A provocative, perceptive study of the cultural dynamics of classical music in American society, Music, Talent, and Performance describes music as a  metaphor of the society in which it takes place.

Author Henry Kingbury, a conservatory-trained pianist and music educator turned anthropologist forgoes the traditional ethnomusicologist approach of looking at a non-Western musical culture to focus on the "field" of an American conservatory. The result is a penetrating look at the distinction between teaching music and the nurturing of musicality. Kingsbury offers an innovative anthropological analysis of the western notion of "talent" and its cultural character, noting that many non-western societies have no such concept. Furthermore, he examines various contexts in which music is produced, experienced, and evaluated. His discussion includes the dynamics of orchestra rehearsals in the conservatory, "master class" lessons with a distinguished performer-pedagogue, the ritual characteristics of solo recitals, and an interpretive analysis of stage fright.

Ultimately, Kingsbury argues that music "is highly shifting and indeterminate in meaning," a concept that has important implications for all interpreters of culture and for the artists themselves.

Música norteña, a musical genre with its roots in the folk ballad traditions of northern Mexico and the Texas-Mexican border region, has become a hugely popular musical style in the U.S., particularly among Mexican immigrants. Featuring evocative songs about undocumented border-crossers, drug traffickers, and the plight of immigrant workers, música norteña has become the music of a "nation between nations." Música Norteña is the first definitive history of this transnational music that has found enormous commercial success in norteamérica.

Cathy Ragland, an ethnomusicologist and former music critic, serves up the fascinating fifty-year story of música norteña, enlivened by interviews with important musicians and her own first-hand observations of live musical performances. Beyond calling our attention to musical influences, ragland shows readers the social and economic forces at work behind the music. By comparing música norteña with other popular musical forms, including conjunto tejano, she helps us understand and appreciate the musical ties that bind the Mexican diaspora.

Musicians of Asian descent enjoy unprecedented prominence in concert halls, conservatories, and classical music performance competitions. In the first book on the subject, Mari Yoshihara looks into the reasons for this phenomenon, starting with her own experience of learning to play piano in Japan at the age of three. Yoshihara shows how a confluence of culture, politics and commerce after the war made classical music a staple in middle-class households, established Yamaha as the world's largest producer of pianos and gave the Suzuki method of music training an international clientele. Soon, talented musicians from Japan, China and South Korea were flocking to the United States to study and establish careers, and Asian American families were enrolling toddlers in music classes.

Against this historical backdrop, Yoshihara interviews Asian and Asian American musicians, such as Cho-Liang Lin, Margaret Leng Tan, Kent Nagano, who have taken various routes into classical music careers. They offer their views about the connections of race and culture and discuss whether the music is really as universal as many claim it to be. Their personal histories and Yoshihara's observations present a snapshot of today's dynamic and revived classical music scene.

An estimated twenty million Muslims now reside in Europe, mostly as a result of large-scale postwar immigration. In The Muslim Question in Europe, Peter O’Brien challenges the popular notion that the hostilities concerning immigration—which continues to provoke debates about citizenship, headscarves, secularism, and terrorism—are a clash between “Islam and the West.” Rather, he explains, the vehement controversies surrounding European Muslims are better understood as persistent, unresolved intra-European tensions.

O’Brien contends that the best way to understand the politics of state accommodation of European Muslims is through the lens of three competing political ideologies: liberalism, nationalism, and postmodernism. These three broadly understood philosophical traditions represent the most influential normative forces in the politics of immigration in Europe today. He concludes that Muslim Europeans do not represent a monolithic anti-Western bloc within Europe. Although they vehemently disagree among themselves, it is along the same basic liberal, nationalist, and postmodern contours as non-Muslim Europeans.

In 1940, the U.S. Federal Works Agency created an experimental housing program for industrial workers. Eight model communities were leased and later sold to the residents, who formed a non-profit corporation called a mutual housing association. Further development of housing under the mutual housing plan was stymied by controversies around radical politics and race, and questions over whether the federal government should be involved in housing policy.

In The Mutual Housing Experiment, Kristin Szylvian examines 32 mutual housing associations that are still in existence today, and offers strong evidence to show that federal public housing policy was not the failure that critics allege. She explains that mutual home ownership has not only proven its economic value, but has also given rise to communities characterized by a strong sense of identity and civic engagement.

The book shows that this important period in urban and housing policy provides critical lessons for contemporary housing analysts who continue to emphasize traditional home ownership for all wage-earners despite the home mortgage crisis of 2008.

Understanding our cultural heritage and sharing a cultural community's history helps motivate individuals to take agency and create change within their communities. But are today's youth appreciative of their culture, or apathetic towards it?

In her vibrant ethnography My Culture, My Color, My Self, Toby Jenkins provides engrossing, in-depth interviews and poignant snapshots of young adults talking about their lives and culture. She recounts D'Leon's dream to become a positive example for African American men, and Francheska describing how her late mother inspired her appreciation of her Boricua heritage. In these and other portraits, Jenkins considers the role that cultural education and engagement plays in enhancing educational systems, neighborhood programs, and community structures.

My Culture, My Color, My Self also features critical essays that focus on broader themes such as family bonds, education, and religion. Taken together, Jenkins shows how people of color use their culture as both a politic of social survival and a tool for social change.

This first-person account, by the youngest of eight children of a pious Jewish family from Sosnoviec in Poland, is remarkable for the faith shown by a teenager faced with the horrifying realities of the Holocaust. Edward Gastfriend, known as Lolek as a boy, remembers in heart-wrenching detail the seven years he survived in German-occupied Poland.

The accelerating Nazi assault on the Jews abruptly shattered Lolek's life. Jews were randomly beaten and arrested, forced out of their homes, deported to slave labor camps, and shot on the streets. During this time, Lolek lost his family, friends, and neighbors, the whole while struggling to hold onto a promise he made to his father before his father was deported. Lolek pledged never to denounce God and to maintain his faith. This covenant proved to be the key to his remarkable survival in several slave labor camps including Auschwitz and several satellite camps of Auschwitz-Birkenau.

My Father's Testament is an intimate portrayal of a teenage boy trying to stay alive without losing his humanity - in hiding, in the camps, and during the death marches at the end of the war.

Embedded in this unique memoir are two other stories of fathers and sons. One lies in the moving Foreword by David R. Gastfriend, Ed's son, now a psychiatrist at Harvard Medical School. The other lies in Bjorn Krondorfer's Afterword. Years after he met Edward Gastfriend, Krondorfer was startled to hear his father mention Blechhammer as one of the places where he was stationed as a young German soldier. Blechhammer was where Lolek was held in a slave labor camp. The coincidence led this German father and son to travel back to the site to confront the Holocaust.

My Father's Testament will engage readers interested in history, the Holocaust, and religion.

In My Life as a Colombian Revolutionary, María Eugenia Vásquez Perdomo presents a gripping account of her experiences as a member of M-19, one of the most successful guerrilla movements in Colombia's tumultuous modern history. Vásquez's remarkable story opens with her happy childhood in a middle-class provincial household in which she was encouraged to be adventurous and inquisitive. As an eighteen-year-old university student in Bogotá, María Eugenia embraced radical politics and committed herself to militant action to rid her country of an abusive government. Dedicated and daring, Vásquez took part in some of the M-19's boldest operations in the 1970s and 1980s and became one of its leaders. She was able to avoid detection for nearly twenty years in the movement because she was both clever and considered too attractive to be a guerrillera. Her vivid narrative brings to life the men and women who were her comrades and conveys their anxiety and exhilaration as they carried out their actions. When she tells of her love affairs with some of M-19's top leaders, she cannot separate romance from camaraderie or escape a sense of impending tragedy. If Vásquez gave us only a rare insider's account of youth culture and a guerrilla movement in a Latin American country, this would be a book well worth reading. But she also gives us an unsparing analysis of what it meant to be a woman in the movement and how much her commitment to radical politics cost her.

Some 400,000 hip fractures occur every year, the vast majority among the elderly; all too often these fractures are associated with death or severe disability. After her mother's double hip fracture, Luisa Margolies immersed herself in identifying and coordinating the services and professionals needed to provide critical care for an elderly person. She soon realized that the American medical system is ill prepared to deal with the long-term care needs of our graying society. The heart of My Mother's Hip is taken up with the author's day-to-day observations as her mother's condition worsened, then improved only to worsen again, while her father became increasingly anxious and disoriented. As both a devoted daughter and a skilled anthropologist, Margolies vividly renders her interactions with physicians, nurses, hospital workers, nursing home administrators, the Medicare bureaucracy, home care providers, and her parents. In the Lessons chapter that follows each episode, she discusses in a broader context the weighty decisions that adult children must make on their parents' behalf and the emotional toll their responsibility takes. Here she addresses the complex practical issues that commonly arise in such situations: understanding the consequences of hip fracture and its treatment, preparing health care proxies and advanced directives, enabling elders to remain at home, and the heartbreaking dilemma of prolonging life. Like many adult children, Margolies learned her lessons about eldercare in the midst of crises. This book is intended to ease the information-gathering and decision-making processes for others involved in eldercare.

On February 2, 1968, the Electric Factory, Philadelphia's first major venue for the era's new music, opened with a show featuring the Chambers Brothers. Performing their neosoul and gospel sounds in a warm and inviting venue, they declared, "My soul's been psychedelicized!"-a feeling that the Factory's cofounder, Larry Magid, has been experiencing ever since.

In My Soul's Been Psychedelicized, Magid presents a spectacular photographic history of the bands and solo acts that have performed at the Electric Factory and at other venues in Factory-produced concerts over the past four decades. The book includes concert posters, photographs, and promotional items featuring both rising stars and established performers, such as Pink Floyd, Jimi Hendrix, Bob Dylan, Bruce Springsteen, Bette Midler, Elvis Presley, Tina Turner, Pearl Jam and many, many more.

The images—candid and celebratory—create a one-of-a-kind history of rock and roll, from the wild 1960s to the Live Aid concert in 1985 and the closing of the Philadelphia Spectrum in 2009. Magid's vivid recollections constitute a who's who of pop music and culture. As one of the great concert producers, he shares his unique perspective on the business, talking about how it has changed and how lasting careers have been carefully developed.

For anyone who has ever attended a concert at the Electric Factory—or for anyone who missed a show—My Soul's Been Psychedelicized will bring back great memories of the music and the musicians.