lives today “A page-turning whistle-stop tour of mammalian development that begins in the Jurassic Era, Eve recasts the traditional story of evolutionary biology by placing women at its center…. The book is engaging, playful, erudite, discursive and rich with detail." —Sarah Lyall, The New York Times “A smart, funny, scientific deep-dive into the power of a woman’s body, Eve surprises, educates, and emboldens.” —Bonnie Garmus, #1 New York Times best-selling author of Lessons in Chemistry How did the female body drive 200 million years of human evolution? • Why do women live longer than men? • Why are women more likely to get Alzheimer’s? • Why do girls score better at every academic subject than boys until puberty, when suddenly their scores plummet? • Is sexism useful for evolution? • And why, seriously why, do women have to sweat through our sheets every night when we hit menopause? These questions are producing some truly exciting science – and in Eve, with boundless curiosity and sharp wit, Cat Bohannon covers the past 200 million years to explain the specific science behind the development of the female sex: “We need a kind of user's manual for the female mammal. A no-nonsense, hard-hitting, seriously researched (but readable) account of what we are. How female bodies evolved, how they work, what it really means to biologically be a woman. Something that would rewrite the story of womanhood. This book is that story. We have to put the female body in the picture. If we don't, it's not just feminism that's compromised. Modern medicine, neurobiology, paleoanthropology, even evolutionary biology all take a hit when we ignore the fact that half of us have breasts. So it's time we talk about breasts. Breasts, and blood, and fat, and vaginas, and wombs—all of it. How they came to be and how we live with them now, no matter how weird or hilarious the truth is.” Eve is not only a sweeping revision of human history, it’s an urgent and necessary corrective for a world that has focused primarily on the male body for far too long. Picking up where Sapiens left off, Eve will completely change what you think you know about evolution and why Homo sapiens has become such a successful and dominant species.
Through the hidden or lost Stories of composers, scholars, patrons, performers, audiences, repertoire, venues, and specific works, this volume explores points of intersection between music and queerness in Europe and the United States from 1870 to 1950 - a period during which dramatic changes in musical expression and in the expression of individual sexual identity played similar roles in washing away the certainties of the past."--BOOK JACKET.
Even after a rise in gay and Black representation and production on TV in the 1990s, the sitcom became a "generic closet," restricting Black gay characters with narrative tropes. Drawing from 20 interviews with credited episode writers, key show-runners, and Black gay men, The Generic Closet situates Black-cast sitcoms as a unique genre that uses Black gay characters in service of the series' heterosexual main cast. Alfred L. Martin, Jr., argues that the Black community is considered to be antigay due to misrepresentation by shows that aired during the family viewing hour and that were written for the imagined, "traditional" Black family. Martin considers audience reception, industrial production practices, and authorship to unpack the claim that Black gay characters are written into Black-cast sitcoms such as Moesha, Good News, and Let's Stay Together in order to closet Black gayness. By exploring how systems of power produce ideologies about Black gayness, The Generic Closet deconstructs the concept of a monolithic Black audience and investigates whether this generic closet still exists.
Culturally Responsive Practices in Speech, Language, and Hearing Sciences, Second Edition provides an innovative perspective on cultural responsiveness in the field of communication sciences and disorders. It is imperative for clinicians and scientists to be aware of diverse aspects of globalization: how these aspects may affect their own knowledge, strengths, biases, and interventions, as well as the relationships between the communities, families, and individuals with whom they partner in care. This essential textbook will facilitate the creation of knowledge and the development of attitudes and skills that lead to culturally responsive practices. The text presents conceptual frameworks to guide readers toward cultural responsiveness by becoming critically engaged users of culturally responsive and globally engaged practices. The text is focused on speech, language, and hearing, but also draws from theoretical frameworks in other disciplines for an interprofessional, transdisciplinary, and macro practice perspective, and is appropriate for other allied health professions. New to the Second Edition: * Reorganized chapters and text for a greater flow of information. * Updated throughout to reflect the current state of research. * A thoroughly revised chapter on Culturally Responsive Practices using a Human Rights Approach through a Social Justice Lens (Chapter 4) * Material on Culture and Hearing (Chapter 6) has been updated and expanded * Key terms are now bolded throughout the text. * Content has been edited to be more concise for increased readability and comprehension. * New reflection focus with thought cloud graphic noted to target these areas throughout the book. Key Features: * Case studies facilitating knowledge and skills regarding culturally and linguistically responsive practices * Journal prompts and discussion questions challenging individuals to use critical and dialectical thinking * Real-life activities that can be completed inside or outside the classroom or therapeutic setting * Suggested readings from the current literature in cultural and linguistic responsiveness and global engagement to build knowledge and skills, and to influence student attitudes Disclaimer: Please note that ancillary content (such as study guides, flashcards, and additional readings) may not be included as published in the original print version of this book.