Entertainment Books
Oxford University Press Documentary Film Reader
Book SynopsisThe Documentary Film Reader brings together an expansive range of writing by scholars, critics, historians, and filmmakers to provide a stimulating foundational text for students and others who want to undertake study of nonfiction film. While documentary has long been a mainstay of universities and cinematheques, its popularity of late has grown tenfold as reality television has flourished and as the ranks of novice filmmakers have swelled. There are now dozens of film festivals dedicated exclusively to documentaries. This reader presents an international perspective on the most significant developments and debates from several decades of critical writing about documentary. It integrates historical and theoretical approaches, offering a collection that is particularly well suited to meet the needs of large undergraduate survey courses on nonfiction film, as well as providing sufficient depth for graduate classes.Trade ReviewThe volume offers a rich and varied corpus of works that includes scholarly essays, film criticism, manifestos, interviews, letters, and personal recollections ... [the editors] have performed tremendous acts of scholarly service ... [presenting] a rich mosaic of writing on film form, politics, and practice that order the discursive field while still allowing the unruly documentary construct room to breathe. * Tanya Goldman, Cinema Journal *Table of ContentsForeword by Charles Musser ; Introduction ; I. Early Documentary: From the Illustrated Lecture to the Factual Film ; Jonathan Kahana, Introduction to Section I ; Rick Altman, "From Lecturer's Prop to Industrial Product: The Early History of Travel Films" (2006) ; Anonymous, "Burton Holmes Pleases a Large Audience at the Columbia" (1905) ; Kristen Whissel, "Placing the Spectator on the Scene of History: Modern Warfare and the Battle Reenactment at the Turn of the Century" (2008) ; Dai Vaughan, "Let There Be Lumiere" (1999) ; Boleslas Matuszewski, "A New Source of History" (1898) ; Tom Gunning, "Before Documentary: Early Nonfiction Films and the 'View' Aesthetic" (1997) ; Edward Curtis et al., "The Continental Film Company" (1912) ; W. Stephen Bush, "In The Land of the Head Hunters" (1914) ; Catherine Russell, "Playing Primitive" (1999) ; Anonymous, "Movies of Eskimo Life Win Much Appreciation" (1915) ; Anonymous, "Nanook of the North" (1922) ; John Grierson, "Flaherty's Poetic Moana" (1926) ; John Grierson, "Flaherty" (1931-32) ; Hamid Naficy, "Lured by the East: Ethnographic and Expedition Films about Nomadic Tribes; The Case of Grass" (2006) ; Bela Balazs, "Compulsive Cameramen" (1925) ; Anonymous, "New Films Make War Seem More Personal" (1916) ; Nicholas Reeves, "Cinema, Spectatorship, and Propaganda: Battle of the Somme (1916) and Its Contemporary Audience" (1997) ; II. Modernisms: State, Left, and Avant-Garde Documentary Between the Wars ; Jonathan Kahana, Introduction to Section II ; Robert Allerton Parker, "The Art of the Camera: An Experimental 'Movie'" (1921) ; Siegfried Kracauer, "Montage" (1947) ; Annette Michelson, "The Man with the Movie Camera: From Magician to Epistemologist" (1972) ; Seth Feldman, "Cinema Weekly and Cinema Truth: Dziga Vertov and the Leninist Proportion" (1973) ; Dziga Vertov, "WE: Variant of a Manifesto" (1922) ; Jay Leyda, "Bridge" (1964) ; Mikhail Iampolsky, "Reality at Second Hand" (1991) ; Joris Ivens, "The Making of Rain" (1969) ; Joris Ivens, "Reflections on the Avant-Garde Documentary" (1931) ; Tom Conley, "Documentary Surrealism: On Land Without Bread" (1986) ; John Grierson, "The Documentary Producer" (1933) ; John Grierson, "First Principles of Documentary" (1932-34) ; Otis Ferguson, "Home Truths from Abroad" (1937) ; Charles Wolfe, "Straight Shots and Crooked Plots: Social Documentary and the Avant-Garde in the 1930s" (1995) ; Samuel Brody, "The Revolutionary Film: Problem of Form" (1934) ; Leo T. Hurwitz, "The Revolutionary Film: Next Step" (1934) ; Ralph Steiner and Leo T. Hurwitz, "A New Approach to Filmmaking" (1935) ; Willard Van Dyke, Letter from Knoxville (1936) ; Ralph Steiner, Letter to Jay Leyda (1935) ; John T. McManus, "Down to Earth in Spain" (1937) ; Charles Wolfe, "Historicizing the 'Voice of God': The Place of Voice-Over Commentary in Classical Documentary" (1997) ; Steve Neale, "Triumph of the Will: Notes on Documentary and Spectacle" (1979) ; Richard Griffith, "Films at the Fair" (1939) ; III: Documentary Propaganda: World War II and the Post-War Citizen ; Jonathan Kahana, Introduction to Section III ; James Agee, Review of Iwo Jima newsreels (1945) ; James Agee, Review of San Pietro (1945) ; Thomas Cripps and David Culbert, "The Negro Soldier (1944): Film Propaganda in Black and White" (1979) ; Andre Bazin, "On Why We Fight: History, Documentation, and the Newsreel" (1946) ; Jim Leach, "The Poetics of Propaganda: Humphrey Jennings and Listen to Britain" (1998) ; George C. Stoney, "Documentary in the United States in the Immediate Post-World War II Years" (1989) ; Zoe Druick, "Documenting Citizenship: Reexamining the 1950s National Film Board Films about Citizenship" (2000) ; Srirupa Roy, "Moving Pictures: The Films Division of India and the Visual Practices of the Nation-State" (2007) ; Jennifer Horne, "Experiments in Propaganda: Reintroducing James Blue's Colombian Trilogy" (2009) ; Peter Watkins with James Blue and Michael Gill, "Peter Watkins Discusses His Suppressed Nuclear Film The War Game" (1965) ; IV. Aesthetics of Liberation: Free, Direct, and Verite Cinemas ; Jonathan Kahana, Introduction to Section IV ; Jean Painleve, "The Castration of Documentary" (1953) ; Jean Cocteau, "On Blood of the Beasts" (1963) ; Lindsay Anderson, "Free Cinema" (1957) ; Tom Whiteside, "The One-Ton Pencil" (1962) ; Edgar Morin, "Chronicle of a Film" (1962) ; Jonathan Rosenbaum, "Radical Humanism and the Coexistence of Film and Poetry in The House is Black" (2003) ; Jean Rouch with Dan Georgakas, Udayan Gupta, and Judy Janda, "The Politics of Visual Anthropology" (1977) ; Ricky Leacock, "For an Uncontrolled Cinema" (1961) ; Bruce Elder, "On the Candid-Eye Movement" (1977) ; Jonas Mekas, "To Mayor Lindsay / On Film Journalism and Newsreels" (1966) ; Jeanne Hall, "Realism as a Style in Cinema Verite: A Critical Analysis of Primary" (1991) ; Margaret Mead, "As Significant as the Invention of Drama or the Novel" (1973) ; V: Talking Back: Radical Voices and Visions After 1968 ; Jonathan Kahana, Introduction to Section V ; Robert Stam, "Hour of the Furnaces and the Two Avant Gardes" (1981) ; Juan Carlos Espinosa, Jorge Fraga, Estrella Pantin, "Toward a Definition of the Didactic Documentary: A Paper Presented to the First National Congress of Education and Culture" (1978) ; Marilyn Buck, Norm Fruchter, Robert Kramer, and Karen Ross, "Newsreel" (1969) ; Frederick Wiseman with Alan Westin, "'You Start Off With a Bromide': Conversation with Film Maker Frederick Wiseman" (1974) ; David MacDougall, "Beyond Observational Cinema" (1973/1992) ; Pauline Kael, "Beyond Pirandello" (1970) ; Pearl Bowser, "Pioneers of Black Documentary Film" (1999) ; Michael Chanan, "Rediscovering Documentary: Cultural Context and Intentionality" (1990) ; Santiago Alvarez with the editors of Cineaste, "'5 Frames Are 5 Frames, Not 6, But 5': An Interview with Santiago Alvarez" (1975) ; Abe Mark Nornes, "The Postwar Documentary Trace: Groping in the Dark" (2002) ; Emile de Antonio with Tanya Neufeld, "An Interview with Emile de Antonio" (1973) ; Annette Michelson, Reply to de Antonio (1973) ; Bill Nichols, "The Voice of Documentary" (1983) ; James Roy MacBean, "Two Laws from Australia, One White, One Black: The Recent Past and the Challenging Future of Ethnographic Film" (1983) ; Lee Atwell, Review of Word is Out (1979) ; Julia Lesage, "The Political Aesthetics of the Feminist Documentary Film" (1978) ; E. Ann Kaplan, "Theories and Strategies of the Feminist Documentary" (1983) ; Jill Godmilow, "Paying Dues: A Personal Experience with Theatrical Distribution" (1977) ; Coco Fusco, "A Black Avant-Garde? Notes on Black Audio Film Collective and Sankofa" (1988) ; Renee Tajima, Letter to Scott MacDonald (1995) ; John Greyson, "Strategic Compromises: AIDS and Alternative Video Practices" (1990) ; VI. Truth Not Guaranteed: Reflections, Revisions, and Returns ; Editor's section introduction ; Robert Sklar, "Documentary: Artifice in the Service of Truth" (1975) ; Jonas Mekas, "The Diary Film (A Lecture on Reminiscences of a Journey to Lithuania)" (1972) ; Chick Strand, "Notes on Ethnographic Film by a Film Artist" (1978) ; Michael Renov, "Toward a Poetics of Documentary" (1993) ; Trinh T. Minh-ha, "Mechanical Eye, Electronic Ear and the Lure of Authenticity" (1984) ; Brian Winston, "The Tradition of the Victim in Griersonian Documentary" (1988) ; J. Hoberman, "Shoah: The Being of Nothingness" (1985-86) ; Claude Lanzmann with Marc Chevrie and Herve Le Roux, "Site and Speech: An Interview with Claude Lanzmann about Shoah" (1985) ; Linda Williams, "Mirrors without Memories: Truth, History, and the New Documentary" (1993) ; Peter Bates, "Truth Not Guaranteed: An Interview with Errol Morris" (1989) ; Harlan Jacobson with Michael Moore, "Michael & Me" (1989) ; Thomas Waugh, "'Acting to Play Oneself': Notes on Performance in Documentary" (1990) ; Phillip Brian Harper, "Marlon Riggs: The Subjective Position of Documentary Video" (1995) ; Paula Rabinowitz, "Melodrama/Male Drama: The Sentimental Contract of American Labor Films" (2002) ; Marsha Orgeron and Devin Orgeron, "Familial Pursuits, Editorial Acts: Documentaries After the Age of Home Video" (2007) ; Vivian Sobchack, "Inscribing Ethical Space: 10 Propositions on Death, Representation, and Documentary" (1984) ; Paul Arthur, "Jargons of Authenticity (Three American Moments)" (1993) ; VII: Documentary Transformed: Transnational and Transmedial Crossings ; Jonathan Kahana, Introduction to Section VII ; Harun Farocki and Jill Godmilow with Jennifer Horne and Jonathan Kahana, "A Perfect Replica: An Interview with Harun Farocki and Jill Godmilow" (1998) ; Rachel Gabara, "Mixing Impossible Genres: David Achkar and African Autobiographical Documentary" (2003/2013) ; Jean-Marie Teno, "Writing on Walls: The Future of African Documentary Cinema" (2010) ; Chris Berry, "Getting Real: Chinese Documentary, Chinese Postsocialism" (2007) ; Wu Wenguang, "DV: Individual Filmmaking" (2006) ; Richard Porton, "Weapon of Mass Instruction: Michael Moore's Fahrenheit 9/11" (2004) ; Scott MacDonald, "Up Close and Political: Three Short Ruminations on Ideology in the Nature Film" (2006) ; Amy Villarejo, "Bus 174 and the Living Present" (2006) ; Barbara Klinger, "Cave of Forgotten Dreams: Meditations on 3D" (2012) ; Index
£79.80
Oxford University Press The Performance of 16thCentury Music Learning from the Theorists
Book SynopsisThrough The Performance of 16th-Century Music, today's musicians will gain fundamental insight into how 16th-century polyphony functions, and the tools necessary to perform this repertoire to its fullest and glorious potential.Trade Reviewan engaging and useful study * Richard Wistreich, Early Music *[a] subtle and coherent story ... No one who performs sixteenth-century music, and no one who cares about what this music sounded like or how they understood it back then, can afford to be without this ... book. * Kenneth Kreitner, Performance Practice Review *Ann Smith ... does an immense service to performers, and especially to students, not only by bringing relevant quotations together, but also by contextualizing them without in any other way over-simplifying their ambiguities. ...we should expect nothing less of someone who has devoted her working life to developing and imparting such understanding. * Richard Wistreich, Early Music *Table of ContentsABOUT THE COMPANION WEB SITE; PREFACE; APPENDIX: MODAL CHARACTERISTICS; BIBLIOGRAPHY; INDEX
£42.27
Oxford University Press Making Music for Modern Dance Collaboration In The Formative Years Of A New American Art Source Readings
Book SynopsisMaking Music for Modern Dance is a fascinating collection of source readings that offer first-hand accounts of musical collaboration for early modern dance in America.Trade ReviewWow! A book with such glorious content and organization that I would enthusiastically use it in my own courses, and recommend it to students and all readers in modern dance history, music for dance, collaborative and interdisciplinary arts, and American music history. How wonderful to have all these primary sources (many rare or previously unavailable) under one cover, each one placed in a clear context. A fantastic contribution illuminating an often neglected subject. * Greg Presley, Music Instructor, Gonzaga University, and former pianist for Martha Graham *This meticulously researched and annotated collection of articles gives invaluable context to the development of dance as an American art form and the intertwining and influences of leading composers and dance figures to its history. * Janet Mansfield Soares, author, Martha Hill and the Making of American Dance and Professor of Dance Emerita, Barnard College, Columbia University *Table of ContentsIntroduction: Threads of America's Heritage in Music and Dance Part One: Musical Collaboration for a New Era in Dance Overview: The Question of Using Old Music for New Dance 1. Émile Jaques-Dalcroze. How to Revive Dancing Music and the Dancer 2. Isadora Duncan. Dancing to Beethoven's Seventh Symphony 3. Baird Hastings. Music for Isadora Duncan's Dance 4. Helen Caldwell. The Dance Poems of Michio Ito: The White Peacock, to Music by Griffes 5. Denishawn program. America and the Dance Music Visualization 6. Norman Cazden. On Dancing to Bach: Humphrey-Weidman Programs 7. Ted Shawn. American Music and Composers: What Dancers Need Part Two: Creative Procedures and Ingredients Overview: Some Challenges of Collaboration, and Composers Debate What Works 8. Louis Horst. Music and Dance: The New Generation's Change in Methods 9. Henry Gilfond. Louis Horst 10. Gertrude Lippincott. A Quiet Genius Himself: A Dance Teacher's Tribute to Louis Horst 11. Wallingford Riegger. Synthesizing Music and the Dance 12. Ernestine Stodelle. Sensing the Dancer's Impulse: A Dancer Talks about the Art of Composer-Accompanists 13. Vivian Fine. My Scores for Modern Dance: Tragedy and Comedy 14. Doris Humphrey. The Race of Life: My Side of the Story The Relationship of Music and Dance 15. Lehman Engel. Under Way: Composing for Martha Graham Details of Contemporary Collaboration 16. Henry Cowell. Relating Music and Concert Dance: An Idea for Elastic Form 17. Norman Lloyd. Sound-Companion for Dance: Henry Cowell's Talent 18. Norman Lloyd. Composing for the Dance: A Retrospective Overview of Procedures; Personal Experiences; and Advice to Collaborators Part Three: Towards New "American" Styles Overview: Defining "American" Music; Common Musical Concerns of Ballet and Modern Dance 19. Verna Arvey. The Cosmopolitan Scene of the 1920s and '30s: Avant-Garde Experiments; Symphonic Ballet Scores; Jazz 20. Virgil Thomson. The Theatrical Thirties 21. Katherine Teck: Virgil Thomson's Later Reflections 22. Dance Observer. Editorial: Dance and American Composers Drawing Upon Folk Music and War-Time Patriotism 23. Woody Guthrie. People Dancing 24. Nora Guthrie. Sophie Maslow and Woody 25. Agnes de Mille. Music for Martha 26. Aaron Copland. The Commission for Appalachian Spring 27. Gail Levin. Aaron Copland's America 28. Richard Philp. Appalachian Spring: An Appreciation 54 Years Later Building on the Horton Experience 29. Larry Warren and Others. Lester Horton: Of Money, Music, and Motivation 30. Katherine Teck. Kenneth Klauss: Musician for California Dancers 31. Katherine Teck. Carmen de Lavallade: Dancing to Many Musical Styles 32. Alvin Ailey. Instructions: How to Play the Drums 33. Jennifer Dunning. Alvin Ailey's Revelations 34. Alvin Ailey with A. Peter Bailey. How Revelations Came to Be Part Four: Instruments, Technology, and the Avant-Garde Overview: Expanding Timbre Possibilities with Percussion, Vocalization, Electronic Instruments, and the Sounds Around Us 35. Franziska Boas. Percussion Music and Its Relation to the Modern Dance 36. Henry Cowell. East Indian Tala Music 37. Lehman Engel. Choric Sound for the Dance 38. John Cage. Goal: New Music, New Dance 39. Otto Luening. Electronic Music for Doris Humphrey's Theatre Piece No. 2 40. Alwin Nikolais. My Total Theater Concept 41. John Cage. Experimental Music 42. John Cage. Communication 43. Carolyn Brown. Dancing with the Avant-Garde Part Five: Well-Springs of Creative Collaboration Overview: Diverse Methods and Aesthetic Ideas 44. Leonard Bernstein. "Fun" in Music and the Dance 45. Paul Taylor. Why I Make Dances 46. Carlos Surinach. My Intention to Serve Spanish Ballet Serves American Modern Dancers Instead 47. Lou Harrison. Meditations on Melodies, Modes, Emotion, and Creation 48. Lucia Dlugoszewski. New Music for the Dance: Choices Open to Collaborators at Mid-Century Part Six: Master Artists Speak to Future Generations Overview: Postwar Trends, and Music in the Training of Dancers 49. Erick Hawkins. My Love Affair With Music 50. Bessie Schönberg. Finding Your Own Voice 51. Paul Draper. Music and Dancing 52. José Limón. Dancers Are Musicians Are Dancers Afterword: Creativity in One's Own Time Appendix: Checklist of Composers Notes, Commentary, and Recommended Resources Bibliographic Essay Index
£48.45
Oxford University Press Thelonious Monk Quartet with John Coltrane at Carnegie Hall Oxford Studies in Recorded Jazz
Book SynopsisThelonious Monk Quartet with John Coltrane at Carnegie Hall is an historical, cultural, and analytical study of the album by the same name. Recorded in 1957, but lost until 2005, it is a particularly interesting lens through which to view jazz both as a historical tradition and as a contemporary cultural form.Trade Review"Solis's arguments are compelling and wide ranging, covering the specifics of this concert and recording but reiterating essential points for jazz studies research pertaining to the musical work, issues of authenticity and reproduction, nostalgia and reissued recordings, and academic institutionalization, among others, that make the book applicable and engaging beyond just the scope of its primary object of study."--Twentieth-Century MusicTable of ContentsIntroduction ; Chapter 1: Monk With Coltrane ; Chapter 2: The Morningside Community Center Benefit and the Jazz ; Concert as an Institution to 1957 ; Chapter 3: "Monk's Mood" and "Crepuscule with Nellie" ; Chapter 4: "Evidence" and "Nutty" ; Chapter 5: "Bye-Ya" and "Sweet and Lovely" ; Chapter 6: "Blue Monk" and "Epistrophy" ; Chapter 7: The Recording in Its Time ; References
£23.74
Oxford University Press Hearing in Time Psychological Aspects Of Musical Meter
Book SynopsisWhen we hear music we don't just listen; we move along with it. Hearing in Time explores our innate propensity for rhythmic synchronization, drawing on research in music psychology, neurobiology, music theory, and mathematics. It looks at music from a wide range of musical styles and cultures.Trade ReviewLondon's book clearly provides the single best introduction to, and summary of, a century of psychological and theoretical study into the nature of musical meter and rhythm. For both music scholars and performers, this text offers an unbiased, reliable, and wide-ranging discussion of these important concepts. * Robert Gjerdingen, Music Theory Program, Northwestern University School of Music *Table of ContentsTable of Contents ; Introduction ; Meter as a Kind of Attentional Behavior ; Relevant research on Rhythmic Perception and Production ; The Neurobiology and Development of Rhythm ; Meter-Rhythm Interactions I: Ground Rules ; Metric Representations and Metric Well-Formedness ; Meter-Rhythm Interactions II: Problems ; Metric Flux in Beethoven's Fifth ; Non-Isochronous Meters ; NI-Meters in Theory and Practice ; The Many Meters Hypothesis ; Conclusion ; Notes ; Bibliography ; Index
£49.40
Oxford University Press The Peoples Artist Prokofievs Soviet Years
Book SynopsisA detailed chronicle of Prokofiev's career from 1932 to 1953, based on exclusive and extensive research conducted at several Russian archives. The People's Artist examines Prokofiev's decision to relocate to Stalin's Russia in 1936, the mandated rewriting of such major works as Romeo and Juliet and War and Peace, and the composer's aesthetic and spiritual views.Trade Reviewpainstakingly describe[s] the circumstances surrounding Prokofiev in his final years * G.S. Smith, Times Literary Supplement *The People's Artist: Prokofiev's Soviet Years should be on every serious music lover's Christmas list. * David Gutman, Gramophone *Table of ContentsINTRODUCTION
£25.64
Oxford University Press Inc HERMES PAN MAN DANCED FRED ASTAIRE C The Man Who Danced with Fred Astaire
a huge range and FREE tracked UK delivery on ALL orders.
£48.45
Oxford University Press, USA COMPOSING FOR MOVING PICTURES P The Essential Guide
Book SynopsisIn Composing for Moving Pictures: The Essential Guide, author Jason Gaines offers practical tools with which to navigate the increasingly complex environment of movie music composition.Trade ReviewGaines provides a comprehensive, accessible guide to navigating technology that professional film composers utilize on a daily basis, while giving insight into the history and art of music in motion pictures. Composing for Moving Pictures is an excellent tool for amateur or professional film composers alike. * Terence Blanchard, jazz musician and film composer *[T]he perfect Swiss Army knife for learning the multidisciplinary art of film scoring. This one-of-a-kind text delivers just the sort of comprehensive and practical understanding professionals really need on the job. * Chris Mangum, Emmy Award-Winning Composer *[O]ffers a wealth of material not offered in the same manner elsewhere. The sections on Delivery, Collaboration and Archiving, Best Practices and Troubleshooting are a must read for any professional user of Logic X, not just film composers. Gaines explains how to create and effective workflow in an easy to understand manner. * Gary Atkins, Technology Coordinator, The Royal Conservatory of Music, Canada *Table of ContentsAcknowledgements ; Part I ; 1. A Brief History of Film ; 2. The Digital Audio Workstation ; 3. Recording and Editing Audio ; 4. Recording and Editing MIDI ; 5. To Loop or Not to Loop - An Exploration of Loops, Beds and Foley ; 6. Working with Videos ; 7. Music Creation on Mobile Devices and an Introduction to Basic Mixing ; 8. Delivery, Collaboration and Archiving ; 9. Best Practices and Troubleshooting ; Part II ; 10. Terence Blanchard ; 11. Marc Shaiman ; 12. Steve Horowitz ; 13. Nathan Barr ; 14. Trevor Morris
£46.07
Oxford University Press Music Language and the Brain
Trade Review...useful for students, or specialists exploring outside their disciplines * Danny Lee, www.dannyreviews.com *Table of ContentsChapter 1: Introduction Chapter 2: Sound elements: pitch and timbre 2.1 Introduction 2.2 Musical Sound Systems 2.3 Linguistic Sound Systems 2.4 Sound Category Learning as a Key Link 2.5 Conclusion Appendices Chapter 3: Rhythm 3.1 Introduction 3.2 Rhythm in Music 3.3 Rhythm in Speech 3.4 Interlude: Rhythm in Poetry and Song 3.5 Non-Periodic Aspects of Rhythm as A Key Link 3.6 Conclusion Appendices Chapter 4: Melody 4.1 Introduction 4.2 Melody in Music: Comparisons to Speech 4.3 Speech Melody: Links to Music 4.4 Interlude: Musical and Linguistic Melody in Song 4.5 Melodic Statistics and Melodic Contour as Key Links 4.6 Conclusion Appendix Chapter 5: Syntax 5.1 Introduction 5.2 The Structural Richness of Musical Syntax 5.3 Formal Differences and Similarities between Musical and Linguistic Syntax 5.4 Neural Resources for Syntactic Integration as a Key Link 5.5 Conclusion Chapter 6: Meaning 6.1 Introduction 6.2 A Brief Taxonomy of Musical Meaning 6.3 Linguistic Meaning In Relation To Music 6.4 Interlude: Linguistic and Musical Meaning in Song 6.5 The Expression and Appraisal of Emotion As A Key Link 6.6 Conclusion Chapter 7: Evolution 7.1 Introduction 7.2 Language and Natural Selection 7.3 Music and Natural Selection 7.4 Music and Evolution: Neither Adaptation nor Frill 7.5 Beat-Based Rhythm Processing As a Key Research Area 7.6 Conclusion Appendix Afterword References
£56.05
Oxford University Press Gypsy Jazz In Search of Django Reinhardt and the Soul of Gypsy Swing
Book SynopsisMichael Dregni expertly traces the development of Gypsy Jazz not through straight musical history, but instead in a fascinating travelogue and detective story, following its birth with Django and its subsequent legacy, including all of the famous guitarists who have followed in Django's footsteps-Biréli Lagrène, Boulou Ferré, Dorado Schmitt, and others.Trade ReviewDregni's passion for Django Reinhardt and the enduring overlap of gypsy music and jazz leads to a picaresque journey from the US, across modern Europe and back again. The music itself is the wandering hero as Dregni gracefully weaves together historical research, personal insights, and conversations with colorful, music-making characters. Generous, musical storytelling at its best! * Ashley Kahn, author of A Love Supreme: The Story of John Coltrane's Signature Album, and other jazz titles *Dregni writes as Django played: lyrical, inventive, engaging and often undeniably brilliant. With Gypsy Jazz he shines light upon the 'holes in history' that have so long obscured this most celebrated yet mysterious arena of Romany music. An astonishing text. * Garth Cartwright, author of Princes Amongst Men: Journeys With Gypsy Musicians *In this fascinating picaresque adventure into European gipsy culture, Michael Dregni not only discovers much hitherto undocumented information about the background to the great manouche guitarist Django Reinhardt, but also about his musical and social forbears, contemporaries and heirs. Dregni's sparky prose and fervent enthusiasm enliven his search, which always comes back to the music itself, in which he finds, alongside the influence of American jazz, a timeless romani wistfulness, the lingering melancholy of an itinerant people. * Alyn Shipton, Jazz critic of The Times, London, and author of A New History of Jazz *Table of ContentsPrologue ; Chapter 1: The Guitar with a Human Voice; In Search of Django Reinhardt ; Chapter 2: The Boy With the Banjo; Into a Zigzag Paradise ; Chapter 3: Bals Musette; Music from the Dark Side of the City of Light ; Chapter 4: Jazz Modernistique; Revisiting the Babylon of Gypsy Jazz ; Chapter 5: Songs of One Thousand and One Nights; Django Reinhardt, Schnuckenack Reinhardt, and Gypsy Jazz Under the Nazis ; Chapter 6: Gypsy Bebop; From Dizzy and Bird to Django and the Gibson Generation ; Chapter 7: Les Guitares a Moustache; Revolutionary Jazz Guitars for a Jazz Revolution ; Chapter 8: Crossroads; On the Road to Les Saintes-Maries-de-la-Mer ; Chapter 9: Dynasty;Les Freres Ferret and their Musical Clan ; Chapter 10: La Derniere Valse des Niglos; Saints and Sinners of the Malha Clan ; Chapter 11: Au Son des Guitares; On the Trail of Patotte Bousquet ; Chapter 12: The Unsung Master of the Gypsy Waltz; Tracing the Legacy of Tchan Tchou ; Chapter 13: The Lost; The Secret History of Lousson Baumgartner and the "Other" Family ; Chapter 14: Minstrel; Bamboula Ferret and the Travels of a Romany Troubadour ; Chapter 15: Resurrection; The New Elegance of Bireli Lagrene, Stochelo Rosenberg, Angelo Debarre, and Ninine Garcia ; Chapter 16: The Music Thieves; Into America with Danny Fender, Johnny Guitar, John Adomono, and Julio Bella Chapter 17: Gypsy Jazz Rap; Syntax and the Search for "Le Meilleur Chemin" ; Chapter 18: The Most Dangerous Guitar Lesson; Jamming with David Reinhardt ; Epilogue: Latcho Drom - The Long Road ; Recommended Listening ; Notes ; Recommended Reading ; Bibliography ; Acknowledgments ; Index
£34.19
Oxford University Press Generalized Musical Intervals and Transformations
Book SynopsisGeneralized Musical Intervals and Transformations is by far the most significant contribution to the field of systematic music theory in the last half-century, generating the framework for the "transformational theory" movement.Trade ReviewGeneralized Musical Intervals and Transformations, David Lewin's masterpiece, has prompted a twenty-year efflorescence in the field of mathematical and systematic music theory. GMIT leads readers to the head of a series of distinct paths, suggests by example where each path leads, and leaves readers to their own explorations. Many music theorists now spend their careers working out different aspects of the vision presented here; there is plenty and enough to go around. * Richard L. Cohn, Battell Professor of the Theory of Music, Yale University *David Lewin's great gift was his ability to connect sophisticated mathematics to musical experience in ways that were deeply compelling, never losing sight of either the music, or the experience. Together these two volumes display both his theoretical brilliance and his sensitivity to the individuality of musical works. Most significantly, they are imbued with his unflagging dedication to and abiding love for the acts of making and understanding music. * Andrew Mead, Professor of Music, University of Michigan *David Lewin's work is among the most important on music theory in the twentieth century. Through some of the examples of practical applications, Generalized Musical Intervals and Transformations was the inception and theoretical basis of the 'Neo-Riemannian' strand of tonal music theory. In addition, its transformational network analysis paradigm has become part of every music theorist's standard repertory for analysis, and has since been extended by Lewin himself, Klumpenhouwer, Lambert, Stoecker, Headlam, Rahn, and Mazzola among many others. The analytical essays in Musical Form and Transformations illustrate the new analytical paradigm Lewin introduced in Generalized Musical Intervals and Transformations. These seminal works on music theory are essential reading. * John Rahn, Professor of Music, University of Washington *While David Lewin's thought had been animated for decades by some of these books' ideas---the complex significance of interval, the audibility of pitch-class inversional indices, the definition of directed motion more by context than convention---it was their concentrated presentation here that enabled many readers to assimilate them as a 'theory.' The result was a shift in the discipline's conception of its methods, even its goals, to the point where imitation of the books (of their imitable aspects) could become a career path. In a renewed encounter with the originals, we are confronted once more by Lewin's intellectual probity, his intense concern with every construction's relation to hearing (which need not mean anything so simple as that every construction is heard), his fastidious eschewal of hype. With these taken as exemplary, the field would change again. * Joseph Dubiel, Professor of Music, Columbia University *Table of ContentsFOREWORD BY EDWARD GOLLIN; PREFACE; ACKNOWLEDGMENTS; INTRODUCTION; APPENDIX A: MELODIC AND HARMONIC GIS STRUCTURES; SOME NOTES ON THE HISTORY OF TONAL THEORY; APPENDIX B: NON-COMMUTATIVE OCTATONIC GIS STRUCTURES; MORE ON SIMPLY TRANSITIVE GROUPS; INDEX
£42.74
Oxford University Press Salsa Rising New York Latin Music of the Sixties Generation
Book SynopsisSalsa Rising provides the first full-length historical account of Latin Music in this city guided by close critical attention to issues of tradition and experimentation, authenticity and dilution, and the often clashing roles of cultural communities and the commercial recording industry in the shaping of musical practices and tastes.Trade ReviewThe book is sure to become an indispensable point of reference in the cultural history of salsa. * Juan Carlos Quintero-Herencia, New West Indian Guide *in this vividly narrated account he [Flores] narrows his focus from a wholesale history of so-called Latin music to a specific cultural moment in a single (albeit uniquely large and diverse) city ... most illuminating. * Brian Morton, Times Literary Supplement *Table of ContentsPreface Introduction. Guaracha to Mambo: Style Shifts of the Earlier Generations (1930-60) Chapter 1. Pachanga Alegre Chapter 2. La PerfectaFit Chapter 3. Boogaloo Soul Chapter 4. Revolt in Típico Chapter 5. Fania's Latin Thing Chapter 6. Salsoul Challenges Coda
£28.97
Oxford University Press Well Meet Again Musical Design In The Films Of Stanley Kubrick Oxford MusicMedia Oxford MusicMedia Series
Book SynopsisWe'll Meet Again illuminates music's central role in the design and reception of Stanley Kubrick's films. It brings together archival evidence and close analysis to trace the ways music serves as starting point and inspiration throughout Kubrick's working process.Trade ReviewFor years people have been discussing these films' ever-fascinating layers of narrative and imagery. Now McQuiston, fresh from time spent at the recently-opened Kubrick archives in London, joins the conversation with brilliant commentary on the films' sound and music. Kubrick fans will love this book. * James Wierzbicki, author of Film Music: A History *No director was more attentive to music than Stanley Kubrick. And now, here is a thoroughly researched, gracefully written book that does justice to what Kubrick achieved with his music. McQuiston has made an essential contribution to the literature on music and cinema. * Krin Gabbard, author of Hotter Than That: The Trumpet, Jazz, and American Culture *This book tackles the musical aesthetic and practice of one of the most influential filmmakers in the post-classical period. The level of archival detail it engages in is impressive and stands to revise not just our understanding of Kubrick's films but the definition of auteurism and soundtrack compilation practice since the 1960s * Julie Hubbert, Associate Professor of Music, University of South Carolina *Table of ContentsPreface ; Acknowledgements ; List of Illustrations ; Introduction ; PART I THE ANATOMY OF THE KUBRICK SOUNDSCAPE ; 1 Language, Lyrics, Voice and Sound ; 2 Drawing Lines and Crossing Borders: Musical Climates, the Diegetic-Nondiegetic Border and ; Voice-Over Narration ; PART II MUSIC-CINEMATIC TOPICS ; 3 Mysterious Music with Invisible Edges and The Emergence of Musical Form in The Shining ; 4 Reimagining Music in Barry Lyndon ; 5 The Mutual Inscription of Music and Drama ; PART III WE'VE MET BEFORE: FAMILIAR PIECES AND THEIR HISTORIES ; 6 Evolution and Amnesia in the Soundtrack of 2001: A Space Odyssey ; 7 Musical Dialectics and The More Troublesome Beethoven ; 8 Kubrick's Spin on Max Ophuls and the Ineluctable Waltz ; Coda ; Select Bibliography ; Index
£34.67
Oxford University Press Occult Aesthetics Synchronization In Sound Film Oxford MusicMedia Oxford MusicMedia Series
Book SynopsisOccult Aesthetics: Synchronization in Sound Film opens up an often-overlooked aspect of audiovisual culture which is crucial to the medium's powerful illusions. Author Kevin Donnelly contends that a film soundtrack's musical qualities can unlock the occult psychology joining sound and image, an effect both esoteric and easily destroyed.Trade ReviewDonnelly's deeply persuasive analysis of the 'occult' nature of audio-visual synchronisation is a major contribution to film sound studies. His sophisticated theorisation deserves a very warm welcome from scholars, students and film enthusiasts interested in both the aural and visual domains. * David Cooper, Chair of Music and Technology and Dean of the Faculty of Performance, Visual Arts and Communications at the University of Leeds *Although Donnelly cites examples from dozens of films, his latest book in the long run is about sound-image synchronization of the sort that humans experienceand sometimes puzzle overalmost every day. Fascinating! * James Wierzbicki, University of Sydney *Table of ContentsTable of Contents ; 1. Introduction: The Lock of Synchronization ; 2. Synchronization: McGurk and Beyond ; 3. Sound Montage ; 4. Occult Aesthetics ; 5. Isomorphic Cadences: Film as 'Musical' ; 6. 'Visual' Sound Design: the Sonic Continuum ; 7. 'Pre' and 'Post' Sound ; 8. Wildtrack Asynchrony ; 9. Conclusion: Final Speculations ; Bibliography ; Index
£35.62
Oxford University Press Ways of Listening An Ecological Approach To The Perception Of Musical Meaning
Trade ReviewThis challenging, impressive study implies new ways of thinking about music and listening. No other books cover the same territory. * Choice *This is the first book to place an ecological approach to perception at the core of music theory. The result is that many problems created by the hitherto dominant cognitive approach simply disappear: emotion and meaning emerge as primary attributes of music (as common sense might always have suggested). Clarke's highly approachable book, with its wide range of musical case studies, will prompt both musicians and psychologists to rethink some of their most basic assumptions. * Nicholas Cook, Royal Holloway, University of London *Using a holistic approach to perception, Clarke captures the particularity and import of that unique aspect of musical sound Roland Barthes called 'the grain of the voice.' Through this, he is able to build a rich and textured account of musical meaning equally applicable to W.A. Mozart and P.J. Harvey. This important and innovative book offers a fresh perspective on music cognition that will be much discussed in the years to come. * Lawrence Zbikowski, University of Chicago Department of Music *Table of ContentsIntroduction ; Ch.1 Perception, Ecology, and Music ; Ch. 2 Jimi Hendrix's "Star Spangled Banner" ; Ch. 3 Music, Motion and Subjectivity ; Ch. 4 Subject Position in Music ; Ch.5 Autonomy/Heteronomy and Perceptual Style ; Ch.6 The First Movement of Beethoven's Quartet in A Minor, Op 132 ; Conclusions ; Notes ; References ; Index
£38.47
Oxford University Press Elements of Sonata Theory Norms Types and Deformations in the LateEighteenthCentury Sonata
Book SynopsisElements of Sonata Theory is a comprehensive rethinking of the basic principles of sonata form in the decades around 1800. This foundational study outlines a new, up-to-date paradigm for understanding the compositional choices found in the instrumental works of Haydn, Mozart, Beethoven: sonatas, chamber music, symphonies, overtures, and concertos.Trade Reviewwill surely be valued for its encyclopedic compilation of interesting music analytical observations on a wealth of sonata excerpts * Celia Hurwitz-Keefe, Eighteenth-Century Music *Table of Contents1. Contexts ; 2. Sonata Form as a Whole: Foundational Considerations ; 3. The Medial Caesura and the Two-Part Exposition ; 4. The Continuous Exposition ; 5. The Primary Theme ; 6. The Transition (TR) ; 7. The Secondary Theme (S) and Essential Expositional Closure: Initial Considerations ; 8. S-Complications: EEC Deferral and Apparent Double Medial Caesuras (TMB) ; 9. The Closing Zone (C) ; 10. The Development (Developmental Space) ; 11. The Recapitulation (Recapitulatory Space; Recapitulatory Rotation) ; 12. Non-Normative Openings of the Recapitulatory Rotation: Alternatives and Deformations ; 13. Parageneric Spaces: Coda and Introduction ; 14. Sonata Form in Minor Keys ; 15. The Three- and Four-Movement Sonata Cycle ; 16. Sonata Types and the Type 1 Sonata ; 17. The Type 2 Sonata ; 18. Rondos and the Type 4 Sonata ; 19. The Type 5 Sonata: Fundamentals ; 20. The Type 5 Sonata: Mozart's Concertos (R1: The Opening Ritornello) ; 21. The Type 5 Sonata: Mozart's Concertos (Solo and Larger Expositions: Solo 1 + Ritornello 2) ; 22. The Type 5 Sonata: Mozart's Concertos (Development and Recapitulation: From Solo 2 through Ritornello 4) ; Appendix 1. Some Grounding Principles of Sonata Theory ; Appendix 2. Terminology: "Rotation" and "Deformation"
£71.25
Oxford University Press Inc ontheartofsinging
Book SynopsisThis engaging and long influential collection of essays looks at the art of singing in its totality. Written in a lively, non-technical style, On the Art of Singing is a comprehensive manual that deals with all aspects of singing, from the physiology and acoustics of the singing voice to career-building. Divided into four main sections -- vocal technique, style and interpretation, professional preparation, and vocal pedagogy - the book''s structure is such that the reader may pick and choose as personal interests and needs dictate. Containing essential information for all singers, including original research on the mechanics of the voice, this book collects in one volume everything that renowned instructor and singer Richard Miller considers essential to the art of vocal performance. To anyone seeking that elusive state of vocal freedom, whether as a singer or instructor of singers, and to anyone else interested in voice, vocal technique or vocal performance, On the Art of Singing willTrade ReviewThe content of the book is commendable, useful and illustrated with plenty of amusing anecdotes. * Elin Harries, Music Teacher, May 1997 *On the Art of Singing is undoubtedly a labour of love, the fruit of years of dedicated training of voices. * Martin Bussey, B J Music 14/3 *Richard Miller's eminence as a vocal pedagogue, is securely rooted in considerable performance experience, masterful teaching and extensive scientific research. Everything presented in this book is excellent, thoroughly researched and practised material. It should be required reading for every singer and teacher. This book is a compendium of authoritative. justified and distilled wisdom. Those of us who have sat humbly at the feet of the master are able to hear his voice clearly speaking and demonstrating throughout this text. Written by a cultured and refined teacher/artist and writer, this is the soundest and liveliest book on vocal pedagogy published recently. * the singer, December/January 1997/1998 *The content of the book is commendable, useful and illustrated with plenty of amusing anecdotes. * Elin Harries, Music Teacher, May 1997 *Table of ContentsIntroduction ; PART I: On Trainining the Singing Voice ; PART II: On Musical Style and Interpretation ; PART III: On Preparation for the Professional Life ; PART IV: On the Singing Voice and Vocal Function ; Index
£40.84
Oxford University Press Exploring Art Song Lyrics
Trade ReviewFinally! One book containing our standard song repertoire and much more-- meticulously transcribed and beautifully translated. This is the book we will keep closest at hand and recommend to our students. Times 750, herein lies linguistic access to the lyricism, pathos and drama that is song. * Margo Garrett, Professor of Collaborative Piano and Vocal Arts, The Juilliard School *Table of ContentsTABLE OF CONTENTS ; Italian Pronunciation Guide ; Italian Art Song Lyrics ; German Pronunciation Guide ; German Art Song Lyrics ; French Pronunciation Guide ; French Art Song Lyrics ; Appendix A: ; Comparison of Methodologies for Phonetic Transcription ; Appendix B: ; Guidelines for Transcription: Italian ; Guidelines for Transcription: German ; Guidelines for Transcription: French ; Index of First Lines and Titles ; Bibliography
£54.15
Oxford University Press Community Music In Theory and in Practice
Book SynopsisIn this book, Lee Higgins investigates an interventional approach to music making outside of formal teaching and learning situations. Working with historical, ethnographic, and theoretical research, Higgins provides a rich resource for those who practice, advocate, teach, or study community music, music education, music therapy, ethnomusicology, and community cultural development.Trade ReviewHiggins's passion and vision, as well as meticulous scholarship, make him one of the leading advocates for Community Music today. Community Music in Theory and in Practice is a very strong contribution to the field and a valuable resource. As I write this review, I have begun to tease out areas for further dialogue and debate of my own beliefs and indeed, I think that this is the authors greatest gift. * Kari Veblen, International Journal of Community Music *A challenging effort to understand the ideas of community music, that obstinate, creative, critical movement of informal music education and social engagement ... Most interesting is the theoretical discussion, which seeks to move beyond the familiar reading of the music workshop as utopian temporary community. * George McKay, Times Higher Education *Community Music in Theory and Practice represents a major contribution to the field of community music in both setting out the historical development and contemporary scope of the practice of community music and in establishing it as a field for international academic enquiry. ... Higgin's book will undoubtedly serve to enrich the practice of community music, to generate fresh perspectives and to inspire practitioners to 'dream the impossible' into the future. * Kathryn Jourdan, British Journal of Music Education *A compelling and captivating read ... Higgins seeks to provide a comprehensive overview of community music practice globally while also introducing some invigorating new theories about the processes underpinning intimate moments in musical group encounters. There is much in this book to nourish the school based music educator, as well as those involved in developing music educators. * Catherine Pestano, Music Mark *Table of ContentsContents ; 1. Opening ; Part One: Inheritances and Pathways ; 2. Community Arts & Community Cultural Development ; 3. The Growth of Community Music in the UK ; 4. The Peterborough Community Samba Band ; 5. International Perspectives ; 6. Illustrations of Practice ; 7. Crossfields ; Part Two: Interventions and Counterpaths ; 8. Acts of Hospitality ; 9. Approaches to Practice ; 10. Face-to-Face Encounters ; 11. Cultural Democracy Revisited ; 12. Another Opening ; Notes ; References
£41.32
Oxford University Press Inc Bizet
Book SynopsisToday Georges Bizet is most immediately recognized as the composer of the acclaimed opera Carmen. One of the most frequently performed operas for over a century, Carmen explores concepts such as the femme fatale and murderous jealousy with vivacity, color, and a wealth of melody. Yet it is only one act in Bizet''s story. In Bizet, renowned musicologist Hugh Macdonald goes beyond the composer''s most famous opera to take an in-depth look at his entire life and oeuvre. In so doing, Macdonald identifies a number of previously unknown pieces by Bizet, assembling the first comprehensive catalogue of the composer''s work. Incorporating these little-known pieces with a thorough reading of primary sources, Macdonald considers the latest in Bizet scholarship to create a complete biography of the composer. Revealing the true extent of Bizet''s work as arranger and transcriber, Macdonald sheds light on the composer''s complex relationships with his contemporaries, and traces the strange misrepresTrade ReviewThough best known as a distinguished Berlioz scholar, Hugh Macdonald now reveals himself as wearing a different French hat with no less aplomb. His fine new Master Musicians volume on Georges Bizet adds much to our knowledge of this deeply disappointed composer of operas * Musical Times, Andrew Thompson *One of Professor Hugh Macdonald's declared aims is 'to set the composer in the context of French music of the Second Empire', and this spledid biography proves that there is no one better qualifies for the task * BBC Music Magazine, Roger Nichols *Long meditated and meticulously documented, Hugh Macdonald's critical biography of Bizet will surely have no trouble being acclaimed as the definitine work on its subject * Rupert Christiansen, Literary Review *Table of ContentsPreface ; List of Illustrations ; 1 1838 - 1857: Le Docteur Miracle ; 2 1858 - 1860: Don Procopio ; 3 1860 - 1863: Les Pecheurs de perles ; 4 1864 - 1865: Ivan IV ; 5 1866 - 1867: La Jolie Fille de Perth ; 6 1868 - 1870: La Coupe du Roi de Thule ; 7 1870 - 1872: Djamileh ; 8 1872 - 1873: Don Rodrigue ; 9 1873 - 1875: Carmen ; 10 1875 - 2013: Life After Death ; Appendices ; A. Calendar ; B. List of Works ; C. Personalia ; D. Select Bibliography ; Index
£37.39
Oxford University Press The Essay Film
Book SynopsisEven though essay films have been a key practice since the 1950s, there is scant analysis about this form in English. Part of this is likely due to the inherent difficulty of definition. The films, which foreground subjectivity and adopt an explicit, personal approach to their subject matter, can look and feel very different from one another. Their coherence as a group, however, comes into focus when contextualized as part of the larger tradition from which they draw. By looking to the literary and philosophical lineage of the essay form, Corrigan brings new clarity to a practice that, arguably, is one of the most common and successful in contemporary film culture. The Essay Film situates its investigation in the literary tradition of essayists such as Montaigne, Barthes, and Huxley before moving to an expansive discussion of filmmakers such as Derek Jarman, Allan Clark, Werner Herzog, Harun Farocki, Chantal Akerman, Chris Marker, Errol Morris, Nanni Moretti, Agnès Varda, Ross McElwee,Trade ReviewThe editors have similarly assembled a diverse and interdisciplinary group of renowned authors and practitioners, focusing here on the essay film's heterogeneous forms and practices. As such, this volume is a welcome addition to a growing body of literature that investigates the place of subjectivity and "the personal" within documentary filmmaking. It should also be of interest to a range of humanities students and scholars, together with nonfiction and experimental filmmakers. * Tanya Goldman, Cinema Journal *The Essay Film is the most compelling and spirited monograph to surface yet on the topic. * Rick Warner, Critical Quarterly *For media artists, scholars and students of cinema, Corrigan's reflections offer a passionate and convincing testimony to the transformative power of the essay film. Not since I read Roland Barthes' Mythologies have I come across a book that provides such a strong articulation of the visual thinking process. * Lynne Sachs, filmmaker *Timothy Corrigan writes persuasively and vividly in offering up this coherent overview of the sprawling international phenomenon of the essay film. By providing a concise historical context, which ranges from Michel Montaigne to Michael Moore, he allows us to see the continuum and value of this idiosyncratic and vital form of expression. * Ross McElwee, Director, Sherman's March *Inventively and insightfully, Timothy Corrigan establishes the essay film as a cinematic form of 'thinking out loud.' His eloquent book provides something similar: it is a richly productive meditation on meanings that interweaves voices, subjectivities, and resonant reflection. This essential volume now determines future consideration of this key genre. * Dana Polan, author of Scenes of Instruction: The Beginnings of the U.S. Study of Film *Table of ContentsPART I: TOWARD THE ESSAY FILM; PART II: ESSAYISTIC THINKING
£40.84
Oxford University Press Choral Scores
Book SynopsisA companion volume to Denis Shrock's Choral Repertoire (Oxford 2009), Choral Scores is an anthology of music exemplifying distinctive choral repertoire by the most noteworthy composers throughout the history of Western music.Trade Review"...a valuable resource and rich testament to the Western choral tradition. Conductors, choral scholars, instructors, and students alike will find this scholarly book informative and rewarding..." - The American OrganistTable of ContentsIntroduction ; Acknowledgments ; The Medieval Era ; 1. Gregorian chant - Salve regina ; 2. Hildegard von Bingen - O viridissima virga ; 3. Guillaume de Machaut - Messe de nostre dame (Kyrie) ; 4. Johannes Ciconia - Venecie, mundi splendor / Michael, qui Stena domus / Italie, mundicie ; 5. John Dunstable - Quam pulcra es ; The Renaissance Era ; France ; 6. Guillaume Dufay - Missa L'homme arme (Kyrie) ; 7. Josquin Desprez - Missa de beata virgine (Agnus Dei) ; 8. Clement Janequin - Au joli jeu ; 9. Claude Goudimel - Ainsi qu'on oit le cerf bruire ; 10. Claude Le Jeune - Amour cruel que pense tu ; 11. Jan Pieterszoon Sweelinck - Or sus, serviteurs du seigneur ; Italy ; 12. Philippe Verdelot - Italia mia ; 13. Jacques Arcadelt - Io dico che fra voi ; 14. Cipriano de Rore - Ancor che col partire ; 15. Giovanni Pierluigi da Palestrina - Tu es Petrus - Quodcumque ligaveris ; 16. Giovanni Pierluigi da Palestrina - Missa Tu es Petrus (Kyrie) ; 17. Orazio Vecchi - Fa una canzona ; 18. Luca Marenzio - Leggiadre ninfe ; 19. Giovanni Giacomo Gastoldi - Amor vittorioso ; 20. Giovanni Gabrieli - Hodie Christus natus est ; 21. Carlo Gesualdo - Resta di darmi noia ; Spain and the New World ; 22. Cristobal de Morales - Magnificat primi toni (Anima mea) ; 23. Francisco Guerrero - A un nino llorando ; 24. Tomas Luis de Victoria - Vere languores nostros ; Germany and Austria ; 25. Heinrich Isaac - Innsbruck, ich muss dich lassen ; 26. Orlando di Lasso - Musica Dei donum optimi ; 27. Orlando di Lasso - Tutto lo di ; 28. Jacob Handl - Pater noster ; 29. Hans Leo Hassler - Dixit Maria ; 30. Michael Praetorius - Es ist ein Ros entsprungen ; 31. Melchior Franck - Meine Schwester, liebe Braut ; England ; 32. Thomas Tallis - If ye love me ; 33. William Byrd - Ave verum corpus ; 34. Thomas Morley - My bonny lass she smileth ; 35. John Dowland - Now, O now, I needs must part ; 36. Thomas Tomkins - O pray for the peace of Jerusalem ; 37. John Wilbye - Flora gave me fairest flowers ; 38. Thomas Weelkes - When David heard that Absalom was slain ; 39. Orlando Gibbons - Almighty and everlasting God ; The Baroque Era ; Italy ; 40. Claudio Monteverdi - Confitebor secondo ; 41. Claudio Monteverdi - Sfogava con le stelle ; 42. Giacomo Carissimi - Jonas (Peccavimus Domine) ; 43. Alessandro Scarlatti - Messa di S Cecilia (Sanctus) ; 44. Antonio Lotti - Crucifixus ; 45. Antonio Vivaldi - Gloria RV589 (Et in terra pax) ; France ; 46. Marc-Antoine Charpentier - In nativitatem Domini canticum H314 ; 47. Michel-Richard de Lalande - Super flumina Babylonis ; (Hymnum cantate nobis) ; Germany ; 48. Heinrich Schutz - Musikalische Exequien ; (Herr, wenn ich nur dich habe) ; 49. Samuel Scheidt - Angelus ad pastores ait SSWV13 ; 50. Dietrich Buxtehude - Das neugebor'ne Kindelein BuxWV13 ; 51. Johann Ludwig Bach - Das ist meine Freude ; 52. Georg Philipp Telemann - Uns ist ein Kind geboren TVWV1:1451 (Movement 1) ; 53a. Johann Sebastian Bach - B Minor Mass (Et incarnatus est) ; 53b. Johann Sebastian Bach - B Minor Mass (Crucifixus) ; 53c. Johann Sebastian Bach - B Minor Mass (Et resurrexit) ; 54a. Johann Sebastian Bach - Passio secundum Johannen (Ruht wohl) ; 54b. Johann Sebastian Bach - Passio secundum Johannen ; (Ach Herr, lass dein lieb Engelein) ; England ; 55. John Blow - Salvator mundi ; 56. Henry Purcell - Remember not, Lord, our offences ; 57. George Frideric Handel - Saul (How excellent thy name, O Lord) ; 58. Maurice Greene - Lord, let me know mine end ; Spain and the New World ; 59. Juan Gutierrez de Padilla - Versa est in luctum ; 60. Ignacio Jerusalem - Responsorio sequndo de SS Jose ; The Classical Era ; Austria and Germany ; 61. Joseph Haydn - The Creation (Achieved is the glorious work) ; 62. Michael Haydn - Salve regina MH634 ; 63. Wolfgang Amadeus Mozart - Requiem (Lacrimosa) ; 64. Franz Schubert - Die Nacht ; Italy ; 65. Luigi Cherubini - Requiem in C Minor (Graduale) ; 66. Gioachino Rossini - Stabat mater (Introduzione) ; The United States ; 67. William Billings - Chester ; The Romantic Era ; France ; 68. Hector Berlioz - La damnation de Faust (Apotheose de Marguerite) ; 69. Camille Saint-Saens - Calme des nuits ; 70. Gabriel Faure - Requiem (Agnus Dei) ; Italy ; 71. Giuseppe Verdi - Messa da Requiem (Sanctus) ; Austria and Germany ; 72. Ludwig van Beethoven - Mass in C Major op.86 (Kyrie) ; 73. Felix Mendelssohn - Elias (Siehe, der Huter Israels) ; Elijah (He, watching over Israel) ; 74. Robert Schumann - Minnespiel op.101 (So wahr die Sonne scheinet) ; 75. Franz Liszt - Ave verum ; 76. Anton Bruckner - Os justi ; 77. Johannes Brahms - Ein deutsches Requiem (Selig sind, die da Leid tragen) ; 78. Johannes Brahms - Waldesnacht, du wunderkuhle ; 79. Joseph Rheinberger - Abendlied op.69 no.3 ; 80. Antonin Dvo?ak -V p?irod? (Napadly pisn? v dusi mou) ; Russia ; 81. Anton Arensky - Otche nash ; 82. Aleksandr Grechaninov - Svete tihiy ; 83. Pavel Chesnokov - Duh tvoy blagiy ; 84. Serge Rachmaninoff - Vsenoshchnoye bdeniye (Bogoroditse devo) ; England ; 85. Hubert Parry - Songs of Farewell (My soul, there is a country) ; 86. Charles Villiers Stanford - Beati quorum via ; 87. Edward Elgar - As torrents in summer ; The United States ; 88. Lowell Mason - Nearer, my God, to thee ; 89. Edward MacDowell - The brook ; 90. Amy Beach - Three Shakespeare Choruses ; (Through the house give glimmering light) ; The Modern Era ; France and Switzerland ; 91. Claude Debussy - Trois Chansons de Charles d'Orleans ; (Dieu! qu'il la fait bon regarder) ; 92. Maurice Ravel - Trois Chansons (Nicolette) ; 93. Frank Martin - Mass (Agnus Dei) ; 94. Arthur Honegger - Le roi David (La mort de David) ; 95. Lili Boulanger - Vieille Priere bouddhique ; 96. Francis Poulenc - Quatre motets pour le temps de Noel ; (Hodie Christus natus est) ; 97. Maurice Durufle - Requiem (In paradisum) ; Austria and Germany ; 98. Arnold Schoenberg - Vier Stucke op.27 (Unentrinnbar) ; 99. Anton Webern - Entflieht auf leichten Kahnen ; 100. Paul Hindemith - Six Chansons (La biche) ; 101. Hugo Distler - Lobe den Herren op.6, I, no.2 ; Italy and Spain ; 102. Pablo Casals - O vos omnes ; 103. Luigi Dallapiccola - Sei cori di Michelangelo Buonarroti il giovane ; (Il coro delle malmaritate) ; Hungary, Poland, and the Czech Republic ; 104. Bela Bartok - Styri slovenske piesne (Na holi) ; 105. Zoltan Kodaly - Missa brevis (Kyrie) ; 106. Krzysztof Penderecki - Passio et mors domini nostri Jesu Christi secundum Lucam (Final scene) ; Russia and Estonia ; 107. Igor Stravinsky - Mass (Gloria) ; 108. Sergey Prokofiev - Aleksandr Nevsky (Aleksandr's Entry in Pskov) ; 109. Veljo Tormis - Laulusild ; 110. Arvo Part - Berliner Messe (Kyrie) ; Sweden, Norway, Denmark, and Finland ; 111. Jean Sibelius - Finlandia ; 112. Einojuhani Rautavaara - Suite de Lorca (Cancion de jinete) ; 113. Per Norgard - I hear the rain ; England ; 114. Ralph Vaughan Williams - Five English Folk Songs (The dark-eyed sailor) ; 115. Gustav Holst - Lullay my liking ; 116. Herbert Howells - Like as the hart desireth the waterbrooks ; 117. William Walton - Set me as a seal upon thine heart ; 118. Michael Tippett - A Child of Our Time (Deep River) ; 119. Benjamin Britten - A Ceremony of Carols (Wolcum Yole) ; 120. Thea Musgrave - On the Underground Set 1 (Benediction) ; 121. John Tavener - Hymn to the Mother of God ; The United States ; 122. Charles Ives - Three Harvest Home Chorales (Harvest Home #1) ; 123. Randall Thompson - The Peaceable Kingdom ; (The paper reeds by the brooks) ; 124. Vincent Persichetti - Flower Songs (Spouting Violets) ; 125. Daniel Pinkham - Four Elegies (At the round earths imagin'd corners) ; 126. Ned Rorem - Four Madrigals (Love) ; 127. Dominick Argento - Peter Quince at the Clavier (Movement IV) ; 128. Morten Lauridsen - Madrigali (Amor, io sento l'alma) ; 129. Eric Whitacre - Water Night ; Notes and Translations ; Genres ; Sources and Permissions ; Composer Index
£74.10
Oxford University Press The Sound of Broadway Music A Book of Orchestrators and Orchestrations A Book of Orchestrators and Orchestrations
Book SynopsisThe Sound of Broadway Music is the first book ever written about the virtually anonymous world of theatrical orchestrators and arrangers. Stocked with intriguing facts and juicy anecdotes, most of which have never before appeared in print, The Sound of Broadway Music brings fascinating and sometimes surprising new insight into the world of musical theatre.Trade ReviewSteven Suskin's six hundred and fifty pages of information substantiating the contribution of orchestrators to the music of Broadway is nothing less than jaw-dropping. Their working relationship with the composers of Broadway scores and directors of Broadway shows is fascinating in its detail. There can be no comparable feat of research more meticulous than this valuable addition to the history of American musical theater. * Hal Prince, director *Backstage has been the unwarranted space where the wondrous talent of orchestrators remained until now. Steven Suskin has meticulously opened the curtain so that this array of musical magicians can finally take their long overdue bow. May this composer be among the first to shout, 'Bravo!' * Jerry Bock, composer *Fans as well as musical theatre scholars will be forever indebted to Steven Suskin for this book. It's fascinating, entertaining and an essential addition to the literature of American musical theatre. * Michael Feinstein, composer, performer *Table of ContentsVerse: On Orchestrators and Orchestration ; Refrain: Men of Notes (And a Few Women, Too) ; I. The Dreyfus System ; II. Twelve Major Orchestrators ; III. Ghosts and Other Helpers ; IV. Valued Members of the Music Department ; V. Comparative Orchestrators ; Bridge: The Art of Orchestration ; VI. From Song to Stage ; VII. The Arrangement ; VIII. Overture ; IX. Meet the Colors ; X. And Then Comes the Orchestrator ; XI. The Orchestration ; XII. Putting it Together ; XIII. "Sweeney in the Pit with Steve" ; Final Refrain: What's the Score? ; XIV. About the Listings ; XV. The Listings ; XVI. Additional Shows by Other Orchestrators ; Coda ; Chronology ; Acknowledgements ; Sources and Bibliography ; Index
£48.45
Oxford University Press EXPERIENCE AND MEANING IN MUSIC PERFORMANCE
Table of ContentsAcknowledgements ; List of contributors ; About the companion web site ; Chapter 1. Introduction (Martin Clayton, Byron Dueck and Laura Leante) ; Chapter 2. Entrainment, ethnography and musical interaction (Martin Clayton) ; Chapter 3. Social co-regulation and communication in North Indian duo performances (Nikki Moran) ; Chapter 4. Groove: temporality, awareness and the feeling of entrainment in jazz performance (Mark Doffman) ; Chapter 5. Performing the Rosary: meanings of time in Afro-Brazilian Congado music (Glaura Lucas) ; Chapter 6. Performance and shame (Andy McGuiness) ; Chapter 7. Rhythm and role recruitment in Manitoban aboriginal vocal and instrumental music (Byron Dueck) ; Chapter 8. Imagery, gesture and listeners' construction of meaning in North Indian classical music (Laura Leante) ; Chapter 9. Embodiment and movement in musical performance (Martin Clayton and Laura Leante) ; References
£39.89
Oxford University Press Enrique Granados Poet Of The Piano
Trade ReviewClark tactfully addresses conspiracy theories surrounding the tragic death, including a far-fetched one, which claimed that England plotted the torpedo attack to lure America into the war. A compelling musical-historical panorama. * Newark Star-Ledger *Table of ContentsForeword by Alicia de Larrocha ; Preface to the Paperback Edition ; Abbreviations ; Map of Spain ; Preludio: Renaissance ; 1. A Born Pianist ; 2. The Emerging Composer ; 3. Works for Piano in a Central European Style ; 4. Teacher, Conductior, Organizer ; 5. Modernisme Catalan ; 6. Catalan Works with Texts by Apeles Mestres ; 7. La Maja de Goya ; 8. Goyescas ; 9. A World of Ideas ; Epilogo: The Legacy of Ideas ; Appendix 1: Genealogy ; Appendix 2: List of Works ; Notes ; Bibliography ; Index of Works ; General Index
£40.37
Oxford University Press Music Outside the Lines Ideas for Composing Music in K12 Music Classrooms
Book SynopsisMusic Outside the Lines both successfully reasons that music composition should be at the core of school music curriculum and also provides inservice and pre-service educators with an essential resource and compendium of practical tips and plans for fulfilling this goal.Trade ReviewThis book is unique in helping music educators recognize and appreciate children's remarkable musical intuitions. Maud Hickey teaches us how to nurture children's natural abilities for creative learning as they make music their own. * Jeanne Bamberger, Professor Emeritus of Music and Urban Education, MIT *Music Outside the Lines is an indispensable manual for teachers of K-12 and beyond for the long overdue integration of composition and improvisation in a deep, useful and beneficial level for all music courses. Hickey guides the reader into an irresistible process that is creative at the core. There are easily understandable exercises that will instill confidence in both the instructor and student. Those that go forward with this wonderful guidance will be richly rewarded. * Pauline Oliveros, Professor of Practice, Rensselaer Polytechnic Institute; Executive Director, Deep Listening Institute, Ltd. *Dr. Hickey has produced a superb volume that combines her expertise in children's compositional strategies with practical examples for classroom applications. * Harold F. Abeles, Co-Director, Center for Arts Education Research, Teachers College, Columbia University *I highly recommend this book for pre-service and in-service music educators interested in music composition pedagogy, as well as those more generally interested in effective music teaching and learning. * Music Education Research *Table of ContentsPreface ; Chapter 1 - Introduction ; Chapter 2 - The Issues ; Chapter 3 - Defining, Listening and Exploring ; Chapter 4 - Composition Prompts: freeiration and Identity ; Chapter 5 - Form in Music ; Chapter 6 - Musical Elements ; Chapter 7 - Big Elements ; Notes ; References ; Index
£42.27
Oxford University Press Loverly
Book SynopsisThis ground-breaking book considers one of the most popular musicals of all time, Lerner and Loewe's "My Fair Lady." Using previously-unpublished letters and documents, author Dominic McHugh presents a completely new behind-the-scenes look at the creation of the show, revealing the tensions that went into the making of this beloved musical.Trade ReviewThere has been a welcome growth in the study of famous Broadway musicals and Dominic McHugh's Loverly is an important and absorbing addition to the literature. It is rooted in an impressively detailed consideration of the sources but wears its scholarship lightly and engagingly ... This beautifully written and scrupulously researched book deserves the warmest possible recommendation and it's essential reading for anyone with a serious interest in Broadway musicals. * Nigel Simeone, International Record Review *Table of ContentsCONTENTS ; Chapter 1: False Starts and Artistic Promise ; Chapter 2: From Page to Stage: The Genesis of My Fair Lady ; Chapter 3: Shavian But Not Shaw: Developing the Script of My Fair Lady ; Chapter 4: Knowing the Score ; Chapter 5: Settling the Score: Part I ; Chapter 6: Settling the Score: Part II ; Chapter 7: My Fair Lady On Stage ; Chapter 8: The Legacy of My Fair Lady ; Appendix 1: "Without You" (early versions) ; Appendix 2: "Why Can't the English?" ; Appendix 3: "On the Street Where You Live" ; Appendix 4: Cut material from "The Ascot Gavotte" ; Appendix 5: "You Did It": Cut passage ; Bibliography ; Index
£42.27
Oxford University Press Assimilate A Critical History Of Industrial Music
Book SynopsisIn Assimilate, S. Alexander Reed provides the first ever critical history of industrial music. Through a series of revealing explorations of works spanning the entirety of industrial music's past, and drawing on extensive interviews, Reed paints a thorough historical picture that includes not only the bands, but the structures that supported them, and the scenes they created.Trade ReviewAssimilate succeeds in providing an absorbing and extensive introduction to the industrial scene. * Rob Upton, University of Nottingham, Music and Letters *Well-written and impeccably researched, Assimilate is worth a look not only by music fans looking to learn about this industrial wall of sound, but also by scholars of pop culture wondering why the kids feel the way they do. * Electric Review *Table of ContentsIntroduction ; 1. A Fading Vision Lost in Time ; 2. The Pan-Revolutionary ; 3. The "I"-Word ; Part 1: Technology and the Preconditions of Industrial Music ; I. Italian Futurism ; 1. Industry ; 2. The Aesthetics of the Machine ; 3. Crash ; II. William S. Burroughs ; 1. Junkie ; 2. The Control Machines ; 3. Brainwashing and the Conflation of Authority ; 4. Mediatic Verses ; 5. The Cut-Up ; 6. Process as Composition ; 7. Media ; 8. Techno-Ambivalence ; III. Industrial Music and the Avant-Garde ; 1. Noise and Revisionism ; 2. The Revolutionary Class ; Part 2: Industrial Geography ; IV. Northern England ; 1. Progress in Hell ; 2. The Original Sound of Sheffield ; 3. Meatwhistle and ClockDVA ; 4. Throbbing Gristle ; 5. Manchester in the Shadow of War ; V. Berlin ; 1. An Island Out of This Planet ; 2. Strategies Against Architecture ; 3. German-ness ; 4. Ingenious Dilettantes ; 5. West Germany Beyond Berlin ; VI. San Francisco ; 1. Madness in Any Direction, at Any Hour ; 2. Monte Cazazza and Self-Propaganda ; 3. Z>'ev and Survival Research Laboratories ; 4. Factrix and Chrome ; VII. Mail Art, Tape Technology, and the Network ; 1. Fluxus and UFOs ; 2. A History of Tape Trading ; 3. Taping as a Political Act ; 4. The Eternal Network ; 5. A Virtual Scene ; Part 3: Industrial Music as Music ; VIII. The Tyranny of the Beat: Dance Music and Identity Crisis ; 1. Those Heady Days of Idealism Are Over ; 2. Irony ; 3. Technology and Rhythm ; 4. Futurist Pop ; 5. Pleasure ; 6. Industrial Identity ; IX. <"After Cease to Exist>": England 1981-1985 ; 1. The Mission is Terminated ; 2. London ; 3. Beyond London ; X. Body to Body: Belgian EBM 1981-1985 ; 1. A Satellite State ; 2. Luc Van Acker ; 3. Front ; 4. Musical Order ; 5. Bodily Order ; XI. Industrial Music as a Theatre of Cruelty ; 1. Artaud-Damaged ; 2. Theatricalities of All Kinds ; XII. "She's a Sleeping Beast": Skinny Puppy and the Feminine Gothic ; 1. From Pop to Puppy ; 2. Vancouver's Fertile Ground ; 3. Disrupting Maleness ; 4. The Feminine Gothic ; Part 4: People and Industrial Music ; XIII. Wild Planet: WaxTrax! Records and Global Dance Scenes ; 1. Industrial Music and the Mainstream ; 2. The Beginnings of WaxTrax! ; 3. Ministry ; 4. Mixing and Merging ; 5. The Business of Chaos ; 6. Clubbing and Participatory Culture ; 7. New Beat ; 8. The WaxTrax! Heyday ; XIV. Q: Why Do We Act Like Machines? A: We Do Not. ; 1. Pretty Hate Machine ; 2. Industrial Harmony ; 3. Language, the Self, and Gender ; 4. Get Me an Industrial Band ; 5. Resembling the Machine ; XV. Death ; 1. Death as Event ; 2. Death as Metaphor ; 3. Death as Fashion ; 4. New Life ; XVI. Wonder ; 1. Covenant and the Ubiquitous Sublime ; 2. Apoptygma Berzerk and the Spontaneous Sublime ; 3. VNV Nation and the Unthinkable Sublime ; 4. The Futurepop Backlash ; 5. Clubbed to Death ; 6. The Longevity of Industrial Bands ; 7. Industrial Music Is Dead? ; Part 5: Meaning and Revolution ; XVII. Back and Forth: Industrial Music and Fascism ; 1. Extremism as the Norm ; 2. Silent Politics ; 3. Loud Apolitics ; 4. The Effects of Fascism's Spectre ; 5. Fascist Assimilation ; 6. The Hidden Reverse ; XVIII. White Souls in Black Suits: Industrial Music and Race ; 1. Whiteness ; 2. The Inheritance of Blues, Jazz, and Dub ; 3. Exotica, Caricature, and the Techno-Oblivious ; 4. Technology and Racial Engagement ; 5. Black and White ; 6. Repetition and the English Ballad ; XIX. Is There Any Escape for Noise? ; 1. Unpalatable Truths ; 2. The First Two Options ; 3. Transgression as Law ; 4. The Future Happened Already ; 5. Pleasure, Flag Planting, and Revolution ; 6. The Third Mind
£30.87
Oxford University Press Cinema by Other Means
Book SynopsisCinema by Other Means explores an extraordinary history, stretching from the 1910s to the present: it is a study of various avant-garde endeavors to practice the cinema by using the tools, the materials, the technology, and the techniques, which either modify or are entirely different from those associated with the standard film apparatus. Using examples from both the historical and the post-war avant-garde--Dada, Surrealism, Letterism, structural-materialist film, and more--the book tells the tale of the multiple conditions of cinema; of a range of peculiar and imaginative ways in which filmmakers, artists, and writers have pondered and created, performed and transformed, the movies--with or without directly grounding their work in the materials of film.Throughout, Levi considers works by filmmakers, artists, and theorists from all over Europe--France, Italy, Soviet Union, Germany, Hungary--with a special emphasis on the Yugoslav avant-garde. This is the first study to offer the EngliTrade ReviewIn 1968, while exhibiting American avant-garde films in Europe, I discovered that the Yugoslavian experimental cinema was at once the most sophisticated and least known in Europe. At long last, it has found its exponent and brilliant exegete in Pavle Levi. Cinema by Other Means is an invaluable contribution to film history. * P. Adams Sitney, Princeton University *Here is a work of truly original thought and research, drawn from material not merely unfamiliar, but hitherto unsuspected of existing by scholars of film, of literature, and the visual arts. Drawing upon material exhumed from within the texts and images of modernism's expansion throughout Europe from 1900 on, Pavle Levi maps and analyzes an unexamined mode of the cinematic. * Annette Michelson, New York University *Table of ContentsPreamble ; 1. Film, Or the Vibrancy of Matter ; 2. On Re-materialization of the Cinematographic Apparatus ; 3. Written Films ; 4. Notes Around General Cinefication ; 5. Whither the Imaginary Signifier? ; 6. The 'Between' of Cinema ; Index
£37.52
Oxford University Press Playing Beyond the Notes A Pianists Guide To Musical Interpretation
Book SynopsisThis book demystifies the complex topic of musical interpretation by boiling it down to basic principles in an accessible writing style. The book targets pianists, piano teachers, and piano pedagogy students and incorporates over 200 musical examples from the intermediate and advanced piano repertoire.Trade ReviewI find the book by Deborah Rambo Sinn a most valuable addition to the library of a performer, teacher, and music lover. It is in my opinion a must for any music shelf. * Menahem Pressler, Distinguished Professor of Music, Indiana University, pianist of Beaux-Arts Trio, and soloist *Deborah has written an amazingly thorough compendium of the pianist's interpretive dilemmas. With precision, insight, and a strong dash of unique humor, she has addressed complex issues in a highly understandable way - providing an excellent resource for performers, teachers, and students! * Timothy Shafer, Professor of Piano, Penn State University *A useful and intelligently written book and seems to represent years of accumulated teaching wisdom. Sinn is tireless in the pursuit of solving passages unto the last sixteenth note, and often refreshingly precise in her explanations...Will allow teachers and students to think analytically about common interpretive situations at the piano. * College Music Symposium *A perfect resource book (aka tool) for the studio teacher or for teen and adult students. It is written clearly, without either pretension or condescension and with detail but not great length...You can find a specific piece of advice or answer to a question, or, you can immerse yourself and read the entire book from cover to cover. Since it is intended as a textbook, it is perfect for studio group lessons as well...This book is a keeper! * PianoAddict.com *Table of ContentsAbout the Companion Website ; Musical Examples and Illustrations ; Acknowledgements ; Introduction ; 1. The Score ; 2. Getting Started ; 3. The End ; 4. Dreadful Boxes and Beams ; 5. Voicing from the Bottom Up ; 6. Messy Basses ; 7. Ornamentation: Understanding the Small Print ; 8. Rubato: Stealing as an Art ; 9. Deconstructing Phrases ; 10. Transitions: Getting from Here to There ; 11. "Staccato Means Short" and Other Myths ; 12. Pedaling ; Afterword ; Glossary ; Common Stylized Dances or Dance-Related Forms ; Further Reading ; Index
£27.07
Oxford University Press Inc PSYCHOCINEMATICS C Exploring Cognition at the Movies
a huge range and FREE tracked UK delivery on ALL orders.
£115.00
Oxford University Press Meeting Jimmie Rodgers How Americas Original Roots Music Hero Changed The Pop Sounds Of A Century
Trade ReviewThe story of Rodgers' enormous influence, bursting with names of stars, stalwarts, and one-hit wonders, and featuring discographical endnotes for most chapters, is the immensely piquant and satisfying meat of one of the most intelligent, fascinating, and cogent pop-music histories ever. * BookList (Starred Review) *Table of ContentsTable of Contents ; Introduction: Meeting Jimmie Rodgers HalfWay ; 1. The Man Who Walked Into Southern Show Business ; 2. Close to the Ground: The Singing Brakeman ; 3. America's Blue Yodeler No. 1: This White Guy Sings Blues, Too ; 4. America's Blue Yodeler No. 2: Instigator of Blue Yodelmania ; 5. International Multimedia Star ; 6. Doomed Singer-Songwriter with Guitar ; 7. Aftermath: The Late, Great Jimmie Rodgers ; 8. South by Southwest: An Easterner in a Cowboy Hat ; 9. Back East: The Hillbilly Echo, 1933-1947 ; 10. Some Sort of Folksinger? ; 11. The Father of Country Music ; 12. Rough and Rowdy Ways: To the Rock and Roll Hall of Fame ; 13. Sentiments in Context: The Return of Vaudeville Jimmie ; 14. High-Powered Mamas: Women & the Music of Jimmie ; 15. Down the Old Road to Home ; Acknowledgments ; Notes ; Bibliography ; Credits ; Index
£28.97
Oxford University Press, USA The Organ and Its Music in GermanJewish Culture
Book SynopsisThe Organ and Its Music in German-Jewish Culture examines the powerful presence of the organ in synagogue music and in the general musical life of German-speaking Jewish communities in the 19th and 20th centuries. It explores the development of a new organ music repertoire as a paradigm for the changing identity of modern Jewry.Trade ReviewThis groundbreaking and engaged study is really two books in one: the story of modern Jewry's growing interest in the organ, combined with a fresh look at music in German Jewish culture. It's solid and satisfying on both counts. * Mark Slobin, Professor of Music, Wesleyan University, and author, Fiddler on the Move: Exploring the Klezmer World *Table of Contents1 The Organ, Jewish Music, and Identity ; 2 Jewish "Curiosities": The Organ in Judaism Before 1800 ; * The Jewish Literature of Early Modernity ; * Pictorial Sources of Different Cultural and Religious Provenance ; * Meshorerim as the Forerunners of Organ Accompaniment ; * The Synagogues of Prague and Venice ; 3 The Organ as a Jewish Religious Response to Modernity ; * From Liturgical Reforms to a New Musical Identity ; * The Synagogue Organ in the Context of Organ Building Traditions ; * Intermezzo: Sharing the Console-The Synagogue Organist ; * The Synagogue Organist in the Framework of Christian Traditions ; * Organists at the New Synagogue in Berlin ; * The Impact of the Organist Question ; 4 Organ Music in Jewish Communities ; * From Lewandowski to Schalit: The Stylistic Development of Jewish Organ Music ; * Departure and Destruction: Organ Music in the "Spiritual Ghetto" ; 5 The Aftermath of Emigration ; * Limitations in the "Land of Opportunity" ; * The Organ in Israeli Culture-A Bridge between East and West ; 6 Between Assimilation and Dissimilation: The Jewish Community in the Course of Modernity ; Notes, Bibliography, Index-Names, Index-Places
£32.77
Oxford University Press, USA Music the British Military in the Long Nineteenth Century
Book SynopsisThe first book to explore the contribution made by the military to British music history, Music & the British Military in the Long Nineteenth Century shows that military bands reached far beyond the official ceremonial duties they are often primarily associated with and had a significant impact on wider spheres of musical and cultural life.Trade ReviewThe meticulous and exhaustive research, enormous depth of experience, and exemplary clarity infomring Herbert and Barlow's account turn the British aristocracy and even royalty from philistines into diachronic patrons of music...This book is a magnificent achievement. * CHOMBEC News, Univeristy of Bristol *Table of ContentsAcknowledgements ; Historical preface ; Introduction ; Chapter 1 Trumpets, drums and fifes ; Chapter 2 Bands of musick ; Chapter 3 Soldiers and musicians ; Chapter 4 Musical identities and infrastructures 1770-1857 ; Chapter 5 Military music in the British provinces 1770-1840 ; Chapter 6 Recruitment, training and the Kneller Hall project ; Chapter 7 Amateurs, brass bands and the 1859 Rifle Volunteers ; Chapter 8 Concerted performances and instrumentation ; Chapter 9 Military culture, the music profession and the question of status ; Chapter 10 Ritual, performance style and musical patriotism ; Chapter 11 The empire and other foreign fields ; Appendix 1 Regulations, standing orders and circular memoranda, etc., addressing ; music ; Appendix 2 Printed (Harmonie) repertoire for bands of music, c.1800, an indicative ; list ; Appendix 3 The Duke of Cumberland's Band Archive ; Appendix 4 Indicative list of band instrumentations in the late eighteenth and ; nineteenth centuries ; Appendix 5 The objects of the Military School of Music ; Bibliography
£92.15
Oxford University Press, USA Piano Sonata in A Major Op 101 Beethovens Last Piano Sonatas An Edition with Elucidation Volume 4
Table of ContentsAbout the Companion Website ; Editor's Preface ; Foreword ; Preliminary Remarks ; First Movement ; Second Movement ; Third Movement ; Editions ; Bibliography of Cited Works by Heinrich Schenker ; Bibliography of Cited Works by Other Authors ; Index
£77.90
Oxford University Press Understanding French Verse A Guide For Singers
Table of Contents1. Why This Guide? ; 2. The Basics of the French Line ; 3. Common French Meters ; 4. Stanzas ; 5. Sonnets, rondels, and other fixed forms ; 6. Rhyme ; 7. Free verse ; Appendix 1: Commentaries on four poems ; Adieux de l'hotesse arabe ; Le colibri ; En sourdine ; Montparnasse ; Appendix 2: Pomes and songs discussed in the guide ; Appendix 3: A brief history of French versification ; Glossary of technical terms ; Notes ; Suggestions for further reading ; Index
£37.99
Oxford University Press J. S. Bach at His Royal Instrument
Book SynopsisIn J. S. Bach at His Royal Instrument, author Russell Stinson delves into various unexplored aspects of the organ works of Johann Sebastian Bach. Drawing on previous research and new archival sources, he sheds light on many of the most mysterious aspects of these masterpieces, and their reception, and shows how they have remained a fixture of Western culture for nearly three hundred years.Trade ReviewA wonderfully readble work of high scholarship ... Anyone with a serious interest in Bach should certainly engage the book carefully and in depth. * Jonathan B. Hall, The American Organist *Table of ContentsContents ; INTRODUCTION ; ONE ; Studies and Discoveries ; TWO ; Bach and the Varied Stollen ; THREE ; Some Observations on Mendelssohn's Reception of Bach's Organ Works ; FOUR ; Bach's Organ Works and Schumann's Neue Zeitschrift ; FIVE ; Cesar Franck as a Receptor of Bach's Organ Works ; Franck's Performances of Bach's Organ Works ; Matters of Pedagogy ; Franck's Compositional Responses to Bach's Organ Works ; SIX ; Edward Elgar as a Receptor of Bach's Organ Works ; Elgar as Bach Interpreter ; Elgar as Bach Devotee and Bach Critic ; Elgar's Bach Transcriptions ; SEVEN ; Aspects of Reception from Bach's Day to the Present ; The Six Trio Sonatas, BWV 525-30 ; The Prelude and Fugue in D Major, BWV 532 ; The Prelude and Fugue in E Minor, BWV 533 ; The Toccata and Fugue in F Major, BWV 540 ; The Fantasy and Fugue in G Minor, BWV 542 ; The Six Great Preludes and Fugues, BWV 543-48 ; The Prelude and Fugue in E-flat Major, BWV 552 ; The Toccata, Adagio, and Fugue in C Major, BWV 564 ; The Toccata and Fugue in D Minor, BWV 565 ; The Fantasy in G Major (Piece d'Orgue), BWV 572 ; The Passacaglia in C Minor, BWV 582 ; <"Ich ruf zu dir, Herr Jesu Christ,>" BWV 639 ; <"Herzlich tut mich verlangen,>" BWV 727 ; APPENDIX 1 ; APPENDIX 2 ; LITERATURE CITED
£55.10
Oxford University Press How to Write for Percussion A Comprehensive Guide to Percussion Composition
Book SynopsisHow to Write for Percussion is a comprehensive resource that clearly explains and simplifies all issues that percussionists and composers face with respect to each other.Trade Review"This is simply the best book on composing for percussion music out there. Solomon anticipates every question that a composer might have concerning the practical, physical and expressive ramifications of making sound by hitting things. The previous version was a fixture on my desk and this new edition with its media upgrades will be my manual for teaching."--Steven Mackey, Professor of Music, Princeton University, Grammy Award-winning composer "Percussion isn't a particular thing; it is a lifetime of learning that can never be completely known. Mr. Solomon's deeply thoughtful work is essential to my work, an invaluable guide, an extraordinary accomplishment."--Matthew Duvall, multi-Grammy-winning percussionist with eighth blackbird "Here is a volume which is truly practical, for Sam Solomon is a very fine performer and writes from a practitioner's point of view, giving advice which is invaluable to all of us...This is a "musician's book" and a true contribution to the literature of orchestration."--Samuel Adler, Professor Emeritus, Eastman School of Music, Excerpt from the Foreword to How To Write For Percussion (First Edition)Table of ContentsTable of Contents Introduction How This Book is Organized Instruments Covered Working with Percussionists Location Specifics The Value of Not Reading This Book 1. General Framework A Dysfunctional Family Comparison of Family Relationships The Problem of Pitch The Pitches of Percussion The Validations and Limitations of Novelty Three Methods for Indeterminately Pitch Instruments The Written/Improv Divide Expanding the Color Palette (to Shrink the Setup) The Value of Improvised and Non-Notated Music Social Composition Write for People, Not Sounds Write What is Wanted, Not What To Do Working with Percussionists 2. General Logistics Instrument Choice and Management Six Stories, Three Sad and Three Happy Why Use Fewer Instruments? How to Consolidate Inexpensive Instruments Exotic Instruments Electronic Percussion Multiple Options for a Specified Instrument Instruments Percussionists May Not Play Multiple Percussionists Section Setup Orchestra Wind Ensemble Broadway Pit Drum Corps and Marching Bands Specialists Non-Percussionists Playing Percussion Chairs and Stands Issues of Playability Excessive Polyphony How Fast Percussionists Can Play Unidiomatic Writing-Music that Often Requires Memorization Dynamics Reaching Instruments Instruments with Pedals Physical Exertion and Shaking Working with Headphones or Headset Microphones 3. General Notation Basics of Percussion Parts and Scores Instrument List Instrument Key Setup Diagram Language Parts Cues Percussion in the Conductor's Score Dynamics Designing a Notational System Clefs Staves Noteheads Mixing Determinately and Indeterminately Pitched Instruments Key Signatures What Goes Where on the Staff The Chicken or the Egg? Unspecified Instruments (Indeterminate Instrumentation) How Much to Notate Systems of Notation for Which There is No Standard Return to a "Normal" Method of Playing Note Length, Articulation, and Phrasing Note Length Chart Exact or Inexact Note-Length Indications Muting (Muffling, Dampening) Dead Stroke Damper Pedals Rolls Notations that are Not Recommended Symbol Notation Altered Keyboard Notation (Timbre-Staff) 4. Beaters To Indicate or Not to Indicate? Beater Lingo Logistical Beater Issues Sticks Mallets Triangle Beaters, Knitting Needles Brushes Rute Chime Hammers Superball Mallet Beaters as Instruments Hands Bows 5. Keyboard Percussion Ranges and Construction Writing for Keyboard Percussion Stacked Instruments Multiple Players Extended Techniques Miscellaneous 6. Drums Sticks on Drums Mallets on Drums Hands on Drums Playing on the Rim or Shell Beating Spot Mutes Pitch Bending Drum Size Two-Headed Drums Multiple Drums in Setups Idiomatic Writing for Drums Timpani Tom-toms Snare Drum, Field Drum, Tenor Drum Concert Bass Drum, Pedal Bass Drum Bongos, Congas Timbales Roto-Toms Frame Drums Tambourines Djembe, Doumbek Boobams Drumset 7. Metal Cymbals Gongs Finger Cymbals Cowbells, Almglocken Temple Bowls, Mixing Bowls Brake Drums, Metal Pipes, Anvils, Bell Plates Thundersheet Junk Metal, Tin Cans, Pots and Pans Ribbon Crasher Spring Coil Church Bells Hand Bells Steel Drums Tambourines Sleighbells Metal Wind Chimes, Mark Tree, Bell Tree Flexatone Extended Techniques 8. Wood Woodblocks, Templeblocks, Log Drum Wooden Planks Wood Drums, Wooden Boxes, Cajón, Mahler Hammer Claves Castanets Rute Guiro Slapstick Ratchet Bamboo Wind Chimes 9. Miscellaneous Instruments Bottles Cabasa Conch Shell Crystal Glasses Maracas, Shakers Rainstick Rice Bowls, Flower Pots Sandpaper Blocks Sirens String Drum, Cuica Stones, Prayer Stones Thumb Piano Vibraslap Wind Chimes Whistles Wind Machine Appendix A. Repertoire Analysis Percussion Ensemble Edgard Varèse, Ionisation (1929-31) John Cage, Constructions (1939-1942) Iannis Xenakis, Persephassa (1969) Steve Reich, Drumming (1970-71) Steve Mackey, It is Time (2010) John Luther Adams, Inuksuit (2009) Ryan Streber, Cold Pastoral (2004) Nico Muhly, Ta & Clap (2004) Adam Silverman, Naked and On Fire (2011) Paul Lansky, Travel Diary (2007) Orchestral Bela Bartók Sergei Prokofiev Maurice Ravel Gustav Mahler Dmitri Shostakovich Leonard Bernstein Carl Nielsen Jean Sibelius Wind Ensemble Smaller Mixed Ensemble John Adams, Chamber Symphony (1992) Stephan Hartke, Meanwhile (2007) Jacob Druckman, Come Round (1992) Charles Wuorinen, New York Notes (1982) Pierre Boulez, Sur Incises (1996/1998) Percussion Solo-Drums Michio Kitazume, Side by Side (1991) Elliott Carter, Eight Pieces for Four Timpani (1950/1966) Casey Cangelosi, Meditation No. 1 (2011) Percussion Solo-Keyboards Jacob Druckman, Reflections on the Nature of Water (1986) Paul Simon, Amulet (2008) Steve Mackey, See Ya Thursday (1992) Steve Swallow/Gary Burton, I'm Your Pal/Hullo Bolinas Donald Martino, Soliloquy (2003) Percussion Solo-Multi-Percussion Iannis Xenakis, Psappha (1975) David Lang, Anvil Chorus (1991) Roger Reynolds, Watershed (1995) Four Pieces for "Setup #1" Nico Muhly, It's About Time (2004) Michael Early, Raingutter (2007) Marcos Balter, Descarga (2006) Judd Greenstein, We Shall Be Turned (2006) Percussion Concerto James MacMillan, Veni Veni Emmanuel (1992) Einojuhani Rautavaara, Incantations (2008) Steven Mackey, Micro-Concerto (1999) Orchestrating Native Sounds Appendix B. Sample Setups Appendix C. Extended Techniques Return to a "Normal" Method of Playing Manipulations of Timbre Striking Unusual Parts of an Instrument Unusual Usage of Beaters Dead Stroke Beating Spot Bowing Friction Roll Scrape Prepared Instruments Pitch Bending Vibrato Adding Mass Sympathetic Resonance Clusters Harmonics Appendix D. Pitch Specification Appendix E. Dynamics Appendix F. Register Appendix G. Beaters Appendix H. Percussion Family Tree Pitch Clarity Chart Note Length Chart Register Chart Sound Production Chart The Percussion Family Tree
£38.47
Oxford University Press Inc Refining Sound A Practical Guide to Synthesis and Synthesizers
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£133.00
Oxford University Press Refining Sound
Book SynopsisRefining Sound is a practical roadmap to the complexities of creating sounds on modern synthesizers. As author, veteran synthesizer instructor Brian K. Shepard draws on his years of experience in synthesizer pedagogy in order to peel back the often-mysterious layers of sound synthesis one-by-one. The result is a book which allows readers to familiarize themselves with each individual step in the synthesis process, in turn empowering them in their own creative or experimental work. The book follows the stages of synthesis in chronological progression, starting readers at the raw materials of sound creation and ultimately bringing them to the final polishing stage. Each chapter focuses on a particular aspect of the synthesis process, culminating in a last chapter that brings everything together as the reader creates his/her own complex sounds. Throughout the text, the material is supported by copious examples and illustrations as well as by audio files and synthesis demonstrations on a related companion website. Each chapter contains easily digestible guided projects (entitled Your Turn sections) that focus on the topics of the corresponding chapter. In addition to this, one complete project will be carried through each chapter of the book cumulatively, allowing the reader to follow - and build - a sound from start to finish. The final chapter includes several sound creation projects in which readers are given types of sound to create as well as some suggestions and tips, with final outcomes is left to readers'' own creativity. Perhaps the most difficult aspect of learning to create sounds on a synthesizer is to understand exactly what each synthesizer component does independent of the synthesizer''s numerous other components. Not only does this book thoroughly illustrate and explain these individual components, but it also offers numerous practical demonstrations and exercises that allow the reader to experiment with and understand these elements without the distraction of the other controls and modifiers. Refining Sound is essential for all electronic musicians from amateur to professional levels of accomplishment, students, teachers, libraries, and anyone interested in creating sounds on a synthesizer.Trade ReviewShepard employs an inviting and accessible writing style to explain advanced topics in a way that is easy to understand. This book demystifies many of the topics of synthesis that can be confusing to people. * VJ Manzo, Assistant Professor of Music Technology, Worcester Polytechnic Institute, and author of Max/MSP/Jitter for Music *Refining Sound is an approachable introduction to the secrets of synthesis. The companion website is chock full of tutorials, making this well organized book a handy reference for either self-study or in a course. * Mary Simoni, Ph.D., Professor Emerita, University of Michigan, Dean, Rensselaer Polytechnic Institute *In Refining Sound, Brian Shepard provides a deeply valuable and sorely needed resource for the musician seeking to understand sound design. In clear language, he thoroughly explains and illustrates concepts that could be tedious and overwhelming for most readers, and does so from the perspective of the musician rather than the mathematician or physicist. I'm sure we will use this book as the primary text in our synthesis classes for years to come. * Scott L. Phillips, PhD, Co-director of Music Technology, The University of Alabama at Birmingham *Brian K. Shepard's book on synthesizers and synthesis is one of those rare volumes which is comprehensive in its explanations of the history of synthesizers and electronic music in general that makes for a jolly good read. For enthusiasts and professionals alike, this book is the best I've read in years. Thoroughly recommended. * J. Peter Robinson, Composer *Table of ContentsForeword ; Preface ; Acknowledgements ; About the Companion Website ; Introduction: Getting the Most Out of This Book ; 1: Synthesis and Synthesizers: Digging Beneath the Surface of Your Synthesizer ; 2: Oscillators: Mining the Raw Materials of Your Synthesizer ; 3: Oscillator Combinations: Creating Exotic Compounds from Your Raw Materials ; 4: Amplitude Envelope Generators: Shaping Your Sounds ; 5: Audio Filters: Refining the Color of Your Sounds ; 6: Internal Modulation Sources: Dynamic Shaping of Your Sounds ; 7: External Control Sources: Shaping Your Sounds with Playing Techniques ; 8: Effects Processors: Polishing Your Sounds ; 9: Putting It All Together: Creating and Refining Your Own Synthesized Sounds ; Appendix I: Further Reading and Information ; Appendix II: Suggestions for the Instructor ; Index
£45.59
Oxford University Press Piano Lessons with Claudio Arrau A Guide To His Philosophy And Techniques
Book SynopsisInternationally acclaimed pianist and teacher Claudio Arrau (1903-91) left a legacy that continues to touch piano students today. This book is an in-depth guide to Arrau's performance and teaching techniques, providing an insider's view of the art of piano playing as exemplified by one of the great artists of the twentieth century.Trade ReviewThis engaging book is of indispensable importance to students and professionals. It clarifies the development of the physical approach to the keyboard and the musical demands imposed by the evolution of the instrument. Using countless valuable references and details never before seen in one publication, Victoria von Arx documents Claudio Arrau's teachings and his use of the body in a natural way without ever losing musical depth. * DLMaestro German Diez *In this well-researched and important book, Victoria von Arx illustrates the teaching legacy of Claudio Arrau, capturing the great inspiration as well as the precise technical instruction communicated by this giant of the piano. * DLEna Bronstein Barton, Westminster College of the Arts, Rider University *...A much-deserved, revealing tribute. * Internationa Piano *Table of ContentsIntroduction ; SECTION 1: ARRAU'S PREDECESSORS ; Chapter 1 Martin Krause ; Chapter 2 Arrau and the Lisztian Legacy ; Chapter 3 Rudolf Breithaupt ; Section 2: TECHNIQUE ; Chapter 4 Arrau's Concept of Technique and Virtuosity ; Chapter 5 The "Arrau Technique" ; 5.1 Hand and Wrist Position ; 5.2 The Fingers ; 5.3 Dropping the Arm ; 5.4 Pushing the Arm Up ; 5.5 Reciprocal Vertical Motion ; 5.6 Vibration ; 5.7 Rotation ; 5.8 Circular Motion ; 5.9 Fingering and use of the Thumb ; Section 3: TEACHING ; Chapter 6 Arrau's Collaboration with Rafael De Silva: A Community of Learners ; Conclusion ; APPENDIX: LESSONS ; 1. Frederic Chopin: Ballade no. 2 in F major, Op. 38 ; mm. 1-46 ; mm. 38-83 ; mm. 79-170 ; mm. 169-end ; 2. Ludwig van Beethoven: Sonata in A-flat major, Op. 110 ; Moderato cantabile, molto espressivo ; Allegro molto ; Adagio ma non troppo ; Fuga - Allegro, ma non troppo ; 3. Maurice Ravel: Gaspard de la nuit ; Scarbo mm. 1-119 ; mm. 119-220 ; mm. 232-332 ; mm. 332-end ; 4. Maurice Ravel: Gaspard de la nuit ; Ondine mm. 1-41 ; mm. 41-49 ; mm. 49-70 ; mm. 70-80 ; 5. Ludwig van Beethoven: Fifteen Variations with Fugue, Op. 35 ; "Eroica" ; 6. Richard Strauss: Burleske, TrV 145 ; Bibliography ; Index
£45.59
Oxford University Press Mixing and Mastering in the Box
Book SynopsisMixing and mastering, the two final steps in the complex process of sound engineering, require both artistic finesse and technical facility. Even the slightest difference in the way a sound is processed can lead to a shift in the overall aesthetic of a piece, and so sound engineers must work towards an understanding of sound engineering that is particularly oriented towards the artistic and aesthetic. In order to create effective mixes, a sound engineer must maintain a distinct set of artistic goals while drawing on an in-depth understanding of the software involved in the process. Creating final masters requires specialized aural skills and a similarly advanced understanding of the software in order to fine-tune the product with respect to these goals. Mixing and Mastering in the Box addresses the practical and technological necessities of these two final steps without neglecting the creative process that is integral to the creation of high-quality recordings. Savage focuses primarilyTrade ReviewSteve Savage is not only a superb music producer, mixer and mastering engineer, but also an excellent educator and communicator. His books manage to cover the most complex aspects of music production in a manner that is engaging and clear, bringing expert insight to both beginners and advanced music makers. Steve manages to find a perfect blend between discussing the creative and technical aspects of music technology, whilst keeping things concise, relevant and up to date. Everyone interested in creating and producing music can learn something from Steve Savage! * Dr. Rob Toulson, Music Producer and Director of the Cultures of the Digital Economy Research Institute at Anglia Ruskin University, Cambridge UK *Steve and I have worked on countless records together; he's mixed and mastered most of the records I've produced, including my own. He also taught me a lot about mixing and mastering - he's one of those rare guys who works at a very high level but can also explain what it is he's doing and why. If you want to know more about making your recorded music sound better, get this book! * Bonnie Hayes, Chair of Songwriting, Berklee College of Music *Table of ContentsContents ; Introduction ; Part I - Mixing & Mastering ; Introduction to Part I ; 1. The Starting Point ; 1.1 Preparing to mix and master ; 1.2 Where to mix and master ; 1.3 The tools of mixing and mastering ; 1.4 Introduction to the <"Quick Guide>" ; 2. Quick Guide to Great Mixes and Masters: Five best practices ; 2.1 Have a concept ; 2.2 Monitor level ; 2.3 Monitoring options ; 2.4 Revise, revise, revise ; 2.5 Live with your mix or master ; 3. Quick Guide to Great Mixes and Masters: Four common mistakes ; 3.1 Poor control of the low end ; 3.2 Overly bright mixes and masters ; 3.3 Overly compressed mixes and masters ; 3.4 Trusting inadequate monitoring ; Part II - Mixing ; Introduction to Part II ; 4. Building a Mix: The concepts and tools in detail ; 4.1 Starting concepts and setting level ; 4.2 Panning ; 4.3 Processing: EQ ; 4.4 Processing: Dynamics ; 4.5 Processing: Effects ; 4.6 Processing: What else is in the box? ; 4.7 The stereo buss ; 5. Automation and Recall: Fine-tuning ; 5.1 Online versus off-line automation ; 5.2 Details of online automation ; 5.3 Details of off-line automation ; 5.4 Timeline of automation ; 5.5 From simple to complex mixes ; 5.6 Fades ; 5.7 Advanced automation techniques ; 5.8 Recall ; 6. Mixing Piece by Piece: How to approach individual elements ; 6.1 Drums and percussion ; 6.2 Bass ; 6.3 Guitar ; 6.4 Keyboards ; 6.5 Vocals ; 6.6 Horns ; 6.7 Strings ; 7. Mix Collaboration: The mix team ; 7.1 How to communicate about mixes ; 7.2 Levels of mixer intervention ; 7.3 Managing remote mixing projects ; 8. Delivering Mixes: Formats, mix types and multiple mixes ; 8.1 Digital formats for mix delivery ; 8.2 Full mixes, TV mixes, and clips ; 8.3 Multiple versions of a single mix ; PART III - Mastering ; Introduction to part III ; 9. Setting Up to Master: Tools and files ; 9.1 Tools ; 9.2 Creating a template ; 9.3 Building the timeline ; 10. How to Listen for Mastering: From your ear to action ; 10.1 Level ; 10.2 Frequency/EQ ; 10.3 Dynamics and effects ; 10.4 Consistency ; 11. Creating a Master: The concepts and tools in detail ; 11.1 Creating a reference track ; 11.2 Processing: EQ ; 11.3 Processing: Level ; 11.4 Processing: Dynamics and effects ; 11.5 What else is in the box? ; 12. The Final Master: Creating and delivering ; 12.1 Creating a master ; 12.2 Formats and delivery options ; 13. Mastering Collaboration: The mastering team ; 13.1 How to talk about mastering ; 13.2 Levels of mastering intervention ; 13.3 Managing remote mastering projects ; Addendum I: Notes on surround mixing and mastering ; Addendum II: Why mixing and mastering can no longer be separated ; Index
£43.19
Oxford University Press Africa in Stereo Modernism Music And PanAfrican Solidarity
Book SynopsisAfrica In Stereo examines the role that African American music has played in the pan-Africanist imagination since the end of the nineteenth century.Trade ReviewAfrica in Stereo raises the bar with new insights into both the sonic and visual realms of art. Transcriptions, performance, poetry, print and new media formats elucidate how Africans on the continent and in the diaspora have been engaged in a continuous dialogue and exchange of cultural particulars throughout the twentieth century. A major contribution is the author's willingness to move beyond a particular village or ethnic group (conventional units of ethnographic analysis) and focus instead on South Africa, Senegal and Ghana, drawing from an interesting array of archival materials to highlight and tease out the forces that made the impulse towards solidarity between Africa and the diaspora possible. * Mumbua Kioko, Volume! The French journal of popular music studies *Meticulously researched, historically and politically exigent, and adventurous in its archival reach, Africa in Stereo is a path-breaking book that pulsates to the beat of literary, visual, sonic and cultural studies. Tsitsi Jaji has built a bold new sound system for diaspora studies that challenges us to listen closely to the crosscurrents of African aesthetic technologies that forge and inform our modern world. * Daphne Brooks, author of Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850-1910 *This book is unique in its attentiveness to the intricacies, significances and pleasures of listening, notation and reading. It recasts - with great subtlety and eloquence - our understanding o fthe sonic, visual, and literary practices used by Africans in the elaboration and pursuit of pan-Africanism at home and abroad. * Bhekizizwe Peterson, author of Monarchs, Missionaries, and African Intellectuals *Table of ContentsTable of Contents ; One: Stereomodernism And Amplifying The Black Atlantic ; Two: Sight Reading: Early Black South African Transcriptions of Freedom ; Three: Negritude Musicology: Poetry, Performance and Statecraft in Senegal ; Four: What Women Want: Selling Hi-Fi in Consumer Magazines and Film ; Five: "Soul to Soul": Echo-locating Histories of Slavery and Freedom from Ghana ; Six: Pirate's Choice: Hacking into (Post-)Pan-African Futures ; Epilogue: Singing Songs ; Bibliography ; Notes
£41.32
Oxford University Press Dig Sound and Music in Hip Culture
Book SynopsisDig argues that in hip culture it is sound itself, and the faculty of hearing, that is the privileged part of the sensory experience. Through a string of lucid and illuminating examples, author Phil Ford shows why and how music became a central facet of hipness and the counterculture.Trade ReviewWhat Dig offers to scholars of U.S. music is its indispensable modeling of a nimble, oblique, and resonant approach to cultural critique. Fords work reminds us of the galvanizing interchange that always tacitly binds music to ideas: it reads the intellectual discourse of an era as something with the properties of music, something mobile, volatile, and alive. For this reason alone, Fords Dig promises to become a canonical entry in the field of early twenty-first century musicology. * Dale Chapman, Journal of the Society for American Music *[Ford's] conclusions on the Beats, popular music in American culture and the ever-continuing onrush of (blindfold consuming) square culture, nemesis of those who âdigâ things, are unquestionably worth reading. * Dr. A. Ebert, Jive Talk *Table of ContentsTable of Contents ; Introduction: Dig ; Chapter 1: Koan (What Is Hip?) ; 1. What is Hip? ; 2. The Suzuki Rhythm Boys ; 3. The Devil's Staircase ; 4. The Black Spot ; Chapter 2: Somewhere/Nowhere ; 1. Precambrian ; 2. Game Ideology ; 3. 1948: Smart Goes Crazy ; 4. Miles and Monk ; 5. Somewhere/Nowhere ; Chapter 3: Sound Become Holy (The Beats) ; 1. Sound Become Holy ; 2. The Sadness of It All ; 3. Digging What They Dig ; 4. Astounding and Prophetic ; 5. Stenciled off the Real ; Chapter 4: Hip Sensibility in an Age of Mass Counterculture ; 1. Right On, Mr. Horowitz ; 2. The Square ; 3. Asymmetrical Consciousness ; 4. Elitism ; 5. Mass Culture Critique ; 6. The Decline of Midcentury Modernism and the Birth of Postmodernism ; 7. Sound Museum ; Chapter 5: Mailer's Sound ; 1. The Sound is the Thing, Man ; 2. Abstraction ; 3. Whiteness ; 4. Mailer's Sound ; 5. Enantiodromia ; Chapter 6: "Let's Say That We're New, Every Minute" (John Benson Brooks) ; 1. Off-Minor ; 2. Music of the Isms ; 3. DJology ; 4. Cipher ; 5. Magical Hermeneutics ; 6. Technologies of Experience ; 7. Practice
£30.87
Oxford University Press French Moves The Cultural Politics of Le Hip Hop Oxford Studies in Dance Theory
Book SynopsisThis book shows how le hip hop reflects a republic of culture rather than a culture industry; a minority identity politics that takes shape as a movement poetics or figural language; and the public valorization of dance as a technique, meriting unemployment compensation and understood as a high-tech knowledge practice.Trade ReviewFelicia McCarren has succeeded brilliantly in taking dance out of its disciplinary confines, showing how vital a consideration of hip-hop is to any attempt to understand the dynamics of race and identity in contemporary France; the progress of the globalization of culture; the transformational power of moving bodes; and the mutually constitutive relation between bodies and technologies. McCarren makes it impossible for semiotics or cultural theory to remain indifferent to dance. * Carrie Noland, author of Agency and Embodiment: Performing Gestures/Producing Culture *The strengths of McCarren's research lay both in the cross-disciplinary structural analysis of national ideology and state funding of the arts (and research on the arts) insofar as they relate to particular communities and individuals in complex national, social, and cultural situations. Likewise, McCarren's introduction to works that might not be widely known to scholars bring new perspectives on French concert dance and the ways in which dance might be read as part of debates on national and global politics. * H-France Review *...Offers an original perspective on contemporary hip-hop theatre. * Dance Review Journal *Table of ContentsContents ; Introduction: "French?": Circulation, Immigration and Assimilation ; Part I: Politics and poetics ; Chapter 1: Hop Hop Citizens: politics, culture and performance ; Chapter 2: Hip Hop Dance "speaks" French: droit de citer ; Chapter 3: Hip Hop as post-colonial representation: Farid Berki's Invisible Armada and Exodust ; Part II: Technology and techniques ; Chapter 4: Dancing In and Out of the Box: Frank II Louise's Drop It!(2000) and Compagnie Choream's Epsilon (1999) ; Chapter 5: Breaking history: Helene Cixous' L'histoire terrible mais inachevee de Norodom Sihanouk, Roi du Cambodge and Yiphun Chiem's Apsara (2007) ; Chapter 6: Techniques: French urban dance in intellectual context ; Conclusion
£39.42
Oxford University Press On Staff A Practical Guide To Starting Your Career In A University Music Department
Book SynopsisPacked with essential information to assist you in obtaining a university music position and developing a successful career, this book is an essential read for all aspiring to or already in a higher education music post.Trade ReviewThis book is your guiding star from starting with the process of looking for a college position all the way through getting hired and succeeding once hired. Dr. Hamann anticipates and answers the questions the person looking for a college position may not even know to ask until it is too late...like during the interview with the dean! * Rob Cutietta, Dean, USC Thornton School of Music, University of Southern California *On Staff provides clear, concise, and comprehensive information for individuals seeking collegiate music faculty positions. Valuable insights on locating openings, application materials, interviewing, negotiating contracts, and successfully starting a new job are provided. It is a must have text for doctoral students, graduate student advisors, and early career professionals! * William I. Bauer, University of Florida *Table of ContentsPreface ; Chapter 1: Position Announcement Descriptions ; Chapter 2: Preparing Your Application Materials: Applying for the Job ; Chapter 3: Applying for the Job: The Process ; Chapter 4: Preparing for the Campus Interview ; Chapter 5: The Interview ; Chapter 6: The Offer and the Negotiation ; Chapter 7: Your First Days On Campus and Beyond ; Index
£36.49
Oxford University Press The Owners Manual to the Voice A Guide For Singers And Other Professional Voice Users
Book SynopsisThe Owner's Manual to the Voice demystifies the voice, enabling singers and all voice professionals - whether actors, broadcasters, teachers, preachers, lawyers, public speakers- to communicate intelligently with physicians and understand dangers, treatments, vocal hygiene and medical procedures.Trade ReviewA clear and thorough overview of the vocal mechanism. * CHOICE *Table of ContentsChapter 1: Introduction ; Chapter 2: Your Instrument at a Glance ; Chapter 3: The Singer as an Athlete ; Chapter 4: Troubleshooting ; Chapter 5: Indirect Culprits ; Chapter 6: What Purpose Does the ENT Clinic Serve, and How Will It Serve You? ; Chapter 7: A Vocalist's Guide to Finding the Right ENT ; Chapter 8: The First Visit and Procedure ; Chapter 9: A Partnership in Performance ; Chapter 10: Common Pathologies and Disorders in Singing and Possible Treatments ; Chapter 11: Vocally Hazardous Drugs ; Chapter 12: Cautions to the Singer Undergoing Surgery ; Chapter 13: A Hypothetical Laryngeal Phonosurgery ; Chapter 14: Commonly Answered Questions ; Chapter 15: Glosary ; Index
£34.67
Oxford University Press She is Cuba A Genealogy of the Mulata Body
Book SynopsisThis book traces the history of the Cuban mulata and her association with hips, sensuality and popular dance. It examines how the mulata choreographs her identity through her hips. Combining literary and personal narratives with historical and theoretical accounts of Cuban popular dance history, religiosity and culture, this work investigates the power of embodied exchanges.Trade Review"This triumphant offering invigorates dance scholarship with an outstanding coordination of historical method, performative writing, and coherent, compelling analysis of dance practice in Cuba. Written with authority, literary drive, and compassion, She Is Cuba answers a call for carefully considered research to explore the racialized feminine, the powers of the State, and to demonstrate the centrality of the living body in the construction of social identity." --Thomas F. DeFrantz, Duke University, Professor of African & African American Studies and Dance, Duke University "The mulata body dances off the page. Blanco Borelli writes her way through the Cuban siren-call of the hips. Her bi-lingual and seductive language privileges rumor and corporeality while engaging with rich histories sprung from archival research."--Anita Gonzalez, Professor of Theatre and Drama, University of MichiganTable of ContentsPrologue, Entre Familia/Between Family ; Introduction ; Chapter 1: Historicizing Hip(g)nosis ; Interlude 1: Echando Cuentos/Telling Stories ; Chapter 2: Hip(g)nosis at Work: Rumors, Social Dance and Cuba's Academias de Baile ; Interlude 2: A Marriage Proposal ; Chapter 3: Hip(g)nosis as Pleasure: The Mulata in Film ; Interlude 3: Lost Baggage ; Chapter 4: Hip(g)nosis as Brand: Despelote, Tourism and Mulata Citizenship ; Conclusion or Rear Endings ; Index
£35.14