Music and Translation: New Mediations in the Digital Age by 
The Power of Music: The Exploration of Evidence by
Building on her earlier work,'The Power of Music: A Research Synthesis of the Impact of Actively Making Music on the Intellectual, Social and Personal Development of Children and Young People', this volume by Susan Hallam and Evangelos Himonides is an important new resource in the field of music education, practice, and psychology. A well-signposted text with helpful subheadings,'The Power of Music: An Exploration of the Evidence'gathers and synthesises research in neuroscience, psychology, and education to develop our understanding of the effects of listening to and actively making music. Its chapters address music's relationship with literacy and numeracy, transferable skills, its impact on social cohesion and personal wellbeing, as well as the roles that music plays in our everyday lives. Considering evidence from large population samples to individual case studies and across age groups, the authors also pose important methodological questions to the research community.'The Power of Music'defends qualitative research against a requirement for randomised control trials that can obscure the diverse and often fraught contexts in which people of all ages and backgrounds are exposed to, and engage with, music. This magnificent and comprehensive volume allows the evidence about the power of music to speak for itself, thus providing an essential directory for those researching music education and its social, personal, and cognitive impact across human ages and experiences.
Remembering Popular Music's Past by
Remembering Popular Music's Past capitalizes on the growing interest, globally, in the preservation of popular music's material past and on scholarly explorations of the ways in which popular music, as heritage, is produced, legitimized and conferred cultural and historical significance. The chapters in this collection consider the spaces, practices and representations that constitute popular music heritage to elucidate how popular music's past is lived in the present. Thus the focus is on the transformation of popular music into heritage, and the role of history and memory in this process. The cultural studies framework adopted in Remembering Popular Music's Past encompasses unique approaches to popular music historiography, sociology, film analysis, and archival and museal work. Broadly, the collection deals with the precarious nature of popular music heritage, history and memory.
Film Music by 
Classical Composers by 
Ohio Jazz by
Most jazz historians give short shrift to the Buckeye state, regarding as a go-through rather than a go-to place. However, the fact is jazz has been practiced in Ohio and with a vengeance. For 30 years, these authors have been researching and documenting the history of music, particularly jazz in Ohio. Their 1999 exhibit at the Ohio Historical Society, Jazz Ohio " ran for twelve months before portions of it moved to the Rock and Roll Hall of Fame. The exhibit inspired the book, and much of what you will read here has never been brought together in one place before and it may well change the way you think about jazz. And Ohio."
What the Eye Hears by
Finalist for the National Book Critics Circle Award in Nonfiction Magisterial, revelatory, and-most suitably-entertaining,What the Eye Hearsoffers an authoritative account of the great American art of tap dancing. Brian Seibert, a dance critic forThe New York Times, begins by exploring tap's origins as a hybrid of the jig and clog dancing from the British Isles and dances brought from Africa by slaves. He tracks tap's transfer to the stage through blackface minstrelsy and charts its growth as a cousin to jazz in the vaudeville circuits and nightclubs of the early twentieth century. Seibert chronicles tap's spread to ubiquity on Broadway and in Hollywood, analyzes its decline after World War II, and celebrates its rediscovery and reinvention by new generations of American and international performers. In the process, we discover how the history of tap dancing is central to any meaningful account of American popular culture. This is a story with a huge cast of characters, from Master Juba (it was probably a performance of his in a Five Points cellar that Charles Dickens described inAmerican Notes for General Circulation) through Bill Robinson and Shirley Temple, Fred Astaire and Ginger Rogers, and Gene Kelly and Paul Draper to Gregory Hines and Savion Glover. Seibert traces the stylistic development of tap through individual practitioners, vividly depicting dancers both well remembered and now obscure. And he illuminates the cultural exchange between blacks and whites over centuries, the interplay of imitation and theft, as well as the moving story of African-Americans in show business, wielding enormous influence as they grapple with the pain and pride of a complicated legacy. What the Eye Hearsteaches us to see and hear the entire history of tap in its every step.
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