Music in Groups happens all the time: in the street, the classroom, in music colleges, community centres, hospitals, prisons, churches and concert halls; at raves, weddings, music festivals, public ceremonies, music therapy sessions, group music lessons, concerts and rehearsals. Some group musicking seems to 'work' (and play) better than others; some sessions feel exhausting even if things are going well; and at other times, we can't begin to explain the complex musical and relational textures of group music work to funders, employers, friends, colleagues, or line managers. In this book, music therapist Mercédès Pavlicevic develops a broad-based discourse to describe, analyse and guide the practice of group musicking, drawing on her own extensive experience. The text is illustrated with vignettes drawn from a range of formal and informal settings that include spontaneous public occasions, collective rituals, special and mainstream education, music therapy, the concert hall, the music appreciation group and community work. This book makes you think about balancing individual and group needs, the development of group time, dealing with over-enthusiastic performers who 'hog' the group sound, undercurrents in music groups, the complications of dealing with institutions, preparing music listening programmes and buying instruments for group work - if you're involved in any kind of group musicking, this book is for you.

This volume examines the ontology of music groups. It connects two fascinating areas of philosophical research: the ontology of social groups and the philosophy of music. Interest in questions about the nature of music groups is growing. Since people are widely familiar with music groups, the topic is particularly well-suited for introducing issues in social ontology. Being comparably small-scale and temporary, music groups also provide an excellent case study for those who think that social groups are analyzed best by considering small groups. The present volume provides a comprehensive overview of the topic and seeks to establish the ontology of music groups as a distinct field of philosophical research. The chapters, written by leading scholars working on social ontology, revolve around four core themes: The identity of music groups Variations between different kinds of music groups The persistence and longevity of (different kinds of) music groups Various characteristics of music groups, including their rational and emotional aspects, as well as their creative abilities The contributors consider these themes across a wide range of music groups, including popular music groups, rock bands, alternative acts, hip hop crews, choirs and classical orchestras. The Ontology of Music Groups will appeal to scholars and advanced students working in social ontology, metaphysics, and the philosophy of music.

This one-stop practical book guides you to run a wide range of music therapy groups with pre-school and primary aged children with additional needs. Gain understanding on how to adapt and improvise to ensure that the group meets the individual child's needs, from simple tweaks - such as selecting easier to use instruments and adjusting table heights - to improvising on a single line instrument while dancing around the room. This book includes specific guidance on how to structure sessions to cater for children with neurodivergent needs, physical and learning disabilities, and those receiving psychiatric support, with tailored sessions for each client group. 60 ideas of group activities, complete with sheet music and helpful illustrations to bring the text to life, make this book your ideal practice companion.

At twenty-one, Kathy Valentine was at the Whisky in Los Angeles when she met a guitarist from a fledgling band called the Go-Go’s—and the band needed a bassist. The Go-Go’s became the first multi-platinum-selling, all-female band to play instruments themselves, write their own songs, and have a number one album. Their debut, Beauty and the Beat, spent six weeks at the top of the Billboard 200 and featured the hit songs “We Got the Beat” and “Our Lips Are Sealed.” The record's success brought the pressures of a relentless workload and schedule culminating in a wild, hazy, substance-fueled tour that took the band from the club circuit to arenas, where fans, promoters, and crew were more than ready to keep the party going. For Valentine, the band's success was the fulfillment of a lifelong dream—but it’s only part of her story. All I Ever Wanted traces the path that took her from her childhood in Texas—where she all but raised herself—to the height of rock ‘n’ roll stardom, devastation after the collapse of the band that had come to define her, and the quest to regain her sense of self after its end. Valentine also speaks candidly about the lasting effects of parental betrayal, abortion, rape, and her struggles with drugs and alcohol—and the music that saved her every step of the way. Populated with vivid portraits of Valentine’s interactions during the 1980s with musicians and actors from the Police and Rod Stewart to John Belushi and Rob Lowe, All I Ever Wanted is a deeply personal reflection on a life spent in music.

Then He Kissed Me, He's A Rebel, Chains, Stop! In the Name of Love all these songs capture the spirit of an era and an image of "girlhood" in post-World War II America that still reverberates today. While there were over 1500 girl groups recorded in the '60s--including key hitmakers like the Ronettes, the Supremes, and the Shirelles - studies of girl-group music that address race, gender, class, and sexuality have only just begun to appear. Warwick is the first writer to address '60s girl group music from the perspective of its most significant audience--teenage girls--drawing on current research in psychology and sociology to explore the important place of this repertoire in the emotional development of young girls of the baby boom generation. Girl Groups, Girl Culture stands as a landmark study of this important pop music and cultural phenomenon. It promises to be a classic work in American musicology and cultural studies.

Classic sociological analyses of 'deviance' and rebellion; studies of technology; subcultural and feminist readings, semiotic and musicological essays and close readings of stars, bands and the fans themselves by Adorno, Barthes and other well-known contributors

“A solid, scholarly analysis of the power, meaning, musical structure, and sociopolitical contexts of the most popular examples of heavy metal.” —Library Journal Dismissed by critics and academics, condemned by parents and politicians, and fervently embraced by legions of fans, heavy metal music continues to attract and embody cultural conflicts that are central to society. In Running with the Devil, Robert Walser explores how and why heavy metal works, both musically and socially, and at the same time uses metal to investigate contemporary formations of identity, community, gender, and power. This edition includes a new foreword by Harris M. Berger contextualizing the work and a new afterword by the author. Ebook Edition Note: all photographs (sixteen) have been redacted. “Walser belongs to a small but influential group of academics trying to reconcile ‘high theory’ with a streetwise sense of culture . . . an excellent book.” —Rolling Stone “Takes musicology where it has never gone before; I once saw the chapter on metal guitarists and the classical tradition performed live in a lecture hall, but even on paper it smokes.” —SF Weekly “Walser is truly gifted at doing what few critics before him have done: analyzing the music . . . In virtuoso readings of metal music that forge persuasive links between metal and particular classical music traditions, Walser reveals the ways that musical structures themselves are social texts.” —The Nation “Making surprising connections to classical forms and debunking stereotypes of metal’s musical crudity, Walser delves enthusiastically into guitar conventions and rituals.” —The Washington Post