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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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Lawrence Kramer has been a pivotal figure in the development of the controversial new musicology, integrating the study of music with social and cultural issues. This accessible and eloquently written book continues and deepens the trajectory of Kramer's thinking as it boldly argues that humanistic, not just technical, meaning is a basic force in music history and an indispensable factor in how, where, and when music is heard. Kramer draws on a broad range of music and theory to show that the problem of musical meaning is not just an intellectual puzzle, but a musical phenomenon in its own right. How have romantic narratives involving Beethoven's "Moonlight" Sonata affected how we hear this famous piece, and what do they reveal about its music? How does John Coltrane's African American identity affect the way we hear him perform a relatively "white" pop standard like "My Favorite Things"? Why does music requiring great virtuosity have different cultural meanings than music that is not particularly virtuosic? Focusing on the classical repertoire from Beethoven to Shostakovich and also discussing jazz, popular music, and film and television music, Musical Meaning uncovers the historical importance of asking about meaning in the lived experience of musical works, styles, and performances. Kramer's writing, clear and full of memorable formulations, demonstrates that thinking about music can become a vital means of thinking about general questions of meaning, subjectivity, and value. In addition to providing theoretical advances and insights on particular pieces and repertoires, Musical Meaning will be provocative reading for those interested in issues of identity, gender, and cultural theory. This book includes a CD of Kramer's own composition, Revenants: 32 Variations in C Minor, which he discusses in his final chapter.

Music --- Music, Influence of. --- Subjectivity in music. --- Music, Effect of --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Criticism --- History and criticism. --- Philosophy and aesthetics. --- Philosophy --- academic. --- accessible. --- beethoven. --- composers. --- cultural history. --- cultural issues. --- cultural theory. --- easy to understand. --- famous composer. --- gender studies. --- humanist. --- humanistic. --- identity. --- moonlight sonata. --- music culture. --- music history. --- music performance. --- musical composition. --- musical genres. --- musicology. --- scholarly. --- social history. --- social issues.