Nineteenth-century Armenia was a zone of competition between the Persian, Ottoman, and the Russian Empires. Yet over the course of the century a new generation of Armenian journalists, scholars, and writers worked to transform their geographically, socially, and linguistically fragmented communities threatened by regional isolation and dissent, into a patriotic and nationally conscious population. Lisa Khachaturian seeks to explain how this profoundly divided society managed to achieve a common cultural bond. The national project that captivated nineteenth-century Eastern Armenian intellectuals was a daunting task, especially since their efforts were directed in the Caucasus--a territory known for its volatile history, its ethnic heterogeneity, and its linguistic complexity. Although this cultural and social maelstrom was both aggravated and tempered by the new Russian arena of economic growth, urban development, and heightened technology and communication, diversity was hardly a recent phenomenon in the region; it had been an endemic part of Caucasian history for centuries. Armenians were no exception to this. While the Georgians, bound to their landed nobility, generally lived within kingdoms, the Armenians experienced centuries of forced resettlement, migration, and centuries of habitation among other peoples. Some Armenians had settled in faraway countries, but many remained in scattered colonies within the boundaries of historic Armenia. This is a study of the formation of modern Armenian national consciousness under Imperial Russian rule. The Tsarist acquisition of Armenian-populated territory and consequent efforts to integrate this territory into the empire imposed sufficient unity to provide a basis for a nascent national movement. The particular influences of Russian imperial rule met the Eastern Armenian communities to create a new environment for a modern national revival. This book reviews how nineteenth-century Armenian intellectuals discussed and conceived of the nation through the formation of the Armenian press. This is a rare blend of national culture and communication networking.
Jazz as an instrument of global diplomacy transformed superpower relations in the Cold War era and reshaped democracy's image worldwide. Lisa E. Davenport tells the story of America's program of jazz diplomacy practiced in the Soviet Union and other regions of the world from 1954 to 1968. Jazz music and jazz musicians seemed an ideal card to play in diminishing the credibility and appeal of Soviet communism in the Eastern bloc and beyond. Government-funded musical junkets by such jazz masters as Louis Armstrong, Dave Brubeck, Duke Ellington, Dizzy Gillespie, and Benny Goodman dramatically influenced perceptions of the U.S. and its capitalist brand of democracy while easing political tensions in the midst of critical Cold War crises. This book shows how, when coping with foreign questions about desegregation, the dispute over the Berlin Wall, the Cuban missile crisis, Vietnam, and the Soviet invasion of Czechoslovakia, jazz players and their handlers wrestled with the inequalities of race and the emergence of class conflict while promoting America in a global context. And, as jazz musicians are wont to do, many of these ambassadors riffed off script when the opportunity arose. Jazz Diplomacy argues that this musical method of winning hearts and minds often transcended economic and strategic priorities. Even so, the goal of containing communism remained paramount, and it prevailed over America's policy of redefining relations with emerging new nations in Africa, Asia, and Latin America.
What is musical ontology? Why should we as philosophers address it, if ever? These questions constitute the Ariadne’s thread running throughout this whole work. The number of papers, volumes and essays that have recently been dedicated to the topic of art and musical ontology is so vast that trying to get a grip on the debate seems like trying to find ones bearings without a compass. This book is a guide to help hapless readers find their way through this philosophical jungle. It is constructed on three levels: the presentation of the debate on musical ontology, a meta-ontological inquiry and a sort of meta-meta-ontological overview, in which both the ontological and the meta-ontological are examined. It does not contain any apology for musical ontology, nor any attempt to definitively get it off the hook. The approach is aporetic, in the spirit of an open investigation in which more questions than answers are posited. But this is the whole point. If this study manages to provide the readers with the necessary theoretical tools to answer these questions for themselves, it could be considered a success.
Making New Music in Cold War Poland presents a social analysis of new music dissemination at the Warsaw Autumn International Festival of Contemporary Music, one of the most important venues for East-West cultural contact during the Cold War. In this incisive study, Lisa Jakelski examines the festival’s institutional organization, negotiations among its various actors, and its reception in Poland, while also considering the festival’s worldwide ramifications, particularly the ways that it contributed to the cross-border movement of ideas, objects, and people (including composers, performers, official festival guests, and tourists). This book explores social interactions within institutional frameworks and how these interactions shaped the practices, values, and concepts associated with new music.
Up to twenty percent of the American population suffers from a diagnosable mental disorder, and cross-national studies suggest a high prevalence of such disorders elsewhere. In recent decades, advances in our knowledge of the brain are causing us to question many of the theories underlying traditional approaches to diagnosing and treating these disorders. Researchers in diverse fields--molecular genetics, behavioral, cognitive and clinical neuroscience, neuroimaging, neurophysiology, and neurology--have contributed to the advances. The new knowledge that has been amassed should inform work with clients, but for most practitioners and practitioners-in-training, who lack specialized background, it has been difficult to grasp. In this book, specifically designed to meet the needs of graduate students in clinical, counseling, and school psychology programs, Lisa Weyandt offers a comprehensive, up-to-date, readable overview of our current understanding of the biological bases of psychopathology and its implications for intervention. Early chapters concisely and clearly explain the basics of brain structure and function and current research techniques; they set the stage for chapters examining each major group of disorders. An extensive art program underlines the important points.
In Harmony: The Complementary Musical Tales of the Brockton Symphony Orchestra, Sharon Civic Orchestra, and Sharon Community Chamber Orchestra is a stirring, historical account of these three Massachusetts ensembles. Each chapter documents the orchestras' operations ranging from their founders to the conductors, repertoire, players, soloists, volunteers, fundraisers, behind-the-scenes realities, and special features. While details of each organization are presented in depth, a seasoning of interesting, humorous, and at times tragic human-interest stories make these tales come alive. Musicians, audience members, supporters, and readers with a passion for history will find connections to the events told here. Welcome to the inside world of these venerable ensembles which take their places in the history of orchestras with pride. In Harmony is the most extensive and intriguing exploration into community orchestras in the literature. Musical portraits are enlivened by real-life adventure stories such as survival by WWII refugees, the guarding of Stradivari violins, performing during power failures, and the dodging of puddles caused by leaking concert hall ceilings. Most notable are the contributions made by core players whose passion for orchestral music-making inspires them to share their talent, time, and commitment with the community, often as part of their life's work. Over time, thousands of audience members have enjoyed their concerts, scores of youth musicians have been awarded performance opportunities and scholarships, and players have felt great satisfaction in their calling to perform. Significant details illuminate the history of the Brockton Symphony Orchestra dating back to 1925 and the central roles that women played in the establishment of the Sharon Civic Orchestra and Sharon Community Chamber Orchestra. The orchestras have been led by conductors from both the local and national stage. Famous performers such as Charles Castleman, Midori, and Gil Shaham were guest soloists with the Brockton Symphony during the early days of their careers. The overall cavalcade of esteemed stars included Karl Ulrich Schnabel, Leonard Rose, Samuel Mayes, Boston Symphony Orchestra members and many others! The conductors, soloists, volunteers, and most importantly, the players, have devoted their lives to the making of symphonic music for all to enjoy. Their tales are masterpieces.
It's Berkeley in the 1960s, and all Martha Goldenthal wants is to do well at Berkeley High and plan for college. But her home life is a cauldron of kooky ideas, impossible demands, and explosive physical violence. Her father, Jules, is an iconoclast who hates academia and can’t control his fists. Her mother, Willa, has made a career of victimhood and expects Martha and her siblings, Hildy and Drew, to fend for themselves. Meanwhile, Jules’s classical record store, located directly across the street from the U.C. Berkeley campus, is ground zero for riots and tear gas. Martha perseveres with the help of her best friend, who offers laughter, advice about boys, and hospitality. But when Willa and Jules divorce and Jules loses his store and livelihood, Willa goes entirely off the rails. A heartless boarding school placement, eviction from the family home, and an unlikely custody case wind up putting Martha and Drew in Jules's care. Can Martha stand up to her father to do the one thing she knows she must—go to college? With its running "soundtrack" of classical recordings and rock music and its vivid scenes of Berkeley at its most turbulent, Shrug is the absorbing, harrowing, and ultimately uplifting story of one young woman’s journey toward independence.
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