Music is a part of everyone’s lives and many people use music to relax, energize, and comfort. Music Therapy, however, is a specialized health profession and music therapists around the world engage their clients and patients in personalized music experiences to provide specific help with learning and healing. From premature infants to elders with dementia, from children on the autism spectrum to adults struggling with addiction, challenges of every kind can be addressed through the assessment and interventions of a trained music therapist. This memoir chronicles clinical stories from the author’s 30 years of music therapy practice. A gentleman with Alzheimer’s disease retains language and alertness. Inmates in a county jail find value in cooperation and self-control. A child with a developmental disability discovers a safe place to calm himself and communicate. Women with breast cancer create songs to share with loved ones. Survivors of traumatic brain injuries and strokes recover some speech and language. These stories along with bits of personal history provide one perspective on this fascinating and fulfilling profession.

In recent years, empathy has received considerable research attention as a means of understanding a range of psychological phenomena, and it is fast drawing attention within the fields of music psychology and music education. This volume seeks to promote and stimulate further research in music and empathy, with contributions from many of the leading scholars in the fields of music psychology, neuroscience, music philosophy and education. It exposes current developmental, cognitive, social and philosophical perspectives on research in music and empathy, and considers the notion in relation to our engagement with different types of music and media. Following a Prologue, the volume presents twelve chapters organised into two main areas of enquiry. The first section, entitled 'Empathy and Musical Engagement', explores empathy in music education and therapy settings, and provides social, cognitive and philosophical perspectives about empathy in relation to our interaction with music. The second section, entitled 'Empathy in Performing Together', provides insights into the role of empathy across non-Western, classical, jazz and popular performance domains. This book will be of interest to music educators, musicologists, performers and practitioners, as well as scholars from other disciplines with an interest in empathy research. Chapter 5 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

Deep Listening: A Composer's Sound Practice offers an exciting guide to ways of listening and sounding. This book provides unique insights and perspectives for artists, students, teachers, meditators and anyone interested in how consciousness may be effected by profound attention to the sonic environment . Deep Listening(R) is a practice created by composer Pauline Oliveros in order to enhance her own as well as other's listening skills. She teaches this practice worldwide in workshops, retreats and in her ground breaking Deep Listening classes at Rensselaer Polytechnic Institute and Mills College. Deep Listening practice is accessible to anyone with an interest in listening. Undergraduates with no musical training benefit from the practices and successfully engage in creative sound projects. Many report life changing effects from participating in the Deep Listening classes and retreats. Oliveros is recognized as a pioneer in electronic music and a leader in contemporary music as composer, performer, educator and author. Her works are performed internationally and her improvisational performances are documented extensively on recordings, in the literature and on the worldwide web.

\"I got to see her triumph and fall apart. I wept and cheered for her. She was so beautiful and so strong, so weak and hurting, all swept together and intertwined.\" ~ from an included prose piece titled, My Life Story in Music.\r\n\r\nThese are poems from my idyllic youth, my rebellion, my wild abandon, up to my rescue, redemption, and rebirth as a functioning member of society, and a grown woman with a family of my own. In my early days, I wrote about pain, which was easy. The harder thing was to learn to write about all the joy and adventure of being happy and loved. \r\n\r\nIt wasn\"t until later in life that I found my community of artists and really learned to tell the tales from all the angles. I am indebted to the Fresno Rogue Festival, in California, where I first read for an audience and fell in love with receiving a standing ovation. Also, I owe a huge debt of gratitude to the Rogue Poetry Slam in Southern Oregon, where I learned to do competitive poetry and bring my best, and bring the poetry that I was afraid to share, that made my hands tremble and my voice quake, to sit in awe of the skill of other poets, and sometimes take home the money and win, even with the odds stacked against me, as other poets made the room jump and dance to their words. Oh, sweet victory! \r\n\r\n\"If you have ever loved another, been passionate about anything, mourned a loss, been a parent, heck, been alive - this poet will move you! Her rhythmic words pulse with the beat that promises (like it or not) the continuum of LIFE.\" \r\n~ Patti Thornton, in her review of Liesl Garner\"s 2008 Rogue Festival Poetry Show\r\n\r\n

Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

Rethinking "trance" -- Deep listeners -- Habitus of listening -- Trancing selves -- Being-in-the-world : culture and biology -- Magic through emotion : toward a theory of trance consciousness -- Postscript : trancing, deep listening, and human evolution.

This heartwarming picture book reassures children that a parent’s love never lets go—based on the poignant lyrics of JJ Heller’s beloved lullaby “Hand to Hold.” “May the living light inside you be the compass as you go / May you always know you have my hand to hold.” With delightful illustrations and an engaging rhyme scheme, this book offers the promise of security and love every child’s heart longs to know. From skipping stones and counting stars to climbing trees and telling stories, every moment is wrapped snugly in the certain warmth of a parent’s presence and God’s blessing. With poignancy and joy, this bedtime read captures the unconditional love parents want their children to know but so often fail to express amid the chaos of daily life.