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View Rights PortalThe double game of music imagines music education as a series of games - each with its own rules, play currency and players - to challenge readers to rethink the significance of music and musical upbringing in shaping social structures. Drawing on their own empirical research and a wide range of international contributions, the authors unravel the intertwining of social positioning and power hierarchies with players beliefs in the pure values and virtues of their games, whether these relate to parenting, children's play, schooling, academic pursuits, musical leisure activities or the television and music industries. In a world where music is often celebrated as an important tool for inclusion and democratisation, this groundbreaking book offers a timely critique, revealing complexities and contradictions that tend to be overlooked by teachers, researchers, politicians and others interested in the powers of music education.
Tainted Tools makes a provocative intervention into the fraught intersection between new materialist and decolonial approaches. Despite a common project of challenging European philosophical and social categories and hierarchies, the discourses are considered incompatible. Most prominently, new materialisms have been accused of harbouring a White vision of the human while disregarding the racist resonances of the 'nonhuman'. The book traces this conflict to an earlier meeting point of new materialist and decolonial projects, which came about through the experimental combination of Marx and Nietzsche. Used to fight fascism, Stalinism and colonialism, this politically contentious fusion gradually became depoliticised, leading to unaddressed tensions today. While the book does not argue for a revival of these early 'new materialisms', it brings their strategies into dialogue with today's new materialisms and decolonial approaches to develop greater theoretical solidarity in times of crisis.
Puma - disentangled from the three-part structure of The End of the World News and published here for the first time in its intended format - is Anthony Burgess's lost science fiction novel. Set some way into the future, the story details the crushing of the planet Earth by a heavyweight intruder from a distant galaxy - the dreaded Puma. It is a visceral book about the end of history as man has known it. Despite its apocalyptic theme, its earthquakes and tidal waves, murder and madness, Puma is a gloriously-comic novel, steeped in the rich literary heritage of a world soon to be extinguished and celebrating humanity in all its squalid glory. In Burgess's hands this meditation on destruction, mitigated by the hope of salvation for a select few, becomes powerful exploration of friendship, violence, literature and science at the end of the world.
A Vision of Battlements is the first novel by the writer and composer Anthony Burgess, who was born in Manchester in 1917. Set in Gibraltar during the Second World War, the book follows the fortunes of Richard Ennis, an army sergeant and incipient composer who dreams of composing great music and building a new cultural world after the end of the war. Following the example of his literary hero, James Joyce, Burgess takes the structure of his book from Virgil's Aeneid. The result is, like Joyce's Ulysses, a comic rewriting of a classical epic, whose critique of the Army and the postwar settlement is sharp and assured. The Irwell Edition is the first publication of Burgess's forgotten masterpiece since 1965. This new edition includes an introduction and notes by Andrew Biswell, author of a prize-winning biography of Anthony Burgess.