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In sunbaked Terlingua, Texas (pop., a few hundred), residents joke that there is a musician under every rock. Located ten miles from Mexico in one of the remotest corners of the United States, the town had a recording studio before it had a school, a well-stocked grocery store, or even a water utility. Open jam sessions are a daily ritual, and some songwriters make a living from their craft despite being thousands of miles from New York or Nashville. Why does such a tiny and isolated place ring with singing and guitars? Based on more than two years of on-the-ground research, On the Porch tells the story of this small but remarkable community. Chase Peeler invites us into the music, introducing us to a cast of characters as unique as the town itself. He reveals how novices and experts perform together—a rarity in contemporary America. He recounts the devastation brought on by a border closure and describes how music is once again uniting people across the Rio Grande. He considers the impact of gentrification in an off-the-grid paradise, and how this threatens to transform a precarious musical ecosystem. On the Porch is a celebration of human musicality, of the role that music plays and can play in our lives, both in Terlingua and beyond.

Gentrification --- Music --- Terlingua (Tex.) --- Terlingua, Terlingua Texas, Texas music, West Texas, musicians, music culture, gentrification, borderlands.

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1825 geschieht in Bremen etwas Erstaunliches: In der Hansestadt schließt sich ein kleiner Kreis des Stadtbürgertums zusammen, um ein professionelles Orchester zu gründen. Es entsteht der Verein für Privat-Concerte - u. a. Vorgänger der heutigen Bremer Philharmoniker. Unter welchen sozialen und städtischen Voraussetzungen fand die Vereinsgründung statt? Wer war beteiligt und welche musikalischen Institutionen standen in Wechselwirkung zum Privat-Concert? Katrin Bock stellt die Konzertdirektoren und Dirigenten vor und fragt nach dem »hanseatischen Geschmack«.

MUSIC / History & Criticism. --- Bourgeoisie. --- Bremen. --- Civic Music Culture. --- Classic Music. --- Concert Society. --- Cultural History. --- Cultural Studies. --- Music Culture. --- Music History. --- Music. --- Musicology. --- Orchester. --- Philharmonische Gesellschaft Bremen. --- Profession. --- 19. Jahrhundert; Konzertgesellschaft; Musik; Klassische Musik; Philharmonische Gesellschaft Bremen; Bremen; Musikgeschichte; Orchester; Musikkultur; Bürgertum; Bürgerliche Musikkultur; Profession; Kulturgeschichte; Musikwissenschaft; Kulturwissenschaft; 19th Century; Concert Society; Music; Classic Music; Music History; Music Culture; Bourgeoisie; Civic Music Culture; Cultural History; Musicology; Cultural Studies --- Philharmonische Gesellschaft Bremen --- History --- Bremen (Germany) --- Social life and customs. --- Freie Hansestadt Bremen --- Brema (Germany) --- Bremae (Germany) --- Bremia (Germany) --- Bremis (Germany) --- Bremum (Germany) --- Brimum (Germany) --- Fabirana Saxonum (Germany) --- Fabiranum (Germany) --- Phabiranum (Germany)

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How is musical practice connected with everyday life? Eva-Maria Houben shows that performing music as an activity - indeed, as playing - is a meaningful shift from an approach based on structural analysis. Musical practice, Eva-Maria Houben contends, can be understood as open and never finished. Such an emphasis on repetition offers freedom from perfection, productivity, and purpose, thus allowing meaning to unfold in specific situations, places, and relationships. Musical practice can become a form of life and a reality in its own right. The study includes musical examples from the 17th, 18th, 19th, and 20th centuries as well as contemporary music. Besprochen in: The Wire, 430 (2019), Tim Rutherford-Johnson

Performativity; Music Performance; Corporeality; Metaphor; Musical Analysis; Music; Culture; Musicology; Cultural Studies; --- Corporeality. --- Cultural Studies. --- Culture. --- Metaphor. --- Music Performance. --- Music. --- Musical Analysis. --- Musicology.

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Son Jarocho was born as the regional sound of Veracruz but over time became a Mexican national genre, even transnational, genre—a touchstone of Chicano identity in the United States. Mario Barradas and Son Jarocho traces a musical journey from the Gulf Coast to interior Mexico and across the border, describing the transformations of Son Jarocho along the way. This comprehensive cultural study pairs ethnographic and musicological insights with an oral history of the late Mario Barradas, one of Son Jarocho’s preeminent modern musicians. Chicano musician Francisco González offers an insider’s account of Barradas’s influence and Son Jarocho’s musical qualities, while Rafael Figueroa Hernández delves into Barradas’s recordings and films. Yolanda Broyles-González examines the interplay between Son Jarocho’s indigenous roots and contemporary role in Mexican and US society. The result is a nuanced portrait of a vital and evolving musical tradition.

Folk music --- Harpists --- Mexican Americans --- History and criticism. --- Music --- Son Jarocho, Mexican music, Mexican music studies, ethnography of Mexican music, Chicano, Chicano music, Chicano music culture, musicology, ethnomusicology, fandango.

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On March 10, 1948, world-renowned composer and pianist Ernst von Dohnányi (1877−1960) embarked for the United States, leaving Europe for good. Only a few years earlier, the seventy-year-old Hungarian had been a triumphant, internationally admired musician and leading figure in Hungarian musical life. Fleeing a political smear campaign that sought to implicate him in intellectual collaboration with fascism, he reached American shores without a job or a home. A Wayfaring Stranger presents the final period in Dohnányi’s exceptional career and uses a range of previously unavailable material to reexamine commonly held beliefs about the musician and his unique oeuvre. Offering insights into his life as a teacher, pianist, and composer, the book also considers the difficulties of émigré life, the political charges made against him, and the compositional and aesthetic dilemmas faced by a conservative artist. To this rich biographical account, Veronika Kusz adds an in-depth examination of Dohnányi’s late works—in most cases the first analyses to appear in musicological literature. This corrective history provides never-before-seen photographs of the musician’s life in the United States and skillfully illustrates Dohnányi’s impact on European and American music and the culture of the time.

Composers --- Expatriate composers --- Hungarians --- aesthetic dilemmas. --- american shores. --- commonly held beliefs. --- composer. --- conservative artist. --- emigre life. --- ernst von dohnanyi. --- europe. --- hungarian musical life. --- hungarian. --- intellectual collaboration with facism. --- internationally admired musician. --- late works. --- music culture. --- musicological literature. --- pianist. --- political charges. --- political smear campaign. --- teacher. --- unique oeuvre. --- united states. --- Dohnányi, Ernő, --- aesthetic dilemmas. --- american shores. --- commonly held beliefs. --- composer. --- conservative artist. --- emigre life. --- ernst von dohnanyi. --- europe. --- hungarian musical life. --- hungarian. --- intellectual collaboration with facism. --- internationally admired musician. --- late works. --- music culture. --- musicological literature. --- pianist. --- political charges. --- political smear campaign. --- teacher. --- unique oeuvre. --- united states.