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Making New Music in Cold War Poland presents a social analysis of new music dissemination at the Warsaw Autumn International Festival of Contemporary Music, one of the most important venues for East-West cultural contact during the Cold War. In this incisive study, Lisa Jakelski examines the festival's institutional organization, negotiations among its various actors, and its reception in Poland, while also considering the festival's worldwide ramifications, particularly the ways that it contributed to the cross-border movement of ideas, objects, and people (including composers, performers, official festival guests, and tourists). This book explores social interactions within institutional frameworks and how these interactions shaped the practices, values, and concepts associated with new music.

Music --- Music festivals --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Musical festivals --- Performing arts festivals --- History and criticism. --- International Festival of Contemporary Music. --- Automne de Varsovie (Festival) --- Festival de musique contemporaine --- Festival international de la musique contemporaine --- Festival of Contemporary Music, International --- Międzynarodowy Festiwal Muzyki Współczesnej --- Międzynarodowy Festiwal Muzyki Współczesnej "Warszawska Jesień" --- Otoño de Varsovia (Festival) --- Warsaw Autumn (Festival) --- Warsaw Autumn International Festival of Contemporary Music --- Warschauer Herbst (Festival) --- Warszawska Jesień (Festival) --- academic study. --- academic. --- cold war era. --- cold war history. --- cold war. --- composer. --- contemporary music. --- cross border. --- discrimination. --- europe. --- european history. --- history. --- institutional. --- international. --- music festival. --- musical composition. --- musician. --- new music. --- performer. --- poland. --- polish music. --- scholarly. --- social history. --- tourism. --- tourist. --- warsaw. --- world history. --- world music.

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This book brings together a range of hip hop scholars, artists and activists working on Hip Hop in the Global North and South with the goal of advancing Hiphopographic research as a critical methodology with critical fieldwork methods that can provide a critical perspective of our world. The authors’ focus in this volume is to present an anthology of essays that expand the remit of Hiphopography as an approach to the study of Hip Hop that is not only sensitive to the social, economic, political and cultural lives of Hip Hop Culture participants as interpreters and theorists, but one that continues to humanize the “whole person” behind the decks, on the mic, rocking on the linoleum floor, painting in front of a wall, and seeking that Knowledge of Self. This book will be relevant to Hip Hop scholars in fields such as cultural studies and history, sociolinguistics, linguistic anthropology and ethnography, and race studies, while Hip Hop heads themselves will find parts of this book that represent their culture in ethical and informative ways. Jaspal Naveel Singh is a hip hop head, knowledge producer and soul searcher. He currently works as a Lectuer in Applied Linguistics and English Language at the Open University, UK. His first monograph Transcultural Voices: Narrating Hip Hop Culture in Complex Delhi (2022) develops a hiphopographic approach called global hip hop linguistics to study breakers, graffiti artists, musicians and rappers in the emergent scenes in urban India. Originally from Germany, he has lived and worked in India, Hong Kong and Wales. Quentin Williams is Director of the Centre for Multilingualism and Diversities Research and an Associate Professor of Sociolinguistics in the Linguistics Department at the University of the Western Cape, South Africa. His most recent books are Struggles for Multilingualism and Linguistic Citizenship with Tommaso Milani and Ana Deumert (2022) and Neva Again: Hip Hop Art, Activism and Education in post-apartheid South Africa with Adam Haupt, H Samy Alim and Emile YX? (2019). .

Ethnology. Cultural anthropology --- Sociolinguistics --- Linguistics --- History of civilization --- cultuurgeschiedenis --- linguïstiek --- antropologie --- sociolinguïstiek --- Sociolinguistics. --- Anthropological linguistics. --- Music --- Civilization --- Race. --- Linguistic Anthropology. --- Contemporary Music. --- Cultural History. --- Race and Ethnicity Studies. --- History and criticism. --- History. --- Music—History and criticism. --- Civilization—History.

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In this cultural history of evangelical Christianity and popular music, David Stowe demonstrates how mainstream rock of the 1960's and 1970's has influenced conservative evangelical Christianity through the development of Christian pop music. For an earlier generation, the idea of combining conservative Christianity with rock--and its connotations of nonreligious, if not antireligious, attitudes--may have seemed impossible. Today, however, Christian rock and pop comprises the music of worship for millions of Christians in the United States, with recordings outselling classical, jazz, and New Age...

Contemporary Christian music --- Popular music --- Evangelicalism --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- CCM (Contemporary Christian music) --- Christian contemporary music --- Christian music, Contemporary --- Christian popular music --- Evangelical popular music --- Jesus music --- Popular music, Christian --- Gospel music --- Sacred vocal music --- History and criticism. --- Religious aspects. --- Musique populaire chrétienne --- Musique populaire --- Evangélisme --- History and criticism --- Religious aspects --- Histoire et critique --- Aspect religieux

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A unique Israeli national culture--indeed, the very nature of "Israeliness"--remains a matter of debate, a struggle to blend vying memories and backgrounds, ideologies and wills. Identifying popular music as an important site in this wider cultural endeavor, this book focuses on the three major popular music cultures that are proving instrumental in attempts to invent Israeliness: the invented folk song repertoire known as Shirei Eretz Israel; the contemporary, global-cosmopolitan Israeli rock; and the ethnic-oriental musica mizrahit. The result is the first ever comprehensive study of popular music in Israel. Motti Regev, a sociologist, and Edwin Seroussi, an ethnomusicologist, approach their subject from alternative perspectives, producing a truly interdisciplinary, sociocultural account of music as a feature and a force in the shaping of Israeliness. A major ethnographic undertaking, describing and analyzing the particular history, characteristics, and practices of each music culture, Popular Music and National Culture in Israel maps not only the complex field of Israeli popular music but also Israeli culture in general.

Popular music --- Popular culture --- National characteristics, Israeli. --- Historians --- Israeli national characteristics --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Communication --- Intellectual life --- Mass society --- Recreation --- Culture --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- היסטוריונים --- مؤرّخون --- Social aspects --- History. --- היסטוריה --- التاريخ --- 78.33.3 --- Popular culture - Israel. --- anthropology. --- comprehensive study. --- contemporary music. --- cultural anthropologists. --- cultural history. --- ethnic music. --- ethnography. --- ethnomusicologists. --- folk songs. --- interdisciplinary study. --- israel. --- israeli culture. --- modern history. --- music and culture. --- music. --- musica mizrahit. --- musicians. --- national culture. --- national identity. --- nonfiction. --- popular music. --- rock music. --- shirei eretz israel. --- social scientists. --- sociocultural perspective. --- sociologists. --- sociology. --- theoretical.

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In May 1968, France teetered on the brink of revolution as a series of student protests spiraled into the largest general strike the country has ever known. In the forty years since, May '68 has come to occupy a singular place in the modern political imagination, not just in France but across the world. Eric Drott examines the social, political, and cultural effects of May '68 on a wide variety of music in France, from the initial shock of 1968 through the "long" 1970's and the election of Mitterrand and the socialists in 1981. Drott's detailed account of how diverse music communities developed in response to 1968 and his pathbreaking reflections on the nature and significance of musical genre come together to provide insights into the relationships that link music, identity, and politics.

Music --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Political aspects --- History --- France --- Rock music --- Jazz --- Musique --- Rock (Musique) --- Aspect politique --- Histoire --- 1968. --- 20th century. --- civic. --- contemporary music. --- cultural history. --- cultural politics. --- europe. --- france. --- french history. --- french music. --- historical. --- history. --- human condition. --- international music. --- modern history. --- music and politics. --- music communities. --- music historians. --- music history. --- music scholars. --- music studies. --- musical genres. --- performing arts. --- political history. --- political revolution. --- politics. --- revolt. --- social impacts. --- socialism. --- student protests.