Despite the close and longstanding links between sport and music, the relationships between these two significant cultural forms have been relatively neglected. This book addresses the oversight with a series of highly original essays written by authors from a range of academic disciplines including history, psychology, musicology and cultural studies. It deals with themes including sport in music; music in sport; the use of music in mass sporting events; and sport, music and protest. In so doing, the book raises a range of important themes such as personal and collective identity, cultural value, ideology, globalisation and the commercialisation of sport. As well as considering the sport/music nexus in Great Britain, the collection examines sport and music in Ireland, the United States, Germany and the former Soviet Union, as well as in the Olympic movement. Musical styles and genres discussed are diverse and include classical, rock, music hall and football-terrace chants. For anybody with an interest in sport, music or both, this collection will prove an enjoyable and stimulating read. This book was previously published as a Special Issue of Sport in Society.

Music plays an important role in all our lives, and is a channel through which we can express emotions, thoughts, political statements, and social relationships. However, just as music can be a channel through which we express ourselves, it can also have a profound influence on our own developing sense of identity. This is the first book to explore the powerful effect that music can have as we develop our sense of identity, from adolescence through to adulthood. Bringing together leading experts from psychology and music, it will be a valuable addition to the music psychology literature, and essential for music psychologists, social and developmental psychologists, and educational psychologists.

Sporting Sounds presents an eclectic collection of essays, all of which are concerned with various relationships between sport and music. This unique book includes a range of international case studies, examines the use of music as a motivational aid for players, and the historical roots of music in sport.

The Handbook of Musical Identities explores three features of psychological approaches to musical identities and four real-life contexts in which musical identities have been investigated. The multidisciplinary breadth of the Handbook reflects the changes that are taking place in music, in digital technology, and in their role in society.

There is one sound that will always be loudest in sports. It isn’t the squeak of sneakers or the crunch of helmets; it isn’t the grunts or even the stadium music. It’s the deafening roar of sports fans. For those few among us on the outside, sports fandom—with its war paint and pennants, its pricey cable TV packages and esoteric stats reeled off like code—looks highly irrational, entertainment gone overboard. But as Erin C. Tarver demonstrates in this book, sports fandom has become extraordinarily important to our psyche, a matter of the very essence of who we are. Why in the world, Tarver asks, would anyone care about how well a total stranger can throw a ball, or hit one with a bat, or toss one through a hoop? Because such activities and the massive public events that surround them form some of the most meaningful ritual identity practices we have today. They are a primary way we—as individuals and a collective—decide both who we are who we are not. And as such, they are also one of the key ways that various social structures—such as race and gender hierarchies—are sustained, lending a dark side to the joys of being a sports fan. Drawing on everything from philosophy to sociology to sports history, she offers a profound exploration of the significance of sports in contemporary life, showing us just how high the stakes of the game are.

The musics of Africa play a particularly important role in expressing and forming identities. This book brings together African and Nordic scholars from both musicology and other disciplines in an attempt to analyse various aspects of the complex playing with volatile identities in music in Africa today. Taken together the papers put new light on the assumed or real dichotomies between countryside and city, collective and individual, tradition and modernity, authentic and alien. The papers are based on contributions for a conference organized by the research project “Cultural Images in and of Africa†of the Nordic Africa Institute together with the Sibelius Museum/Department of Musicology and the Centre for Continuing Education at Ã...bo Akademi University in Ã...bo (Turku), Finland in October 2000. The book includes a keynote speech by Christopher Waterman (UCLA), and an introduction by Annemette Kirkegaard, Copenhagen University. Southern, West and East Africa are represented in the studies, which cover a great variety of musics.

Music is a powerful process and resource that can shape and support who we are and wish to be. The interaction between musical identities and learning music highlights school music education’s potential contributions and responsibilities, especially in supporting young people’s mental health and well-being. Through the distinctive stories and drawings of Aaron, Blake, Conor, Elijah, Michael, and Tyler, this book reveals the musical identities of teenage boys in their final year of study at an Australian boys’ school. This text serves as an interface between music, education, and psychology using narrative inquiry. Previous research in music education often seeks to generalise boys, whereas this study recognises and celebrates the diverse individual voices of students where music plays a significant role in their lives. Adolescent boys’ musical identities are examined using the theories of identity work and possible selves, and their underlying music values and uses are considered important guiding principles and motivating goals in their identity construction. A teaching and learning framework to shape and support multiple musical identities in senior secondary class music is presented. The relatable and personal stories in this book will appeal to a broad readership, including music teachers, teacher educators, researchers, and readers interested in the role of music in our lives. Creative and arts-based research methods, including narrative inquiry and innovative draw and tell interviews, will be particularly relevant for research method courses and postgraduate research students.