Copyright lies at the very heart of the music business. It determines how music is marketed, artists are rewarded, and all the uses to which their work is put. And copyright claims and counter-claims are the source of recurring conflict: Who wrote what and when? Who owns these sounds? What are you allowed to do with them? Disputes about copying and theft are becoming ever noisier with digital technology and the new possibilities of sampling and downloading and large-scale piracy. This book has been written to explain the copyright system to non-legal specialists and to show why copyright issues are so fascinating and so important. Copyright is analyzed as a matter of philosophy and economics as well as law. It is approached from the contrasting perspectives of composers, performers, producers and bootleggers. Copyright law is seen to be central to the relationship between the global entertainment industry and local musical practices. The questions raised here are not just about music. They concern the very meaning of intellectual property rights in the context of rapid global and technological change. And they are not just about big business. They impinge on all our lives.

This wide-ranging collection of essays is intended to provoke both thought and action. The pieces collected here explore a variety of issues facing the American West—disappearing Native American languages, deteriorating air quality, suburban sprawl, species loss, grassland degradation, and many others—and suggest steps toward “healing.” More than “dealing with” or “solving,” according to the editors, healing addresses not just symptoms but their underlying causes, offering not just a temporary cure but a permanent one. The signs of illness and trauma can seem omnipresent in today’s West: land and soil disrupted from mining, overgrazing, logging, and farming; wildlife habitat reduced and fragmented; native societies disturbed and threatened; open space diminished by cities and suburbs; wilderness destroyed by roads and recreation-seekers. But as these essays suggest, the “treatment program” for healing the West has many healthful side effects. Engaging in the kinds of projects suggested by contributors is therapeutic not only for the environment but for participants as well. Restoration, repair, and recovery can counter symptoms of despair with concentrated doses of promise and possibility. The more “lesions” the West has, this book suggests, the more opportunities there are for westerners to revive and ultimately cure the ailing patient they have helped to create. The very idea of restoring the West to health, contributors and editors contend, unleashes our imaginations, sharpens our minds, and gives meaning to the ways we choose to live our lives. At the same time, acknowledging the profound difficulties of the work that lies ahead immunizes us against our own arrogance as we set about the task of healing the West.

The Cambridge History of American Music, first published in 1998, celebrates the richness of America's musical life. It was the first study of music in the United States to be written by a team of scholars. American music is an intricate tapestry of many cultures, and the History reveals this wide array of influences from Native, European, African, Asian, and other sources. The History begins with a survey of the music of Native Americans and then explores the social, historical, and cultural events of musical life in the period until 1900. Other contributors examine the growth and influence of popular musics, including film and stage music, jazz, rock, and immigrant, folk, and regional musics. The volume also includes valuable chapters on twentieth-century art music, including the experimental, serial, and tonal traditions.

This volume constitutes a catalogue of one hundred and thirty-six aerophones from a wide range of cultures in the collections of the Canadian Centre for Folk Culture Studies.