A Sound Economy

2021 ◽  
pp. 26-46
Author(s):  
Jeff Todd Titon
Keyword(s):  
Ecological Rationality ◽  
Community Music ◽  
Democratic Management ◽  
Honest Signals ◽  
Visible Hand

A sound community announces the presence and potential of an ecological rationality. In a sound community, music is communicative, as natural as breathing, participatory and exchanged freely, strengthening and sustaining individuals and communities. A sound community exhibits a sound economy, just, participatory, and egalitarian. Wealth and power are widely distributed and shared, and maintained through the visible hand of democratic management. A sound economy is based in a sound ecology where exchanges are based in honest signals that invite reciprocity and trust. In a sound ecology, sound being and sound knowing lead to sound action, which is cooperative, mutually beneficial, and just.

scholarly journals Exhibiting Music in a Sound Community

Ethnologies ◽  
2017 ◽  
Vol 37 (1) ◽  
pp. 23-41 ◽  
Author(s):  
Jeff Todd Titon
Keyword(s):  
Ecological Rationality ◽  
Community Music ◽  
Democratic Management ◽  
Honest Signals ◽  
Visible Hand ◽  
Way Of Knowing

Exhibiting music in a sound community announces the presence and potential of an ecological rationality. Two or more beings co-present to each other in sound resonate at the same frequency with one another and comprise a sound community. Co-presence in sound is intersubjective and relational, a subject-to-subject resonant and reciprocal way of knowing, rather than a subject-to-object, asymmetrical and manipulative knowledge. In a sound community music is communicative, as natural as breathing, participatory and exchanged freely, strengthening and sustaining individuals and communities. A sound community exhibits a sound economy, just, participatory and egalitarian. Wealth and power are widely distributed and shared, and maintained through the visible hand of democratic management. A sound economy is based in a sound ecology where exchanges are based in honest signals that invite reciprocity and trust. In a sound ecology, sound being and sound knowing lead to sound action, which is cooperative, mutually beneficial, and just.

The Visible Hand of China in Latin America de Javier Santiso (ed.)

2009 ◽  
Vol 39 (153) ◽  
Author(s):  
RHYS O. JENKINS
Keyword(s):  
Latin America ◽  
Visible Hand ◽  
America Latina

El rápido crecimiento de China y su integración a la economía global desde las reformas económicas que comenzaron a finales de los años setenta constituyen una de las características más dramáticas de la globalización actual. De los crecientes precios de mercancías a la cada vez mayor disponibilidad de ropa barata y productos electrónicos, y a la creciente cantidad de inversionistas, estudiantes y emigrantes asiáticos, la mano de China se ve por todas partes. Se ha convertido en un jugador clave en la economía mundial liderando, digamos, un cambio en el centro de gravedad de la producción global que tiende a estar en Asia. Varios estudios recientes han comenzado a analizar los impactos que este nuevo jugador está teniendo en otros países en vías de desarrollo en Asia, África y América Latina. Esta colección de ensayos publicados por la Organización para la Cooperación y el Desarrollo Económicos (ocde) es una adición agradable a dicha bibliografía.

The Visible Hand

1993 ◽  
Author(s):  
ALFRED D. CHANDLER
Keyword(s):  
Visible Hand

Becoming a Community Musician

2018 ◽  
Author(s):  
Dave Camlin ◽  
Katherine Zesersen
Keyword(s):  
United Kingdom ◽  
Community Music ◽  
Knowledge And Attitudes ◽  
The North ◽  
The United Kingdom ◽  
Democratic Pedagogy ◽  
Situated Perspective

In this chapter, we outline an approach to training in community music that is congruent with its pluralistic and diverse character. From the situated perspective of Sage Gateshead, a large music organization in the north of the United Kingdom, we reflect on some of the ways that musicians have developed the skills, knowledge, and attitudes to become effective practitioners of community music. Rooted in a dialogic and democratic pedagogy, the training processes described herein recognize the highly individualized nature of community music practices, and are underpinned by the explicitly humanistic values and attitudes that unite them.

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