Local multipart music practices are based on the intentionally distinct and coordinated participation of music makers in the performing act. Following the rules of interaction while promoting at the same time their personal goals, the protagonists share their own treasure trove of experiences and cultural affiliations and shape sounds and values. Such complex and dynamic processes are central to the investigations of instrumentation and instrumentalization of sound.

The news agency Reuters reported in 2009 that a mass grave containing 1,800 bodies was found in Malbork, Poland. Polish authorities suspected that they were German civilians that were killed by advancing Soviet forces. A Polish archeologist supervising the exhumation, said, "We are dealing with a mass grave of civilians, probably of German origin. The presence of children . . . suggests they were civilians." During World War II, the German Nazi regime committed great crimes against innocent civilian victims: Jews, Poles, Russians, Serbs, and other people of Central and Eastern Europe. At war’s end, however, innocent German civilians in turn became victims of crimes against humanity. Forgotten Voices lets these victims of ethnic cleansing tell their story in their own words, so that they and what they endured are not forgotten. This volume is an important supplement to the voices of victims of totalitarianism and has been written in order to keep the historical record clear. The root cause of this tragedy was ultimately the Nazi German regime. As a leading German historian, Hans-Ulrich Wehler has noted, "Germany should avoid creating a cult of victimization, and thus forgetting Auschwitz and the mass killing of Russians." Ulrich Merten argues that applying collective punishment to an entire people is a crime against humanity. He concludes that this should also be recognized as a European catastrophe, not only a German one, because of its magnitude and the broad violation of human rights that occurred on European soil. Supplementary maps and pictures are available online at http://www.forgottenvoices.net

"Anthologizes primary source materials about women's lives and presents an overview of the variety of women's experiences dating from ancient Mesopotamia to contemporary Bosnia ... [including] Plato, Christine de Pizan, Mary Wollstonecraft, and Virginia Woolf, as well as sources that have never before been published in English. The collection ... ranges widely in terms of topic, social class, and geography; both male- and female-authored texts are included to present a range of normative, descriptive, and reflective materials"--Back cover

Although the fundamental meaning of basic terminology is well established for every scholarly discipline, many concepts are often questioned and redefined. In the case of ethnomusicology, this process is all too familiar, as researchers within the discipline focus on the most diverse of music cultures. The manifold worldviews of the resource persons, as holders and presenters (in both meanings of the word) of a tradition make the matter more complex. Such a situation has particular significance in the context of multipart singing because of the specific musical aesthetics and vocabularies established among singing groups. Additionally, it is accentuated by processes of change within every musical culture and those of ethnomusicology. Examining this question from the viewpoint of folk terminology means primarily considering specific and individual concepts of cultural listening, in the sense of 'paying attention', 'con-centrating' and 'focusing on'. These concepts are established on the one hand through the processes of music listening and music making and on the other hand through the local dis-course, in which singers and musicians as well as local communities are very much involved. The discourse as a communication category with which people communicate about the claim to validity of rules also plays an important role in processes of legitimating and power within the community. An essential part of the discourse is singing itself. The music therefore becomes the object and subject of research. Of particular relevance in this framework are questions of gender, applying to communities in which women practice multipart singing and others where they are mostly listeners, although contributing decisively in the discourse processes. A specific role become issues of brain research. In this context the functionality of an exact motor control system within the body for precise timing, sequencing and the spatial organisation of movements during musical performance become particularly important. Performing and listening to music are culturally conditioned, but they are at the same time natural human abilities. Therefore the study of underlying processes is crucial and promises to uncover fun-damental properties of the human brain. The different theoretical viewpoints in the first three chapters of the book are followed by ap-proaches of a "Lexicon of Local Terminology on Multipart Singing in Europe". These reflect the situation of a few but different communities and areas in Europe, helping to obtain additional insights into the topics in question.

Women are conspicuously absent from traditional cultural histories of south-east Europe. This book addresses that imbalance by describing the contribution of women to literary culture in the Orthodox/ Ottoman areas of Serbia and Bosnia. The first complete literary history in relation to women's writing in south-east Europe. The author provides a broad chronological account of this contribution, dividing the book into two main parts; the earlier period up until the eighteenth century concentrates on the projections of gender through the medium of oral tradition and the lives of a handful of educated women in medieval Serbia and the few works of literature they left. Hawkesworth also looks at the written literature produced by women, first in the mid-nineteenth century and then at the turn of the century. The second part focuses on the trials and tribulations that affected feminism and women's literature throughout the twentieth century. The author finishes by highlighting the new women's movement, 1975-1990, a great period for women in Yugoslavia which created a stimulating atmosphere for outstanding pieces of women's journalism, prose and verse, culminating in the creation of new women's studies courses in many universities.

CD and DVD contain audio and video examples.

This volume explores the rich, evolving body of contemporary cultural practices that reflect on a European project of diversity, new dynamics between and across cultures in Europe, and its interactions with the world. There have been calls across Europe for both traditional national identities and new forms of identity and community, assertions of regionalized identity and declarations of multiculturalism and multilingualism. These essays respond to this critical moment by analyzing the literature of migration as a (re)writing of European subjects. They ask fundamental questions from a variety of theoretical and critical standpoints: How do migrants write new identities into and against old national (meta)narratives? How do they interrogate constructions of identity? What kinds of literary experiments are emerging in this unstable context, e.g. in the graphic novel and avant-garde film? This collection makes a unique contribution to contemporary European literary studies by taking an interdisciplinary, transnational and comparative perspective, thereby addressing readers from diverse disciplinary backgrounds and stimulating new research on the ambitious writing and thinking taking place across the borders of Europe today.