Recent innovations in musical instrument design are not simply a response to the needs of musicians, writes Paul Théberge; they also have become "a driving force with which musicians must contend." He argues that digital synthesizers, samplers, and sequencers in studio production and in the home have caused musicians to rely increasingly on manufacturers for both the instruments themselves as well as the very sounds and musical patterns that they use to make music. Musical practices have thus become allied with a new type of consumer practice that is altogether different from earlier relationships between musicians and their instruments as a means of production. Théberge places these developments within a broad social and historical perspective that examines the development of the musical instrument industry, particularly the piano industry, the economic and cultural role of musicians' magazines and computer networks, and the fundamental relationships between musical concepts, styles, and technology.

Candy Necklace ushers an intense new voice onto the field of American poetry. Lush and turbulent, the poems collected here expose the violence underlying all acts of union and creation, a violence for which poetry might be a redemptive language but in which language itself is always implicated. Cal Bedient explores a wide range of familiar emotional landscapes -- including the constellation of the family, love, and profound lossãand his work is always deeply intimate and verbally original. The brutality of both public and private experience finds reckoning in these intricate and majestic new poems.

Winner of the International Association for the Study of Popular Music (IASPM) Book Award (1998)Popular Music in Theory is an original introduction to the key theoretical issues which arise in the study of contemporary popular music. It is organized in a way that shows how popular music is created across a series of relationships that link together industry and audiences, producers and consumers. Starting from the dichotomy between production and consumption which characterizes much work on popular culture, Keith Negus explores the equally significant social processes that intervene between and across the production-consumption divide, and examines how popular music is mediated by technological, cultural, historical, geographical, and political factors. This broad framework provides signposts to various tracks taken by sounds and images, and also highlights distinctive theoretical routes into the study of contemporary popular music. Although intended mainly for students in sociology, media and communication studies, and cultural studies, the book will also give others a deeper understanding of popular music.

Loose Sugar is an alchemical manuscript disguised as a collection of poems, or vice versa. Either way, the primal materials of which this book is comprised -- love, sex, adolescence, space-time, depression, post-colonialism, and sugar -- are movingly and mysteriously transmuted: not into gold, but into a poet's philosopher's stone, in which language marries life. Structurally virtuosic, elaborate without being ornate, Loose Sugar is spun into series within series: each of the five sections has a dual heading (such as "space / time" or "time / work") in which the terms are neither in collision nor collusion, but in conversation. It's elemental sweet talk, and is Brenda Hillman's most experimental work to date, culminating in a meditation on the possibility of a native -- and feminine -- language.

Turning bare description into a luxuriance, The Known World looks at the complex relationship of past and present, creating energetic juxtaposition between different historic periods to envision life at the end of our own century. Don Bogen calls the work an archeology, and uses details f life in past eras as a way of penetrating the surfaces of history. In his account, everything known is both encumbered with and defined by the past. Short poems in this collection cohere around the long title poem, which explores the nineteenth century through more than thirty sections in different voices and styles, including lists, mock letters, brief narratives, and lyric passages. The result is lively and illuminating.

Cited by Soundpost as "remarkable and revolutionary" upon its publication in 1977, Music, Society, Education has become a classic in the study of music as a social force. Christopher Small sets out to examine the social implications of Western classical music, effects that until recently have been largely ignored or dismissed by most musicologists. He strives to view the Western musical tradition "through the mirror of these other musics [Balinese and African] as it were from the outside, and in so doing to learn something of the inner unspoken nature of Western culture as a whole. "As series co-editor Robert Walser writes, "By pointing to the complicity of Western culture with Western imperialism, Small challenges us to create a future that is more humane than the past. And by writing a book that enables us to rethink so fundamentally our involvements with music, he teaches us how we might get there."

Adrian Oktenberg breaks the media-induced numbness that surrounded the war in the Balkans, and makes it impossible to resist or deny this genocide. Echoing the voices of Charlotte Delbo, Walt Whitman, Cavafy, Tory Dent, Carolyn Forche, and many others, this collection presents the duality of the brutalities and experiences of war beside life in an American landscape marked with the ripening tomatoes of summer and news of devastation in foreign cities with unpronouncable names.

"Woman, both real and metaphorical, is at the center of the project to reform politics, which for Rousseau means all human relations," Nicole Fermon asserts in this finely wrought study of how Jean-Jacques Rousseau places the family, women, and love within his political philosophy. Rather than accept conventional conceptual dichotomies of "public" and "private" or "man" and "citizen," Fermon suggests that Rousseau's teachings on the family represent a connecting strand in an overarching philosophy: man not only creates institutions to satisfy his own needs, she writes, "but the needs themselves are crucially formed and transformed by the social setting and the educational experience." Thus the family in general and women in particular play a key role in the Rousseaurean project, as the household becomes "entrusted not only with the reproduction of life and daily necessities, but with the reproduction of sociality itself. "

As the blackface minstrel show evolved from its beginnings in the American Revolution to its peak during the late 1800s, its frenetic dances, low-brow humor, and lively music provided more than mere entertainment. Indeed, these imitations and parodies shaped society's perceptions of African Americans-and of women-as well as made their mark on national identity, policymaking decisions, and other entertainment forms such as vaudeville, burlesque, the revue, and, eventually, film, radio, and television. Gathered here are rare primary materials-including firsthand accounts of minstrel shows, minstrelsy guides, jokes, sketches, and sheet music-and the best of contemporary scholarship on minstrelsy.

To what extent do moviemakers, television and radio producers, advertising executives, and marketers merely reflect trends, beliefs, and desires that already exist in our culture, and to what extent do they consciously shape our culture to their own ends? In-depth interviews with ten executives from the "culture industry" and five scholarly analyses examine that question, and address the issues of power and authority, meaning and identity, that arise when cultural producers define and react to audiences.In their own words, leaders from companies like Twentieth-Century Fox, National Public Radio, and Warner Bros. Television describe their perception of the sometimes paradoxical relationship between culture and what influences it. For example, while the former president of Coca-Cola North America claims the company has never tried to create a trend, he notes that "we market in more countries than belong to the United Nations [a product that] has insinuated itself into the lives of the people to a point where it has become-you know, it's there." These reflections by key players provide an unprecedented view, as editor Richard Ohmann writes, "into the ways cultural producers imagine or know markets and how such knowledge figures in their decisions about what events, experiences, and products to make."

1968 is symbolic in Italy of a whole decade of struggles by students, women, workers, intellectuals, and technicians. This extraordinary book, first published in Italy in 1988 as Autoritratto di gruppo, documents the intricate web of individual and communal experiences in the political movements of the 60s. Luisa Passerini, internationally known for her work in memory, oral history, and their intersections with social movements, sets out to rescue the "forgotten memory" of her generation and to give it literary status. Framed and illuminated by sessions of psychoanalysis, this absorbing narrative weaves episodes of Passerini's autobiography-including her involvement in the 1968 uprisings-oral histories of other participants, and Passerini's sociological observations. "Passerini's book captures something that is, arguably, closer to lived history than anything we are accustomed to reading," writes Joan Wallach Scott in her foreword. It raises critical questions about how we reconstruct the past and vividly illustrates the forces that shaped a generation. As Passerini movingly shows, there was in those rebellions something that went further than rancor and taking sides: the idea of a new world and new human relationships. These hopes are given back to us through the Autobiography's contradictions and silences, in a recounting of events, emotions, and discoveries of the self and of others that constitute our recent history.

Observing that poetry is a natural part of our pastimes and rituals, Muriel Rukeyser explores the vital force of poetry and the arts in American culture. She opposes elitist attitudes and addresses Americans’ fear of feeling, which contribute to a devaluation of poetry and the arts in the U.S. Multicultural and interdisciplinary, this collection of essays makes an irrefutable case for the centrality of poetry in American life.

The wondrous subtlety of David Ignatow's art is brought to bear on the timeless themes of love and death. Intimate remembrances evince a rich life: Hebrew lessons, war, first love, friendships with Stanley Kunitz and others, his wife's death. One poem comments on another, often with wit and irony; no statement is ever final. In this way, Ignatow shows that we exist most fully in the fluidity of our perceptions and in our inability to attain a single state of mind or definition of things. I Have A Name is a vital engagement with life and an unflinching stare at death, concluding that love transcendent is a reality, embracing all, the living and the dead.

When artist, illustrator, writer, and adventurer Rockwell Kent first published N by E in a limited edition in 1930, his account of a voyage on a 33-foot cutter from New York Harbor to the rugged shores of Greenland quickly became a collectors' item. Little wonder, for readers are immediately drawn to Kent's vivid descriptions of the experience; we share "the feeling of wind and wet and cold, of lifting seas and steep descents, of rolling over as the wind gusts hit," and the sound "of wind in the shrouds, of hard spray flung on a drum-tight canvas, of rushing water at the scuppers, of the gale shearing a tormented sea." When the ship sinks in a storm-swept fjord within 50 miles of its destination, the story turns to the stranding and subsequent rescue of the three-man crew, salvage of the vessel, and life among native Greenlanders. Magnificently illustrated by Kent's wood-block prints and narrated in his poetic and highly entertaining style, this tale of the perils of killer nor'easters, treacherous icebergs, and impenetrable fog -- and the joys of sperm whales breaching or dawn unmasking a longed-for landfall -- is a rare treat for old salts and landlubbers alike.

In August 1918 Rockwell Kent and his 9-year-old son settled into a primitive cabin on an island near Seward, Alaska. Kent, who during the next three decades became America's premier graphic artist, printmaker, and illustrator, was seeking time, peace, and solitude to work on his art and strengthen ties with his son. This reissue of the journal chronicling their 7-month odyssey describes what Kent called "an adventure of the spirit. " He soon discovers how deeply he is "stirred by simple happenings in a quiet world" as man and boy face both the mundane and the magnificent: satisfaction in simple chores like woodchopping or baking; the appalling gloom of long and lonely winter nights; hours of silence while each works at his drawings; crystalline moonlight glancing off a frozen lake; killer whales cavorting in their bay. Richly illustrated by Kent's drawings, the journal vividly re-creates that sense of great height and space -- both external and internal -- at the same time that it celebrates a wilderness now nearly lost to us.

In essays by eleven of America's foremost writers, critics, and filmmakers, Beyond Document explores the full spectrum of nonfiction film and its creative possibilities. In addition to Charles Warren's broad introductory history of the genre, the book takes a close look at ethnographic films, cinema-verité, memoir and autobiography, docudramas, essay films, and newsreels, from classics like Night and Fog and Nanook of the North to more recent important work like Film about a Woman Who. .