A practical approach for integrating music in the classroom.

The reggae sound system has exerted a major influence on music and popular culture. Out on the streets of inner city Kingston, Jamaica, every night, sound systems stage dancehall sessions for the crowd to share the immediate, intensive and immersive visceral pleasures of sonic dominance. Sonic Bodies concentrates on the skilled performance of the crewmembers responsible for this signature sound of Jamaican music: the audio engineers designing, building and fine-tuning the hugely powerful "sets" of equipment; the selectors choosing the music tracks to play; and MCs(DJs) on the mic hyping up the crowd. Julian Henriques proposes that these dancehall "vibes" are taken literally as the periodic motion of vibrations. He offers an analysis of how a sound system operates - at auditory, corporeal and sociocultural frequencies. Sonic Bodies formulates a fascinating critique of visual dominance and the dualities inherent in ideas of image, text or discourse. This innovative book questions the assumptions that reason resides only in a disembodied mind, that communication is an exchange of information, and that meaning is only ever representation.

Describes how sounds are produced, how sound waves work, and what causes echoes.

What does it mean to hear scientifically? What does it mean to see musically? This volume uncovers a new side to the long nineteenth century in London, a hidden history in which virtuosic musical entertainment and scientific discovery intersected in remarkable ways. Sound Knowledge examines how scientific truth was accrued by means of visual and aural experience, and, in turn, how musical knowledge was located in relation to empirical scientific practice. James Q. Davies and Ellen Lockhart gather work by leading scholars to explore a crucial sixty-year period, beginning with Charles Burney’s ambitious General History of Music, a four-volume study of music around the globe, and extending to the Great Exhibition of 1851, where musical instruments were assembled alongside the technologies of science and industry in the immense glass-encased collections of the Crystal Palace. Importantly, as the contributions show, both the power of science and the power of music relied on performance, spectacle, and experiment. Ultimately, this volume sets the stage for a new picture of modern disciplinarity, shining light on an era before the division of aural and visual knowledge.

The book gives a penetrating and full-length study of epistemology in the school of Bhatta Mimamsa. The work is based on an intensive and critical study of the Sanskrit texts which have not been utilized by any other Oriental scholar so far. It is very much different from other books on the subject because it not only discusses historically the epistemology of the Bhatta School but also discusses many really philosophical problems connected with epistemology in general and Indian epistemo-logy in particular. One of the most valuable features of the work is the comparative references which it makes to standard epistemologists of Western philosophy. The book reaches the highest watermark in its line. It compares and contrasts the Bhatta position on various issues with not only other Indian schools but also with some of the European philosophers like Russell, Moore, Reid, Hume, Mill and Kant. In a sense it is an exercise in comparative philosophy. This is inevitable, as otherwise, the position of the Bhatta School cannot be clarified and brought out in depth.

Seven Ways of Knowing is an examination of what we mean when we say we know something, and the extent and sureness of this knowledge. It starts with an analysis of our perception of material objects, the role of evolution, and the nature of space and time. A non-mathematical description of relativity and quantum theory is given in the opening chapters (with a more technical treatment in two appendices). Abstract knowledge, knowledge derived from reading and the media (second hand knowledge), and how we know other persons are the subjects of the next three chapters. These are followed by a chapter on how objectively we can distinguish good and evil and then an appraisal of whether there can be a rational belief in any religion. The book ends with a theory of perception, which offers the possibility of a coherent understanding of all the topics: it is compulsive and entirely original.

This concise and engaging synopsis of the text known as A Compendium of Ways of Knowing is used in the training of novice monks in the Gelugpa tradition. This book introduces the reader to the system of philosophical logic followed in the Tibetan Buddhist tradition. Novitiates memorise texts such as this and use them to hone their debating skills. Here, the compendium of the main points of this great text is accompanied by an oral commentary given by the learned scholar, the late Geshe Ngawang Dhargyey, to students at the Library of Tibetan Works and Archives.

This book deals with the Vedanta standpoint, according to which there are six sources of knowledge. The conceptions of these different kinds of knowledge, with all the arguments given by the Vedantins to prove their independence and ultimacy, are critically discussed here in the light of modern Western concepts, and the attempt has been made to present the conclusions to students of Western Philosophy in a clear and lucid form. As the purpose of this work is to bring the problems, concepts and theories of the Vedantins within the focus of modern Western thought, the method adopted is one of critical analysis, comparison issues from extraneous aspects with which they are often associated.

Sound Teaching explores the ways in which music psychology and education can meet to inspire developments in the teaching and learning of music performance. The book is based on music practitioners’ research into aspects of their own professional practice. Each chapter addresses a specific topic related to musical communication and expression, performance confidence and enjoyment, or skill development in individual and group learning. It explains the background of the research, outlines main findings, and provides suggestions for practical applications. Sound Teaching provides a research-informed approach to teaching and contributes to music tutors’ professional development in teaching children and adults of various ages and abilities. Sound Teaching is written for vocal and instrumental music teachers, music performers with a portfolio career, and music students at conservatoires and universities. Music students undertaking practice-related research will find examples of research methodologies and projects that are informative for their studies. Musical participants of all kinds – students, teachers, performers, and audiences – will find new ways of understanding their practice and experience through research.