If Colors Could Be Heard: Narratives About Racial Identity in Music Education is a platform of, by, and for People of Color who are music educators, artists, activists, and students. For this book, we asked authors to consider their race and ethnicity as an intimate and essential part of their music learning, making, and teaching.



The narratives in this collection include tales of being a music student, stories of growing up and finding one’s place in musical worlds, and accounts of teaching students about race, ethnicity, culture, and identity. The chapters in this book are not research studies unless explicitly stated by the author.



Instead, the chapters in tandem represent a stunning mosaic with shades of melanated skin that will serve as a scholarly picture that represents a portion of music education in the United States. Here, you will find self-told stories by people from the Global Majority—a term used to describe Black, African, Asian, Brown, Latin, Dual-heritage, and Indigenous people.

The Intellect Handbook of Popular Music Methodologies provides a comprehensive overview of methodological approaches within the field of popular music studies. Alongside contributions from key thinkers already established in popular music studies, the strength of the collection lies in its inclusion of many new and emerging writers in the field. Therefore, the collection incorporates a wide range of practitioners, pedagogues and academics from an extensive range of disciplines, and thus drawing from a diversity of methodological approaches. These include those that are perhaps more established, such as semiotics, ethnography and psychology, alongside exciting new approaches within popular music, including eco-musicology, religion, intersectionality and archeology. Although previous books have provided an overall of concepts studied within popular music studies, this will be the first comprehensive Handbook of popular music methodologies.

El Vez performances present a powerful message of social justice and inclusion in changing US and social contexts. Make the Dream Real interrogates how this message is activated through world-building: the use of a variety of theoretical, theatrical, and musical tactics that bring into being a progressive social space that refutes the current economic, political, social, and cultural configurations of the United States.



World-building in an El Vez show “makes the dream real” by imagining a society in which equal rights are guaranteed, inclusivity is fostered, difference is valued, and the violence of economic inequality is mitigated. But, world-building through performance is not content to reside exclusively in the individual imagination or the social imaginary; it temporarily creates this new social space in actual time and space for the audience to experience. Using a dramaturgical methodology, which marries theoretical inquiry to theatrical practice based on dramaturgical thinking, critical proximity, and intellectual flexibility, the book delves into the theoretical foundations that inform artist Robert Lopez’s work, and each chapter analyzes a different performative component he uses.



Make the Dream Real interrogates how El Vez’s playful engagements hold the United States to its egalitarian promises, voicing and enacting - however fleetingly - a just and richly inclusive social space through performance.

Industrial music appeared in the mid-1970s, and far from being a simple sound experimentation phenomenon, it quickly spawned a coherent visual culture operating at the intersection of a multitude of media (collage, mail art, installation, film, performance, sound, video) and initiated a close inspection of the legacy of modernity and the growing, pervasive influence of technology.



Originally British, the movement soon outgrew Europe, extending into the United States and Japan during the 1980s. The sound experiments conducted by industrial bands – designing synthesizers, manipulating and transforming recorded sounds from audio tapes, either recycled or laid down by the artists – were backed up by a rich array of radical visual productions, deriving their sources from the modernist utopias of the first part of the 20th century. Such saturated sounds were translated into abrasive images, manipulated through the détournement of reprographic techniques (Xerox art), that investigated polemical themes: mind control, criminality, occultism, pornography, psychiatry and totalitarianism, among others.



This book introduces the visual and aesthetic elements of 1970s and 1980s industrial culture to a general history of contemporary art by analysing the different approaches taken and topics addressed by the primary protagonists of the movement, who perceptively anticipated the current discourse concerning the media and their collective coercive power.

This article explores the use of proverbs in the discography of punk rock band NOFX to assess how the perceived old-fashioned character of proverbs mixes with the reformist nature of punk. After surveying the lyrics for proverbial references, it can be confirmed that, despite the different inclinations of proverbs and punk rock, they interact frequently and effectively in the lyrics of this band, demonstrating the versatility and adaptability of proverbs, which allow the songwriter to express his message in an ingenious and pithy manner and to achieve different communicative purposes. Whether this abundance of proverbial references is accidental or deliberate, the fact is they appear in extraordinary numbers.