The music incorporated in World Sound Matters was selected and prepared by music specialists. The user is provided an introduction to the musical traditions of the world, which can be integrated into the classroom for practical use.

Sound matters. The New Testament’s first audiences were listeners, not readers. They heard its compositions read aloud and understood their messages as linear streams of sound. To understand the New Testament’s meaning in the way its earliest audiences did, we must hear its audible features and understand its words as spoken sounds. Sound Matters presents essays by ten scholars from five countries and three continents, who explore the New Testament through sound mapping, a technique invented by Margaret Lee and Bernard Scott for analyzing Greek texts as speech. Sound Matters demonstrates the value and uses of this technique as a prelude and aid to interpretation. The essays that make up this volume illustrate the wide range of interpretive possibilities that emerge when sound mapping restores the spoken sounds of the New Testament and revives its living voice. Contributors Thomas E. Boomershine Pieter J. J. Botha Jeffrey E. Brickle Nina E. Livesey Dan Nasselqvist Bernhard Oestreich Frank Scheppers Bernard Brandon Adam G. White

Working across established disciplines & methodological divides, these essays investigate the ways in which texts, artists, & performers in all kinds of media have utilized sound materials in order to enforce or complicate dominant notions of German cultural & national identity.

The Sun: "Simply charming" Roy is a lion and a sound catcher. He catches the sounds of the city and makes them into music, trying to avoid the annoying attentions of his neighbor, Jemmy. Feeling like his music isn’t good enough, Roy goes on a journey to find the best sound in the world for inspiration. He hears the pitter-patter of the rain in the forest, the wind whistling through the desert, and the hustle and bustle of the souk at sunrise, but none of it helps—he can’t decide which is the best sound. Just as he’s about to give up, he hears a familiar voice . . . can Jemmy teach him that perhaps there are lots of beautiful sounds, not just one, and that for Jemmy, Roy’s music is the best of all? This gorgeous debut picture book is a heart-warming tribute to the power of friendship.

"A lucid and passionate case for a more mindful way of listening to and engaging with musical, natural, and manmade sounds." —New York Times In this tour of the world’s most unexpected sounds, Trevor Cox—the “David Attenborough of the acoustic realm” (Observer)—discovers the world’s longest echo in a hidden oil cavern in Scotland, unlocks the secret of singing sand dunes in California, and alerts us to the aural gems that exist everywhere in between. Using the world’s most amazing acoustic phenomena to reveal how sound works in everyday life, The Sound Book inspires us to become better listeners in a world dominated by the visual and to open our ears to the glorious cacophony all around us.

Since the 1950s, writing about popular music has become a staple of popular culture.Rolling Stone,Vibe, andThe Sourceas well as music columns in major newspapers target consumers who take their music seriously. Rapidly proliferating fanzines, websites, and internet discussion groups enable virtually anyone to engage in popular music criticism. Until now, however, no one has tackled popular music criticism as a genre of journalism with a particular history and evolution.Pop Music and the Presslooks at the major publications and journalists who have shaped this criticism, influencing the public's ideas about the music's significance and quality. The contributors to the volume include academics and journalists; several wear both hats, and some are musicians as well. Their essays illuminate the complex relationships of the music industry, print media, critical practice, and rock culture. (And they repeatedly dispel the notion that being a journalist is the next best thing to being a rock star.) Author note:Steve Jonesis Professor of Communication at the University of Illinois, Chicago. Among his books areCyberSociety: Computer-Mediated Communication and Community(editor) andRock Formation: Popular Music, Technology, and Mass Communication.

This book has been written to assist researchers of the origin of how sound technology has changed dramatically in the first part of the twentieth Century. It deals with the technology of the growth of production and transmission of music specifically and then way in which music has been used for information and relaxation as well as the ambience in which it is consumed. It also deals with many of the formats in which the sound technology, is listen to and produced for instruction and consumption of this technology. The usage of specific and different formats for individual, small group, large group, national and international consumption for enjoyment and information in formal and informal use.