This chapter invites readers to engage in a daily morning dance practice, highlighting the numerous physical, mental, and emotional benefits of dancing. It suggests a curated playlist of diverse music genres, spanning the last hundred years, to accompany this practice. The author encourages readers to personalize their dance experience, emphasizing the importance of enjoyment and positive emotions. By promoting a shared experience of dancing, the chapter aims to foster a sense of community and well-being, ultimately demonstrating how music can invigorate and uplift our daily lives.

What is the rationale for bringing together archaic and classical lyric and imperial Greek literature, in the form of epideictic oratory? This chapter explains how such different genres and media (poetry/prose) were in fact akin as both genres ‘of presence’ centred on performance, embedded in well-defined occasions, and negotiating similar discourses of praise and blame. It then sets out the book’s aims and methodology by contextualising them within the ever-growing scholarship on imperial Greek culture. It clarifies what is meant by ‘lyric’ throughout the analysis, and how this use of the term marks a substantial departure from the few previous studies on imperial lyric reception. A similar departure concerns the approach to quotations, intertextuality and pragmatics of reading, which crucially distances this analysis from scholarship focused on Quellenforschung issues. The chapter ends by introducing Aristides’ distinctive engagement with lyric and its impact on our understanding of his works and figure.

On September 19, 1967, Hurricane Beulah devastated the borderlands of South Texas and Northern Mexico. Tearing across the flat terrain, flooding the Rio Grande/Bravo delta, causing nearly $240 million in property damage, and affecting thousands of residents on both sides of the border, the hurricane was nothing short of a minor apocalypse. In the half-century since it hammered the Gulf coastline, the storm has become a recurring motif in the border region’s long cultural memory, returning to conversation often by way of old photographs, grainy video footage, archived news articles, and unsettling historical analogies. Here, though, I emphasize figurations besides the visual and traditionally textual: the local soundtracks that the storm produced, the narrative folk ballads, or corridos, that it inspired. What might such post-apocalyptic ballads teach us today, amid the immense and interconnected social and ecological difficulties of the present? Uniting literary study with ethnomusicological inquiry, in this chapter I reflect on examples of such corridos to argue for the border ballad’s capacities to unsettle the colonialities of genre, media, and discipline; to bear witness to local catastrophe; and, ultimately, to guide collective memory in the long shadow of colonial encounter.

This chapter explores the global entanglements of Europe’s musical past, showing that the continent’s music culture has never been isolated and has always been shaped by global influences.

This chapter brings together the research findings and answers the main research question, namely how the legal framework can contribute to a achieving a fair(er) balance between the interests of musicians and their main corporate partners. It summarises the potential bottom-up initiatives, as well as the possible regulatory action identified throughout the book.

This chapter first analyses the rights and interests of the primary stakeholders in the music industry and introduces the various contracts entered into between musicians and their corporate partners. It then discusses the music value chain that results from such contracts in the streaming age. Two separate subsections are dedicated to, respectively, the division of revenues and the ongoing quest towards enhanced transparency. A concluding ‘bridge’ brings together the most relevant findings that lead into the analysis of the relevant legal framework in the subsequent chapters.

Chapter 1 will examine the ontological and epistemological questions surrounding music in the knowledge system of the medieval Islamic world by exploring the philosophical system of Ibn Sina and his later followers, all of whose works laid the foundations for scholars of music in the centuries to come. In particular, I will address how mathematics was conceptualized vis-à-vis the cosmology of the falsafa tradition as the discipline that examined the existents whose existence was dependent on physical matter but could be conceptualized without the said matter. Through this conceptualization of music and mathematics, scholars of music were able to broaden their subject matter to cover topics from the melodic modes in vogue in their time to the poetics of music. At the same time, since everything in the universe was connected to one another, music was linked with many other scientific disciplines such as astronomy and medicine.

Chapter 6 discusses the definitions of ratios and intervals as different ways of conceptualizing the relationship between musical notes. Here, the author’s main interest lies in the two different ways in which the ancient Greek scholars of music, the Pythagoreans and the Aristoxenians, conceptualized the relationship between any given two notes. While the former understood notes as equal to numbers and thus conceptualized the relationship in the form of a numerical ratio, the latter understood them as points on a continuum and thus perceived the relationship as a geometrical distance between the two points on a scale. A third group of Greek scholars, the later Neoplatonic scholars, tried to reconcile the two approaches into a synthesis. It was this synthesis that Islamic scholars inherited during the medieval period.

Chapter 7 will examine the question of consonance and dissonance of musical ratios and intervals in the medieval Islamic world and the growing importance of the human soul in the discussions pertaining to this question. The Pythagoreans, having conceptualized the relationship between two notes as a numerical ratio, insisted that the key to consonance and dissonance lay in the mathematical neatness of these ratios. The Aristoxenians, however, insisted that consonance and dissonance were a matter of human experience. A third group of synthesizers emerged that aimed at reconciling the two approaches: Neoplatonic philosophers. Inheriting the works of these philosophers, scholars of music in the Islamic world set about the task of explaining the mechanisms of apprehension of consonance by human ears according to mathematical rules. In this process, the role of the soul as the link between humanity and the cosmos – with its mathematical underpinnings – gradually grew in emphasis.

Chapter 2 will begin by emphasizing the role of elite patrons in the production of educational treatises on the science of music. The chapter will then provide an analysis of the relationship between learning the science of music, and musical practice, including performance, poetic skills, and listening to music. After providing some medieval philosophical arguments regarding the necessity of learning the science of music in order to better appreciate music performance, the chapter pivots toward presenting the sociocultural benefits of learning the science itself, especially among the elite of the city of Baghdad between third/ninth–seventh/thirteenth centuries. Through aphorisms and entertaining anecdotes by famous Baghdadi literati such as Ibn Khurdadhbih, al-Sarakhsi, and al-Tawhidi, I demonstrate how knowledge about music – as opposed to art-music itself – was used by the elite as a social currency to gain access to certain social circles that would have otherwise remained inaccessible to them.

This chapter focuses on the new sound economy that Pentecostalism brought to Rwanda after the genocide. It considers a wide range of Pentecostal sound practices – from noise-making to praise and worship to Pentecostal radio – and shows how sound was understood to be key to inner and outer transformation. Pentecostals drew a distinction between ‘godly’ and ‘secular’ media, which allowed some young singers to become ‘gospel stars’. This chapter equally focuses on the materiality of Pentecostal sounds – the work that sound does outside of its discursive properties – and places this within the wider sonic context of post-genocide Rwanda. The RPF state has increasingly cracked down on noise – associated both with the new churches and nightclubs – and in 2018 closed thousands of chruches across the country. Perhaps ironically, despite their differences, the new Pentecostal churches and the RPF state share a conviction of sound’s transformative power.

Widely considered to be an art today, music in the medieval Islamic world was categorized as a branch of the mathematical sciences; in fact, some philosophers and scholars of music went as far as linking music with medicine and astrology as part of an interconnected web of cosmological knowledge. Focusing on the science of music this book discusses how a non-European premodern intellectual tradition – in this case, the Islamic philosophical tradition – conceptualized science. Furthermore, it explores how this intellectual tradition produced “correct” scientific statements and how it envisioned science’s relationship with other bodies of knowledge. Finally, it investigates what made music a science in the medieval Islamic world by examining the ontological debates surrounding the nature of music as a scientific discipline as well as the epistemological tools and techniques that contributed to the production of musical knowledge during the medieval period (third/ninth–ninth/fifteenth centuries).