Music and violence have been linked since antiquity in ritual, myth, and art. Considered together they raise fundamental questions about creativity, discourse, and music's role in society. The essays in this collection investigate a wealth of issues surrounding music and violence-issues that cross political boundaries, time periods, and media-and provide cross-cultural case studies of musical practices ranging from large-scale events to regionally specific histories. Following the editors' substantive introduction, which lays the groundwork for conceptualizing new ways of thinking about music as it relates to violence, three broad themes are followed: the first set of essays examines how music participates in both overt and covert forms of violence; the second section explores violence and reconciliation; and the third addresses healing, post-memorials, and memory. Music, Politics, and Violence affords space to look at music as an active agent rather than as a passive art, and to explore how music and violence are closely-and often uncomfortably-entwined.CONTRIBUTORS include Nicholas Attfield, Catherine Baker, Christina Baade, J. Martin Daughtry, James Deaville, David A. McDonald, Kevin C. Miller, Jonathan Ritter, Victor A. Vicente, and Amy Lynn Wlodarski.

Indian vocalists trace intricate shapes with their hands while improvising melody. Although every vocalist has an idiosyncratic gestural style, students inherit ways of shaping melodic space from their teachers, and the motion of the hand and voice are always intimately connected. Though observers of Indian classical music have long commented on these gestures, Musicking Bodies is the first extended study of what singers actually do with their hands and voices. Matthew Rahaim draws on years of vocal training, ethnography, and close analysis to demonstrate the ways in which hand gesture is used alongside vocalization to manifest melody as dynamic, three-dimensional shapes. The gestures that are improvised alongside vocal improvisation embody a special kind of melodic knowledge passed down tacitly through lineages of teachers and students who not only sound similar, but who also engage with music kinesthetically according to similar aesthetic and ethical ideals. Musicking Bodies builds on the insights of phenomenology, Indian and Western music theory, and cultural studies to illuminate not only the performance of gesture, but its implications for the transmission of culture, the conception of melody, and the very nature of the musicking body.

In industry circles, musicians from Kentucky are known to possess an enviable pedigree -- a lineage as prized as the bloodline of any bluegrass-raised Thoroughbred. With native sons and daughters like Naomi and Wynonna Judd, Loretta Lynn, the Everly Brothers, Joan Osborne, and Merle Travis, it's no wonder that the state is most often associated with folk, country, and bluegrass music.But Kentucky's contribution to American music is much broader: It's the rich and resonant cello of Ben Sollee, the velvet crooning of jazz great Helen Humes, and the famed vibraphone of Lionel Hampton. It's exemplified by hip-hop artists like the Nappy Roots and indie folk rockers like the Watson Twins. It goes beyond the hallowed mandolin of Bill Monroe and banjo of the Osborne Brothers to encompass the genres of blues, jazz, rock, gospel, and hip-hop.A Few Honest Words explores how Kentucky's landscape, culture, and traditions have influenced notable contemporary musicians. Featuring intimate interviews with household names (Naomi Judd, Joan Osborne, and Dwight Yoakam), emerging artists, and local musicians, author Jason Howard's rich and detailed profiles reveal the importance of the state and the Appalachian region to the creation and performance of music in America.

Artists live by curiosity and enthusiasm, qualities readily evident as inspiration in dogs.' Robert Adams, Why People Photograph I, Jack Russell is a journey of discovery that will enthrall dog lovers everywhere. When photographer Andy Hughes, a life long admirer and owner of Jack Russells, realised that he had many more pictures of his dogs than he did of his family and friends, he decided to create this joyous enterprise, photographing one dog which lead to another dog until he had traveled the length and breadth of the UK and then ventured to the USA.

Starting at the age of nine, Basil Hyman (b. 1936) has taken hundreds of photographs of everyday life in Britain. In Photographs Found he looks back to the swinging sixties' of his youth with an array of images that capture everything from sports to travel to leisure and beauty contests--as well as previously unpublished informal shots of his friend and relative Brian Epstein, an iconic 60s figure and the Beatles' first manager, widely credited with shaping their early success. '

This lavishly illustrated book includes photographs, postcards, flyers, tickets and brochures, which conjure up the atmosphere of Cuba s past times and places and some of those associated with it. Divided into two parts; the first, a visual Archive, which was the property of a Chicago gangster Grover Dullard, is a vignette of Prohibition and proof of Havana s attractions for the Mob; and the second, an extraordinary collection of printed material from pre-revolutionary Cuba, which paint a picture of its heyday.

Victor Hume Moody created timeless images of an Arcadian idyll at a time when most artists had turned their backs on the classical tradition. The centuries old heritage of Western art was too inspiring and too valuable for him to simply abandon. Over a working life of nearly 70 years he tirelessly researched and worked to revive traditional painting techniques. At the same time hecreated a unique fusion of classical figure composition and the pastoral English landscape.Since Victor Moody died his work has been widely seen and his reputation has steadily risen. The Harris Museum in Preston held a retrospective exhibition, ‘The Last Classicist’, in 1992 and more recently his work featured in the 2010 exhibition ‘Counterpoint - Modern Realism 1910-1950’ held at the Fine Art Society. The dispersal of works from the Estate of the artist’s daughter, which has made this present catalogue possible, represents a further importantmoment in the rehabiliation of Victor Moody’s reputation. It is hoped that his work will, as a result, continue to become more widely seen and better understood.

In postwar America, any assertion of difference from the mainstream anticommunist culture carried professional and personal risks. For this reason, modern dance artists left much of what they thought unsaid. Instead they expressed themselves in movement. How To Do Things with Dance positions modern dance as a vital critical discourse, and suggests that dances of the late 1940s and the 1950s can be seen as compelling agents of social change. Concentrating on choreographers whose artistic work conceived dance in terms of action, Rebekah J. Kowal shows how specific choreographic projects demonstrated increasing awareness of the stage as a penetrable space, one on which socially suspect or marginalized modes of being could be performed with relative impunity and exerted in the real world. Artists covered include Martha Graham, José Limón, Anna Sokolow, Katherine Dunham, Pearl Primus, Merce Cunningham, Paul Taylor, Donald McKayle, Talley Beatty, and Anna Halprin.

A controversial essay on one of the treasures of Armenian art, arguing that its illuminations were original and Armenian; with 38 plates.

Through the miracle of photography and the beholding eye of a master photographer such as Myers, we are able to experience the land and life in India's last remaining wild jungles. This is the land of the tiger and elephant and monkey and rhino and a treasure trove of other species. But, as noted writer William deBuys shares in his provocative essay, poaching is a persistent and pervasive problem, and the natural habitat for wild animals is shrinking at an alarming rate due to expanding development and industrialization. Tigers, for example, are now extinct in ninety-three percent of their historical range worldwide, and, without wildlife refuges such as Bandhavgarh, Kanha, Karizanga, and others in India, their numbers would plummet further. Few citizens of the world will ever experience firsthand the jungles and wild places of India, but in Myers's visual discovery they can witness the excitement and energy of coming upon wild game in a moment's notice and experiencing religious shrines and rural life in nearby villages that seem to blend in effortlessly with the adjacent wilderness. Jungle at the Door is that rare glimpse into another world, a world that depends not only on human awareness of what is lost when the jungle is gone, but also the courage and foresight to preserve remaining wild places everywhere, from those in India to our own home ground. (See the publisher's website for further information on the book: http://gftbooks.com/books_MyersJoan.html ).

An iconic feature of the Maine coast (and in a few places inland), lighthouses have served as important navigational aids but also as tourist attractions, art subjects, and advertising symbols. This lavishly illustrated third volume in Historic New England's visual history series explores the lives and legends of lighthouse keepers, shares tales of maritime disasters, examines the architecture of lighthouses, and discusses efforts to preserve lighthouses themselves. It also explains how Maine's lighthouses have inspired myriad forms of representation, from paintings, photographs, and children's stories to tabletop models and all sorts of practical bric-a-brac. The lights were key to the development of the tourist trade in Maine (beyond facilitating safe landings), and they are a ubiquitous symbol on corporate logos, advertisements, souvenirs, and collectibles--from the past to the present. The ten chapters are from a variety of contributors, and each chapter is richly illustrated with photographs and ephemera culled from private and public collections. Dynamically designed with fold-out covers, this book is indeed a treasure-trove of lighthouse information and images. Edited by RICHARD CHEEK, the book features contributions by W. H. BUNTING, maritime historian; THOMAS ANDREW DENENBERG, director of the Shelburne Museum; TIMOTHY HARRISON, editor of Lighthouse Digest magazine; KIRK F. MOHNEY, assistant director of the Maine Historic Preservation Commission; DAVID RICHARDS, director of the Margaret Chase Smith Library; and EARLE G. SHETTLEWORTH, Jr., director of the Maine Historic Preservation Commission and Maine State Historian.

Accompanying a major exhibition at Compton Verney, Warwickshire, this book examines the innate human desire to transcend the limitations of physiology and gravity – and to fly. Through an intriguing combination of paintings, sculpture, photographs, drawings, prints and video, including works by Leonardo da Vinci, José Francisco de Goya y Lucientes, Paul Nash, Peter Lanyon and Hiraki Sawa, the reader will be provided with a unique overview of artists' creative responses to flight, from the earliest imaginings to an era in which space travel has allowed us to glimpse other worlds. For centuries before the modern era people imagined how to go beyond the boundaries imposed by physiology and gravity and take to the air. Myths in every culture have described the overcoming of these physical restrictions as supernatural events because the upper air was the realm of the gods. For the same reason, humans who attempted to trespass on that domain were cast down; only those chosen by the divine will would stay aloft. Flying was thus associated with the sublime because it transcended the limitations of earthly existence. In the modern era, however, flying has become an everyday occurrence and the sense of mystery has been largely forgotten. But once humans finally got airborne, and before flying became a routine phenomenon of mass transit, there was a time when the development of aviation and the experience of flight had a significant impact on artistic practice. Arguably, the same tropes of triumph and disaster that animated the ancient myths of human flight inform the creative responses to the conquest of the air, celebrating pioneers from Bleriot to Gargarin whose exploits conquered gravity and similarly mourning those who dared but died in the attempt. Beyond the artistic response to aviation history lies the artist's use of flight as a creative resource. Probably the most profound aspect of this was the recalibration of space in painting, with the ground plane, the horizon and perspective itself all thrown into doubt when representing the aerial world. Likewise, the familiar terrains that had been the stock in trade of landscape for hundreds of years were reconstituted to offer entirely new vistas when seen from above.

Silver, porcelain and ruby glass seem unlikely bedfellows, yet the objects in the Zilkha Collection are all united by the medium of silver or luxury metalwork. The objects were also made, for the most part, over about a century and a half. All of them tell a fascinating story of the particular circumstances that produced them: a maker, a workshop, a patron. They also tell the wider story of the society that made them necessary or desirable; the science that made them possible; and of their survival down the centuries.

The Nobile Index is a series of monographic publications of art sales prices achieved at auction, for a selection of leading 20th-century British artists. They involve the collaboration of a commercial art dealership, Piano Nobile Works of Art and the University at Bristol's History of Art Department; bringing together academic and commercial expertise on the artists for the benefit of those with an interest in their work. They are funded by the generosity of a private benefactor. The studies are confined to analyses of auction results over the last 20 years. Although largely from UK sales, data supplied by international salerooms are also included. Graphs and interpretations of these figures are analysed and significant trends and buying patterns revealed. It is envisaged that this data will be of growing value to private and corporate clients, museums and fine art funds. Accurate commercial appraisal has always played an important role in the consideration of new acquisitions throughout the history of art. No more so than today is this seen with the fluctuating, but ever more significant rise in value commanded by the best of many 20th-century artists' work. This publication, written by Dr Louise Hughes during the course of her doctoral studies at the University of Bristol, makes a significant contribution to the scholarship on David Bomberg, the important twentieth-century British Vorticistm, war artist and modernist. Dr Hughes establishes for the first time a relationship between his fortunes in the auction houses and the fluctuations in his critical reception. Auctioning David Bomberg: A Sales History 1990-2010 consists of an introduction, results and analaysis, and a booklet with corresponding appendices.

What happens when you invite such luminary fashion designers as Stephen Jones or Hussein Chalayan to collaborate with important contemporary artists such as Cerith Wyn Evans or Gavin Turk and ask them to think about the Olympic values of speed, strength, agility and stamina? A celebration of the best of British creativity and a set of innovative exciting works of art, which will be unveiled at London s Victoria and Albert Museum for the Festival of London, during the 2012 Olympic Games.

Sitting on pins and needles, anxiously waiting to see what will happen next, horror audiences crave the fear and exhilaration generated by a terrifying story; their anticipation is palpable. But they also breathe a sigh of relief when the action is over, when they are able to close their books or leave the movie theater. Whether serious, kitschy, frightening, or ridiculous, horror not only arouses the senses but also raises profound questions about fear, safety, justice, and suffering. From literature and urban legends to film and television, horror's ability to thrill has made it an integral part of modern entertainment. Thomas Fahy and twelve other scholars reveal the underlying themes of the genre in The Philosophy of Horror. Examining the evolving role of horror, the contributing authors investigate works such as Mary Shelley's Frankenstein (1818), horror films of the 1930s, Stephen King's novels, Stanley Kubrick's adaptation of The Shining (1980), and Alfred Hitchcock's Psycho (1960). Also examined are works that have largely been ignored in philosophical circles, including Truman Capote's In Cold Blood (1965), Patrick Süskind's Perfume (1985), and James Purdy's Narrow Rooms (2005). The analysis also extends to contemporary forms of popular horror and "torture-horror" films of the last decade, including Saw (2004), Hostel (2005), The Devil's Rejects (2005), and The Hills Have Eyes (2006), as well as the ongoing popularity of horror on the small screen.The Philosophy of Horror celebrates the strange, compelling, and disturbing elements of horror, drawing on interpretive approaches such as feminist, postcolonial, Marxist, and psychoanalytic criticism. The book invites readers to consider horror's various manifestations and transformations since the late 1700s, probing its social, cultural, and political functions in today's media-hungry society.