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Loving Music Till It Hurts explores how people's intense love and protectiveness of music can lead to interpersonal conflicts, societal injustices, and violence. But how might we love music, even embrace it as vital to human thriving, without weaponizing this love? What can we do when loving music and loving people seem at odds?
Modern academic criticism bursts with what Eve Kosofsky Sedgwick once termed paranoid readings—interpretative feats that aim to prove a point, persuade an audience, and subtly denigrate anyone who disagrees. Driven by strategies of negation and suspicion, such rhetoric tends to drown out softer-spoken reparative efforts, which forego forceful argument in favor of ruminations on pleasure, love, sentiment, reform, care, and accessibility. Just Vibrations: The Purpose of Sounding Good calls for a time-out in our serious games of critical exchange. Charting the divergent paths of paranoid and reparative affects through illness narratives, academic work, queer life, noise pollution, sonic torture, and other touchy subjects, William Cheng exposes a host of stubborn norms in our daily orientations toward scholarship, self, and sound. How we choose to think about the perpetration and tolerance of critical and acoustic offenses may ultimately lead us down avenues of ethical ruin—or, if we choose, repair. With recourse to experimental rhetoric, interdisciplinary discretion, and the playful wisdoms of childhood, Cheng contends that reparative attitudes toward music and musicology can serve as barometers of better worlds.
Video games open portals to fantastical worlds where imaginative play and enchantment prevail. These virtual settings afford us considerable freedom to act out with relative impunity. Or do they? Sound Play explores the aesthetic, ethical, and sociopolitical stakes of people's creative engagements with gaming's audio phenomena-from sonorous violence to synthesized operas, from democratic music-making to vocal sexual harassment. William Cheng shows how video games empower their designers, composers, players, critics, and scholars to tinker (often transgressively) with practices and discourses of music, noise, speech, and silence. Faced with collisions between utopian and alarmist stereotypes of video games, Sound Play synthesizes insights across musicology, sociology, anthropology, communications, literary theory, philosophy, and additional disciplines. With case studies spanning Final Fantasy VI, Silent Hill, Fallout 3, The Lord of the Rings Online, and Team Fortress 2, this book insists that what we do in there-in the safe, sound spaces of games-can ultimately teach us a great deal about who we are and what we value (musically, culturally, humanly) out here. Foreword by Richard Leppert Video Games Live cover image printed with permission from Tommy Tallarico
Drawing on ethnographic research and often deeply personal experiences with musical cultures, Queering the Field: Sounding out Ethnomusicology unpacks a history of sentiment that veils the treatment of queer music and identity within the field of ethnomusicology. The thematic structure of the volume reflects a deliberate cartography of queer spaces in the discipline-spaces that are strongly present due to their absence, are marked by direct sonic parameters, or are called into question by virtue of their otherness. As the first large-scale study of ethnomusicology's queer silences and queer identity politics, Queering the Field directly addresses the normativities currently at play in musical ethnography (fieldwork, analysis, performance, transcription) as well as in the practice of musical ethnographers (identification, participation, disclosure, observation, authority). While rooted in strong narrative convictions, the authors frequently adopt radicalized voices with the goal of queering a hierarchical sexual binary. The essays in the volume present rhetorical and syntactical scenarios that challenge us to read in prescient singular ways for future queer writing and queer thought in ethnomusicology.
How do you forgive when the wound is still open? People often ask Sarah, "How did you forgive your alcoholic mother?” How do you forgive someone who carelessly brushed aside your pain, who caused such destruction, and who doesn’t show remorse? How do you know when to stay and when to go? In The Complicated Heart, you will travel through Sarah's story with her, from age 14 and beyond, as she wrestles with these very questions. Prepare yourself: she holds nothing back. If you’ve struggled with a difficult relationship, if you’ve felt torn-up and crazy and confused because of it, if you just want to know how to move forward and be okay, this story is for you. Dysfunction does not have to be your destiny or your identity. Victory is on the table. What's more: you’ll not only travel with Sarah, you’ll travel with her mom as well as you read her mom’s journal entries and letters. What goes on in the mind of the person who hurt you the most? In this story, you’ll get a rare peek into that mind and heart. In these pages you'll be reminded that light always finds a way in, even in the deepest darkness, and redemption and joy are possible in the midst of trauma and unmet needs. If you want to learn how to forgive when your wound is still open, heal when circumstances don't change, and become a generational bondage-breaker, The Complicated Heart is for you. And if not for you, for someone you know. Pass it along.
A lyrical story of star-crossed love perfect for readers of The Hate U Give, by National Ambassador for Children’s Literature Jacqueline Woodson--now celebrating its twentieth anniversary, and including a new preface by the author Jeremiah feels good inside his own skin. That is, when he's in his own Brooklyn neighborhood. But now he's going to be attending a fancy prep school in Manhattan, and black teenage boys don't exactly fit in there. So it's a surprise when he meets Ellie the first week of school. In one frozen moment their eyes lock, and after that they know they fit together--even though she's Jewish and he's black. Their worlds are so different, but to them that's not what matters. Too bad the rest of the world has to get in their way. Jacqueline Woodson's work has been called “moving and resonant” (Wall Street Journal) and “gorgeous” (Vanity Fair). If You Come Softly is a powerful story of interracial love that leaves readers wondering "why" and "if only . . ."
In this searing exploration of deadly codependency, the author takes the reader on a spellbinding voyage of discovery that examines the questions: Are some people naturally too caring? Is caring sometimes a mask for darker motives? Can science help us understand how our concerns for others can hurt everything we hold dear? This gripping story brings extraordinary insight to our deepest questions. Is kindness always the right answer? Is kindness always what it seems?
Few of us have been spared the agonies of intimate relationships. They come in many shapes: loving a man or a woman who will not commit to us, being heartbroken when we're abandoned by a lover, engaging in Sisyphean internet searches, coming back lonely from bars, parties, or blind dates, feeling bored in a relationship that is so much less than we had envisaged - these are only some of the ways in which the search for love is a difficult and often painful experience. Despite the widespread and almost collective character of these experiences, our culture insists they are the result of faulty or insufficiently mature psyches. For many, the Freudian idea that the family designs the pattern of an individual's erotic career has been the main explanation for why and how we fail to find or sustain love. Psychoanalysis and popular psychology have succeeded spectacularly in convincing us that individuals bear responsibility for the misery of their romantic and erotic lives. The purpose of this book is to change our way of thinking about what is wrong in modern relationships. The problem is not dysfunctional childhoods or insufficiently self-aware psyches, but rather the institutional forces shaping how we love. The argument of this book is that the modern romantic experience is shaped by a fundamental transformation in the ecology and architecture of romantic choice. The samples from which men and women choose a partner, the modes of evaluating prospective partners, the very importance of choice and autonomy and what people imagine to be the spectrum of their choices: all these aspects of choice have transformed the very core of the will, how we want a partner, the sense of worth bestowed by relationships, and the organization of desire. This book does to love what Marx did to commodities: it shows that it is shaped by social relations and institutions and that it circulates in a marketplace of unequal actors.
Through an ethnographic study of young people playing and singing in classical music ensembles in the south of England, this text analyses why classical music in England is predominantly practiced by white middle-class people. It describes four 'articulations' or associations between the middle classes and classical music.
No one would say that our story is pretty... But we were in love before we hated each other. And we were friends long before that. Growing up, I saw Jace Zielinski every day. He lived next door. I cheered him on at football games. I gave him advice on girls. He was my brother's best friend and the three of us were inseparable. I didn't realize I'd already fallen for Jace until the hot summer night when we kissed for the first time. Our magical season felt like destiny. And then came the disaster that tore us all to shreds. I lost Jace. I lost my brother. In many ways I lost myself. Ten years later, Jace is untouchable in a world of pro athlete fame and glory. I never wanted to see him again and I'd definitely never pick him to be my hero. Not even when I'm broke and terrified and running for my life. But it seems I have no choice. Somehow we're both back in the same place where we started. I have nowhere else to go and Jace refuses to leave. We're not the same as we were. We're not those teenagers who fell in love years ago. That doesn't mean we'll keep our hands to ourselves now. If anything, I want Jace more than ever. And we are foolish enough to repeat our own turbulent history. Both the parts that felt crazy good. And the parts that hurt the most... TILL IT HURTS is a complete stand alone at 110,000 words. Expect hate banter, plot twists, scorching chemistry and all the feels of a small town second chance romance.