Today's composers are preoccupied first and foremost with exploring the possibilities of producing new and hitherto unheard-of kinds of different-sounding music. In particular, they employ advanced, mainly electronic, technologies, or invent new musical instruments that break the mould of traditional music-making, thus introducing new sounds to music. On this front there are exciting, creative developments for those willing to open their ears. These contemporary composers also often take a piece of literature, an art work, a landscape or an historical event for extraneous orientation. The traditional understanding of music, especially of Western music, based as it is on harmony and wedded to aesthetic theory, has long since been burst. The beginning of the twentieth century heralded already a break-out into the realm of sounds beyond those well-defined, pure, rational tones produced by specially designed instruments. The advent of electricity and electronics exploded conceptions of music tied to venerated traditions, particularly in European music. Do these new kinds of music come about simply because of advances in technology that composers and musicians licentiously and creatively appropriate for their own music-making purposes? Or does their thinking need to dig deeper philosophically to gain another orientation and attunement? There is a dearth of philosophical thinking on music nowadays, which invariably remains dedicated either to aesthetic theory or social critique, or to a blend of both. The present study offers an alternative approach to thinking on music along a path that leads from... via... to music and is parallel to the way from... via... to language.
A dictionary of musical terms redefined humorously - for music lovers, screwball musicians, irreverent iconoclasts, dyslexics, risque thinkers, and anyone with a twisted sense of humor."
Across the US, school budgets are tightening and music programs, often the first asked to compromise in the name of a balanced budget, face a seemingly grim future. Monetary restrictions combined with an increasing focus on test scores have led to heavy cuts in school music programs. In many cases, communities and teachers untrained in advocacy are helpless in the face of the school board, with no one willing and comfortable to speak up on their behalf. InAdvocate for Music!: A Guide to User-Friendly Strategies, Lynn M. Brinckmeyer, respected educator and past president for the National Association for Music Education, provides a manual for music teachers motivated to advocate but lacking the experience, resources, or time to acquire the skills to do so effectively. It will serve as a toolkit for advocating, and also for sharing resources, strategies and ideas useful for educating everyone - from community members to political representatives - about the immediate and long-term benefits of music education.