This edited collection offers a range of critical, analytic and personal reflections on how music provides a container and a medium for experiencing, processing and integrating embodied encounters with death. It showcases interdisciplinary case studies written by authors from across Australia, France, The Netherlands, Poland and the UK.

Music is often our companion when dealing with the incomprehensibility of loss. This edited collection speaks to the multifarious and complex ways in which music accompanies, supplements, and complements aspects of death and dying, whether this is the death of a loved one, or a celebrity from popular culture.

In Jesus in Our Wombs, Rebecca J. Lester takes us behind the walls of a Roman Catholic convent in central Mexico to explore the lives, training, and experiences of a group of postulants--young women in the first stage of religious training as nuns. Lester, who conducted eighteen months of fieldwork in the convent, provides a rich ethnography of these young women's journeys as they wrestle with doubts, fears, ambitions, and setbacks in their struggle to follow what they believe to be the will of God. Gracefully written, finely textured, and theoretically rigorous, this book considers how these aspiring nuns learn to experience God by cultivating an altered experience of their own female bodies, a transformation they view as a political stance against modernity. Lester explains that the Postulants work toward what they see as an "authentic" femininity--one that has been eclipsed by the values of modern society. The outcome of this process has political as well as personal consequences. The Sisters learn to understand their very intimate experiences of "the Call"--and their choices in answering it--as politically relevant declarations of self. Readers become intimately acquainted with the personalities, family backgrounds, friendships, and aspirations of the Postulants as Lester relates the practices and experiences of their daily lives. Combining compassionate, engaged ethnography with an incisive and provocative theoretical analysis of embodied selves, Jesus in Our Wombs delivers a profound analysis of what Lester calls the convent's "technology of embodiment" on multiple levels--from the phenomenological to the political.

This book demonstrates the rich and varied ways in which heavy metal music draws on the ancient Greek and Roman world. Contributors examine bands from across the globe, including: Blind Guardian (Germany), Therion (Sweden), Celtic Frost, Eluveitie (Switzerland), Ex Deo (Canada/Italy), Heimdall, Stormlord, Ade (Italy), Kawir (Greece), Theatre of Tragedy (Norway), Iron Maiden, Bal-Sagoth (UK), and Nile (US). These and other bands are shown to draw inspiration from Classical literature and mythology such as the Homeric Hymns, Vergil's Aeneid, and Caesar's Gallic Wars, historical figures from Rome and ancient Egypt, and even pagan and occult aspects of antiquity. These bands' engagements with Classical antiquity also speak to contemporary issues of nationalism, identity, sexuality, gender, and globalization. The contributors show how the genre of heavy metal brings its own perspectives to Classical reception, and demonstrate that this music-often dismissed as lowbrow-engages in sophisticated dialogue with ancient texts, myths, and historical figures. The authors reveal aspects of Classics' continued appeal while also arguing that the engagement with myth and history is a defining characteristic of heavy metal music, especially in countries that were once part of the Roman Empire.

This is an innovative contribution to the study of popular culture, focusing on the youth cultures that revolve around dance clubs and raves.

A presentation of music and language within an integrative, embodied perspective of brain mechanisms for action, emotion, and social coordination. This book explores the relationships between language, music, and the brain by pursuing four key themes and the crosstalk among them: song and dance as a bridge between music and language; multiple levels of structure from brain to behavior to culture; the semantics of internal and external worlds and the role of emotion; and the evolution and development of language. The book offers specially commissioned expositions of current research accessible both to experts across disciplines and to non-experts. These chapters provide the background for reports by groups of specialists that chart current controversies and future directions of research on each theme. The book looks beyond mere auditory experience, probing the embodiment that links speech to gesture and music to dance. The study of the brains of monkeys and songbirds illuminates hypotheses on the evolution of brain mechanisms that support music and language, while the study of infants calibrates the developmental timetable of their capacities. The result is a unique book that will interest any reader seeking to learn more about language or music and will appeal especially to readers intrigued by the relationships of language and music with each other and with the brain. Contributors Francisco Aboitiz, Michael A. Arbib, Annabel J. Cohen, Ian Cross, Peter Ford Dominey, W. Tecumseh Fitch, Leonardo Fogassi, Jonathan Fritz, Thomas Fritz, Peter Hagoort, John Halle, Henkjan Honing, Atsushi Iriki, Petr Janata, Erich Jarvis, Stefan Koelsch, Gina Kuperberg, D. Robert Ladd, Fred Lerdahl, Stephen C. Levinson, Jerome Lewis, Katja Liebal, Jônatas Manzolli, Bjorn Merker, Lawrence M. Parsons, Aniruddh D. Patel, Isabelle Peretz, David Poeppel, Josef P. Rauschecker, Nikki Rickard, Klaus Scherer, Gottfried Schlaug, Uwe Seifert, Mark Steedman, Dietrich Stout, Francesca Stregapede, Sharon Thompson-Schill, Laurel Trainor, Sandra E. Trehub, Paul Verschure

Music does not make itself. It is made by people: professionals and amateurs, singers and instrumentalists, composers and publishers, performers and audiences, entrepreneurs and consumers. In turn, making music shapes those who make it—spiritually, emotionally, physically, mentally, socially, politically, economically—for good or ill, harming and healing. This volume considers the social practice of music from a Christian point of view. Using a variety of methodological perspectives, the essays explore the ethical and doctrinal implications of music-making. The reflections are grouped according to the traditional threefold ministry of Christ: prophet, priest, and shepherd: the prophetic role of music, as a means of articulating protest against injustice, offering consolation, and embodying a harmonious order; the pastoral role of music: creating and sustaining community, building peace, fostering harmony with the whole of creation; and the priestly role of music: in service of reconciliation and restoration, for individuals and communities, offering prayers of praise and intercession to God. Using music in priestly, prophetic, and pastoral ways, Christians pray for and rehearse the coming of God’s kingdom—whether in formal worship, social protest, concert performance, interfaith sharing, or peacebuilding. Whereas temperance was of prime importance in relation to the ethics of music from antiquity to the early modern period, justice has become central to contemporary debates. This book seeks to contribute to those debates by means of Christian theological reflection on a wide range of musics: including monastic chant, death metal, protest songs, psalms and worship music, punk rock, musical drama, interfaith choral singing, Sting, and Daft Punk.

As issues of climate and ecology become ever more important, Christian communities are increasingly looking for appropriate ways to respond to the current crisis in their worship and liturgy. In this book, Mark Porter draws on more than 40 interviews with activists, song-writers, Christian leaders, and musicians to explore what it means to develop new Christian musical practices for a time of ecological crisis. Through these different conversations, the book enters into fundamental questions regarding our relationships with the world around us, the relationship between spirituality and ecology, and the different ways in which we can engage with the climate crisis which we are facing.

In this hilariously sweet story about an opposites-attract friendship, chock-full of Yiddish humor, a girl and her best bird friend’s perfect day turns into a perfect opportunity to see things differently. Gitty and her feathered-friend Kvetch couldn’t be more different: Gitty always sees the bright side of life, while her curmudgeonly friend Kvetch is always complaining and, well, kvetching about the trouble they get into. One perfect day, Gitty ropes Kvetch into shlepping off on a new adventure to their perfect purple treehouse. Even when Kvetch sees signs of impending doom everywhere, Gitty finds silver linings and holds onto her super special surprise reason for completing their mission. But when her perfect plan goes awry, oy vey, suddenly it’s Gitty who’s down in the dumps. Can Kvetch come out of his funk to lift Gitty’s spirits back up?

The first edition of The Auditory Culture Reader offered an introduction to both classical and recent work on auditory culture, laying the foundations for new academic research in sound studies. Today, interest and research on sound thrives across disciplines such as music, anthropology, geography, sociology and cultural studies as well as within the new interdisciplinary sphere of sound studies itself. This second edition reflects on the changes to the field since the first edition and offers a vast amount of new content, a user-friendly organization which highlights key themes and concepts, and a methodologies section which addresses practical questions for students setting out on auditory explorations. All essays are accessible to non-experts and encompass scholarship from leading figures in the field, discussing issues relating to sound and listening from the broadest set of interdisciplinary perspectives. Inspiring students and researchers attentive to sound in their work, newly-commissioned and classical excerpts bring urban research and ethnography alive with sensory case studies that open up a world beyond the visual. This book is core reading for all courses that cover the role of sound in culture, within sound studies, anthropology, sociology, cultural studies, history, media studies and urban geography.