Music reviews and criticism Books

Book SynopsisCharles A. Perrone is Professor Emeritus of Portuguese and Luso-Brazilian Culture and Literatures in the Department of Spanish and Portuguese Studies at the University of Florida, USA. He is the author of Masters of Contemporary Brazilian Song: MPB 1965-1985 (1989), Seven Faces: Brazilian Poetry since Modernism (1996), and Brazil, Lyric, and the Americas (2010). He is co-editor of Brazilian Popular Music and Globalization (2001) and Crônicas brasileiras: A Reader (2014). He has translated numerous contemporary Brazilian writers, most notably poets such as Augusto de Campos and Paulo Leminski.Table of ContentsAcknowledgements Preface: The Origins 1. Intro: Pagings and Stagings 2. The Product: Data and Strata 3. PPP: Persons, Personnel, and Parapheranalia 4. Setting the Table, On the Ground 5. Spelling Out a Partnership in Rhyme 6. A Trio of Stage Tunes 7. A Loose Can(n)on 8. Happy Comrades Abroad 9. A Cup, A Chalice, A Gem 10. In Spite of You, Tomorrow Will Be Another Day 11. Outro: Rio, Brazil, and Beyond Bibliography / Works Cited Index

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Book SynopsisThis entertaining history of Cuba and its music begins with the collision of Spain and Africa and continues through the era of Miguelito Valdés, Arsenio Rodríguez, Benny Moré, and Pérez Prado. It offers a behind-the-scenes examination of music from a Cuban point of view, unearthing surprising, provocative connections and making the case that Cuba was fundamental to the evolution of music in the New World. The ways in which the music of black slaves transformed 16th-century Europe, how the claves appeared, and how Cuban music influenced ragtime, jazz, and rhythm and blues are revealed. Music lovers will follow this journey from Andalucía, the Congo, the Calabar, Dahomey, and Yorubaland via Cuba to Mexico, Puerto Rico, Saint-Domingue, New Orleans, New York, and Miami. The music is placed in a historical context that considers the complexities of the slave trade; Cuba's relationship to the United States; its revolutionary political traditions; the music of Santería, Palo, Abakuá, and Vodú; and much more.Trade Review"As enthralling as it is comprehensive, [Sublette's] book breathes life and fire into the whole history of Cuban music." --Bonnie Raitt"Essential . . . a solid, supremely lush effort." -- Publishers Weekly"Like none other...a chronicle as much of the music itself as of the histories embedded in the sounds." --The Boston Phoenix"It was Cuba that turned beat around, and thanks to Sublette any serious music fan will now know why." -- The New York Times Book Review"If you buy only one book on Cuba in your Life . . . this is the one." -- The Nation"Ned, a New Yorker, has painted with a latin passion a huge fresco of Cuba and its music with exquisite and astounding details. A real page turner!" --Georges Collinet, host of Afropop Worldwide"Sublette's book does for the field of Cuban popular music what Perez Prado's 'Mambo Number Five' did for the mambo--bring the tradition to world attention in a rich and most fabulous way." --Robert Farris Thompson, author of Flash of the Spirit:African and Afro-American Art and Philosopy"Magesterial . . . absorbing . . . fascinating . . . enlightening . . . compulsively readable pages . . . anyone (interested in Cuban music) should be reading this right now." --pitchforkmedia.comTable of ContentsThe Highest-Priced Slaves; Drums of War; "We Have Always Had the Drum"; Zarabanda's Mambo; The Areito and the Romance; By Post from the Indies; The Shipyard; The Fertile Crescent; The Atlantis of the Caribbean; Buying Whites and Selling Blacks: A Contradanza; La Nuit des Tropiques; The Western and Central Sudanic Blues; The Congo That Was Cuba; A Secret Language, for Men Only; Hiding in Plain Sight; The Romance of Revolution; Rumba; Fire; Marti's Monster; Guitar and Piano; If He Bathes, He Splashes You; The Tango Age; Tres and Bongo; The Dance of the Millions; The Son Boom; The Mulata Love triangles; The Peanut Vendor; The Fall; The Revolution of 1933; The Liberation of the Drum; Nagüe, Nagüe, Nagüe, Nagüe; Mano a Mano; Biablo!; Life is a Dream; Mambo Number Five; Television; Index.

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Book SynopsisShows how Brahms organized musical elements for expressive purposesTrade ReviewThrough its unique combination of historical narrative, expressive content, and technical analytical approaches, the essays in Expressive Intersections in Brahms will have a profound impact on the current scholarly discourse surrounding Brahms analysis. Because the analyses are so engaged with expressivity, performers too, will likely find many of them enlightening and perhaps critical in helping to hone their interpretations. * Notes *This exceptionally fine collection brings together many of the best analysts of Brahms, and nineteenth-century music generally, in the English-speaking world today. * Nineteenth-Century Music Review *Table of ContentsAckowledgementsPart I1. "The Wondrous Transformation of Thought into Sound": Some Preliminary Reflections on Musical Meaning in Brahms, Heather Platt and Peter H. Smith2. The Learned Self: Artifice in Brahms's Late Intermezzi, Steven Rings Part II3. "Alte Liebe" and the Birds of Spring: Text, Music, and Image in Max Klinger's Brahms Fantasy, Yonatan Malin4. Brahms's Maidens in their Cultural Context, Heather Platt5. Ancient Tragedy and Anachronism: Form as Expression in Brahms's Gesang der Parzen, Margaret NotleyPart III6. Sequence as Culmination in the Chamber Music of Brahms, Ryan McClelland7. 'Phantasia Subitanea': Temporal Caprice in Brahms's Op. 116, nos. 1 and 7, Frank Samarotto8. Monumentality and Formal Processes in the First Movement of Brahms's Piano Concerto No. 1 in D Minor, op. 15, James Hepokoski9. The Drama of Tonal Pairing in Chamber Music of Schumann and Brahms, Peter H. SmithBibliographyList of ContributorsIndex

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Book SynopsisOver the past fifty years Roger Sessions has developed, in articles, lectures, and addresses, various themes that reflect the stages of his own musical and intellectual growth. These themes form the basis of the present collection of essays. Many of the essays deal with specific problems that musicians, especially composers, have faced during the pTable of Contents*Frontmatter, pg. i*Contents, pg. v*Editor's Note, pg. vii*Preface, pg. ix*The Composer and His Message [1939], pg. 3*Music in Crisis [1933], pg. 27*The New Musical Horizon [1937], pg. 45*Song and Pattern in Music Today [1956], pg. 53*Problems and Issues Facing the Composer Today [1960], pg. 71*Style and "Styles" in Music [1961], pg. 88*Art, Freedom, and the Individual [957], pg. 105*Composer and Critic [1934], pg. 120*America Moves to the Avant-Scene [1937], pg. 123*To Revitalize Opera [1938], pg. 137*The Scope of Music Criticism [1947], pg. 146*Music in a Business Economy [1948], pg. 157*How a "Difficult" Composer Gets That Way [1950], pg. 169*Music and the Crisis of the Arts [1954], pg. 175*New Vistas in Musical Education [1934], pg. 187*The Composer in the University [1949], pg. 193*What Can Be Taught? [1967], pg. 204*Heinrich Schenker's Contribution [1935], pg. 231*Hindemith on Theory [1937], pg. 241*Exposition by Krenek [1938], pg. 249*Escape by Theory [1938], pg. 256*The Function of Theory [1938], pg. 263*Music and Nationalism [1933], pg. 271*Vienna-Vale, Ave [1938], pg. 282*On the American Future [1940], pg. 288*American Music and the Crisis [1940], pg. 295*No More Business-as-Usual [1942], pg. 304*Artists and This War [1942], pg. 313*Europe Comes to America [1945], pg. 319*Ernest Bloch [1927], pg. 329*On Oedipus Rex [1928], pg. 339*Hindemith's Mathis der Maler [1934], pg. 347*Schoenberg in the United States [1944, revised 1972], pg. 353*Some Notes on Schoenberg and the "Method of Composing with Twelve Tones" [1952], pg. 370*Thoughts on Stravinsky [1957], pg. 376*In Memoriam Igor Stravinsky [1971], pg. 386*In Memoriam Luigi Dallapiccola [1975], pg. 387

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Book SynopsisEverybody likes a good song and a good story. The 100 Greatest Cover Versions traces the histories of some of the great songs you may know only as second-hand recordings and explores some unusual and creative takes on a few of pop's well-known tracks.Trade Review“If you enjoy knowing more about the journey and reincarnation of some of pop's greatest songs, then you'll love this little gem. Each entry is self-contained, and is no more than two pages long, so it's great to pick up and read when you've only got a few moments to spare. The detail is very impressive, and it's written with real style.”

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Book SynopsisThis book brings together an extensive and varied collection of Sir Peter Maxwell Davies''s written and spoken-word items for the first time. Spanning the composer''s entire career, this compendium offers a balanced selection of Davies''s articles and essays, speeches and lectures, interviews, radio broadcasts, programme notes, tributes and letters to newspapers. A number of items are published for the first time, including a new article from Davies himself (commissioned specially for this book), and several BBC radio broadcast interviews and talks from the 1960s. The structure of the book is chronological and divided into three parts, allowing readers to trace the development of Davies''s thought and work over time, and to place each item in its biographical and historical context. The introduction and notes by Nicholas Jones place the writings in context, making this volume invaluable for those interested in the music and wider culture of post-war Britain.Table of ContentsPart I. From Manchester to Hoy, 1934–1970: 1. Maxwell Davies, composer; 2. Sonata for Trumpet and Piano, Op. 1; 3. Webern: Variations for Piano, Op. 27; 4. Nikos Skalkottas: Sonatina and Tender Melody for Cello and Piano; 5. The young British composer; 6. Indian classical music; 7. Musical life in Italy; 8. Problems of a British composer today; 9. St Michael – Sonata for Seventeen Wind Instruments; 10. Prolation; 11. Realizing the 'aural vision' of Prolation; 12. Composing music for school use; 13. First Fantasia on an 'In Nomine' of John Taverner; 14. Sinfonia; 15. Echoes of the past in the present; 16. In defence of compositional technique; 17. The young composer in America; 18. Second Fantasia on John Taverner's 'In Nomine'; 19. Seven In Nomine; 20. Where our colleges fail; 21. Musical innovation; 22. Antechrist; 23. Sets or series; 24. Messiaen: Turangalîla-Symphonie; 25. Manipulating time and immoral realizations; 26. Schoenberg: Pierrot Lunaire; 27. St Thomas Wake; 28. Worldes Blis; 29. Eight Songs for a Mad King; 30. Vesalii Icones; 31. The orchestra is becoming a museum; 32. Revelation and Fall; 33. Taverner; Part II. From Hoy to Sanday, 1971–1997: 34. Two early Orkney works; 35. 'Pax Orcadiensis'; 36. Benjamin Britten: a tribute; 37. Symphony; 38. Safer 'out' than in; 39. The Lighthouse; 40. Symphony No. 2; 41. Michael Tippett: a tribute; 42. Darkening our civilization; 43. St Magnus festival – one decade on; 44. Symphony No. 4; 45. The Arts Council and the Royal Philharmonic Orchestra; 46. London's needs for all its orchestras; 47. Cheltenham Music Festival: a tribute; 48. Remembering Darmstadt; 49. Symphony No. 6; 50. The late Strathclyde Concertos; 51. The influence of Aboriginal music; 52. Renaissance architecture, symphonic precedents and historical resonances; 53. Notes from a cold climate; Part III. Sanday, 1998–2016: 54. A Roma, con amore; 55. Mr Emmet Takes a Walk; 56. Music to our ears; 57. A composer's point of view (I): on music, mathematics and magic squares; 58. A composer's point of view (II): on parody, references and meaning; 59. A composer's point of view (III): on religion; 60. A composer's point of view (IV): on the composition of 'light' and 'serious' music; 61. Symphony No. 7; 62. The Naxos Quartets; 63. Studying with Petrassi; 64. Master of the Queen's music; 65. Will serious music become extinct?; 66. A disorientating ruckus; 67. Bearing witness; 68. A conducting lesson with Leonard Bernstein; 69. Kommilitonen! (Young Blood!); 70. Beacons of light: in praise of music's benevolence; 71. A symphony for troubled times; 72. In search of Borromini; 73. Indivisible parameters and spirit-stirring amalgams; 74. Calling us to our sleep.

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Book SynopsisAward-winning author Jack Boss returns with the ''prequel'' to Schoenberg''s Twelve-Tone Music (Cambridge, 2014) demonstrating that the term ''atonal'' is meaningful in describing Schoenberg''s music from 1908 to 1921. This book shows how Schoenberg''s atonal music can be understood in terms of successions of pitch and rhythmic motives and pitch-class sets that flesh out the large frameworks of ''musical idea'' and ''basic image''. It also explains how tonality, after losing its structural role in Schoenberg''s music after 1908, begins to re-appear not long after as an occasional expressive device. Like its predecessor, Schoenberg''s Atonal Music contains close readings of representative works, including the Op. 11 and Op. 19 Piano Pieces, the Op. 15 George-Lieder, the monodrama Erwartung, and Pierrot lunaire. These analyses are illustrated by richly detailed musical examples, revealing the underlying logic of some of Schoenberg''s most difficult pieces of music.Trade Review'Schoenberg's Atonal Music offers a study of the endlessly fascinating and enigmatic music Schoenberg wrote from around 1908 to roughly 1920. Jack Boss is a complete master of the music and the surrounding literature; he has an appropriate and effective analytical methodology, and he offers a synoptic understanding of these challenging musical works that greatly enriches our understanding of them. This book is an important prequel to Schoenberg's Twelve-Tone Music (Cambridge, 2014), which deservedly received the Wallace Berry award from the Society for Music Theory.' Joseph Straus, City University of New York'With this provocative re-interpretation of six of Schoenberg's middle-period works, Jack Boss turns time-honored conceptions of tonality versus atonality and 'amotivicism' on their heads. Through his vividly argued analyses grounded in motivic/set-class relations, the 'conflict-elaboration-resolution model' of the 'musical idea', and the use of 'expressive' tonality, Schoenberg's Three Piano Pieces, Op. 11, reveal a novel structural identity, cohering in a unified cycle. Erwartung, previously understood as the quintessence of amotivicism, finds logic in the development of a 'basic image', two leitmotifs representing the Lover's body and the Woman's sense of loss. With further analyses based on the concepts of 'musical idea', 'basic image', and 'spectres of tonality', Boss thus propounds a fascinating revisionist history - a consistent and steady development to and from atonality, setting the stage for Schoenberg's future twelve-tone works.' Severine Neff, Eugene Falk Distinguished Professor of Music, Emeritus, University of North Carolina, Chapel Hill'Jack Boss' book, Schoenberg's Atonal Music, presents a unified, integrated, and consistent picture of the composer's middle period compositional processes and works in contrast to the dichotomies of tonal versus atonal, atonal versus serial, and intuitive verses rational composer found in much Schoenberg scholarship. Boss creates an analytical model that links Schoenberg's tonal, atonal, and serial compositions, demonstrates the processes found in his tonal works continue albeit transformed by new structural resources in the atonal works, and demonstrates the organicism and applicability of pitch-class set analysis as a consequence of Schoenberg's method of working with and transforming small intervallic patterns.' Ciro Scotto, Ohio UniversityTable of Contents1. Tonal oder Atonal? The complicated, contradictory nature of Schoenberg's middle-period music (Op. 11, No. 1); 2. Piano pieces Op. 11, Nos. 2 and 3: The latter movements of a remarkably progressive cycle; 3. Das Buch der hängenden Gärten, Op. 15, Nos. 7 and 11: basic images in two of the earliest atonal pieces; 4. Erwartung, Op. 17: A Leitmotivic Opera and a 'cumulative setting', atomized; 5. Six little piano pieces, Op. 19 (Nos. 2, 3, and 6): musical idea and basic image in miniature; 6. Pierrot lunaire, Op. 21, Nos. 1, 14 and 21: basic image at the apex of its development; 7. Summary, and the way forward to twelve-tone music.

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Book SynopsisThe correspondence between composer John Cage and Peter Yates represents the third and final part of Cage''s most significant exchanges of letters, following those with Pierre Boulez and with David Tudor. Martin Iddon''s book is the first volume to collect the complete extant correspondence with his critical friend, thus completing the ''trilogy'' of Cage correspondence published by Cambridge. By bringing together more than 100 letters, beginning in 1940 and continuing until 1971, Iddon reveals the dialogue within which many of Cage''s ideas were first forged and informed, with particular focus on his developing attitudes to music criticism and aesthetics. The correspondence with Yates represents precisely, in alignment with Cage''s fastidious neatness, the part of his letter writing in which he engages most directly with the last part of his famous tricolon, ''composing''s one thing, performing''s another, listening''s a third''.Trade Review'This is the third book that Martin Iddon has contributed to Arnold Whittall's influential series at Cambridge University Press … Iddon is a footnote virtuoso where every individual mentioned is given full details - helpfully on the page - and there are many examples of ingenious investigation.' Peter Dickinson, Musical OpinionTable of ContentsIntroduction; 1. John Cage to Peter Yates, undated [1940?]; 2. John Cage to Peter Yates, 1940; 3. John Cage to Peter Yates, 1941; 4. John Cage to Peter Yates, 1941; John Cage, 'Organized Sound' draft, 1941; Peter Yates, 'Organized Sound,' California Arts and Architecture (1941); 5. John Cage to Peter Yates, undated [1941]; 6. John Cage to Peter Yates, undated [ca. 1947]; 7. John Cage to Peter Yates, undated [ca. 1947]; 8. John Cage to Peter Yates, undated [ca. September 1948]; Peter Yates, 'Music,' Arts and Architecture (1948); 9. John Cage to Peter Yates, undated [ca. 1948; Peter Yates, 'Music,' Arts and Architecture (1948); Peter Yates, 'Music,' Arts and Architecture (1948); 10. John Cage to Peter Yates, undated [ca. 1948]; 11. John Cage to Peter Yates, undated [ca. 1948]; 12. John Cage to Peter Yates, undated [early 1949]; Peter Yates, 'Music,' Arts and Architecture (1949); 13. Peter Yates to John Cage, 1953; Peter Yates, 'Music,' Arts and Architecture (1953); 14. John Cage to Peter Yates, 1953; 15. Peter Yates to John Cage, 1953; Peter Yates, 'Pierre Boulez,' Arts and Architecture (1957); Peter Yates, 'A Collage of American Composers - Part 3,' Arts and Architecture (1959); Peter Yates, 'A Collage of American Composers - Part 4,' Arts and Architecture (1959); 16. Peter Yates to John Cage, 1959; 17. John Cage to Peter Yates, 1959; 18. Peter Yates to John Cage, 1959; 19. Peter Yates to John Cage, 1959; Peter Yates, 'Virgil Thomson and Horatio Parker,' Arts and Architecture (1959); 20. Peter Yates to John Cage, 1959; 21. Peter Yates to John Cage, 1959; 22. John Cage to Peter Yates, 1959; 23. Peter Yates to John Cage, 1960; 24. Peter Yates to John Cage, 1960; 25. John Cage to Peter Yates, undated [ca. 1960]; Peter Yates, 'Two Albums by John Cage - Part 1,' Arts and Architecture (1960); 26. Peter Yates to John Cage, 1960; 27. John Cage to Peter Yates, 1960; 28. Peter Yates to John Cage, 1960; Peter Yates, 'Two Albums by John Cage - Part 2,' Arts and Architecture (1960); 29. John Cage to Peter Yates, 1960; 30. Peter Yates to John Cage, 1960; 31. John Cage to Peter Yates, 1960; 32. Peter Yates to John Cage, 1960; 33. Peter Yates to John Cage, 1960; 34. John Cage to Peter Yates, 1960; 35. Peter Yates to John Cage, 1960; 36. John Cage to Peter Yates, 1960; 37. John Cage to Peter Yates, 1960; 38. Peter Yates to John Cage, 1960; 39. John Cage to Peter Yates, 1960; Peter Yates, 'Monday Mad on Tuesday,' Arts and Architecture (1960); Peter Yates, 'Music,' Arts and Architecture (1960); 40. John Cage to Peter Yates, 1961; 41. Peter Yates to John Cage, 1961; Peter Yates, 'American Experimental Tradition,' unpublished manuscript [ca. 1961]; 42. John Cage to Peter Yates, 1961; 43. John Cage to Peter Yates, 1961; 44. John Cage to Peter Yates, undated [1961]; 45. John Cage to Peter Yates, 1961; 46. John Cage to Peter Yates, 1961; 47. Peter Yates to John Cage, 1961; 48. John Cage to Peter Yates, 1961; 49. Peter Yates to John Cage, 1961; Peter Yates and John Whitney, 'Notes for Music,' unpublished manuscript [1961]; Peter Yates, 'Sound,' manuscript [1961]; 50. John Cage to Peter Yates, 1961; 51. Peter Yates to John Cage, 1961; 52. Peter Yates to John Cage, 1961; Peter Yates, 'A Lost Center,' manuscript [1961]; 53. John Cage to Peter Yates, 1961; 54. John Cage to Peter Yates, 1961; Peter Yates, 'A General Report,' Arts and Architecture (1962); 55. John Cage to Peter Yates, 1962; 56. John Cage to Peter Yates, 1962; Peter Yates, 'Silence by John Cage,' Arts and Architecture (1962); Peter Yates, review of John Cage, Silence, Notes: the Quarterly Journal of the Music Library Association (1962); Peter Yates, 'More Than Time,' Arts and Architecture (1962); Peter Yates, 'John Cage's Weekend in Los Angeles,' Arts and Architecture (1962); 57. John Cage to Frances and Peter Yates, 1962; Peter Yates, 'The American Artist,' manuscript written for the

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Book SynopsisA historically situated study of the relationship between music, sound and the sublime, this book embraces familiar works and composers, such as Handel, C. P. E. Bach, Haydn and Wagner, but also explores less familiar repertory and source material. Performers and audiences are also considered as agents and sites of sublime experience.Trade Review'... carefully presented ...' Agathe Sueur, translated from Revue de musicologieTable of ContentsSonorous sublimes: an introduction Sarah Hibberd and Miranda Stanyon; 1. Thunder or celestial harmony: French theological debates on the sonorous sublime Sophie Hache; 2. 'A pleasing rape': John Dennis, music and the queer sublime Matthew Head; 3. The idea of the past in eighteenth-century British music Suzanne Aspden; 4. C. P. E. Bach and the neoclassical sublime: revisions of a concept Keith Chapin; 5. Cherubini's Médée and sublime vengeance Sarah Hibberd; 6. When does the sublime stop? Cavatinas and quotations in Haydn's Seasons Elaine Sisman; 7. Counterfeits, contraltos and consonance in De Quincey's sublime Miranda Stanyon; 8. The consecration of sound: sublime musical creation in Haydn, Weber and Spohr Benedict Taylor; 9. Commanding performances: opera, surrogation and the royal sublime in 1848 Dana Gooley; 10. Wagner's sublime effects: bells, cannon and the perception of heavy sound David Trippett.

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Book SynopsisOne of the defining aspects of music is that it exists in time. From clapping to dancing, toe-tapping to head-nodding, the responses of musicians and listeners alike capture the immediacy and significance of the musical beat. This Companion explores the richness of musical time through a variety of perspectives, surveying influential writings on the topic, incorporating the perspectives of listeners, analysts, composers, and performers, and considering the subject across a range of genres and cultures. It includes chapters on music perception, visualizing rhythmic notation, composers'' writings on rhythm, rhythm in jazz, rock, and hip-hop. Taking a global approach, chapters also explore rhythmic styles in the music of India, Africa, Bali, Latin America and the Caribbean, and Indigenous music of North and South America. Readers will gain an understanding of musicians'' approaches to performing complex rhythms of contemporary music, and revealing insights into the likely future of rhythm in music.Trade Review'The importance of this collection for music scholarship lies not only in the subject matter - rhythm has long been ignored by traditional music studies - but in the fact that fully half the volume is devoted to music other than the Western European classical canon … Summing Up: Recommended. Upper-division undergraduates through faculty; professionals.' M. Dineen, ChoiceTable of ContentsIntroduction Russell Hartenberger and Ryan McClelland; I. Overview of rhythm: 1. Rhythm in Western music: Concepts and literature Ryan McClelland; 2. Perception of rhythm Daniel Cameron and Jessica Grahn; II. Performing rhythm: 3. Visualizing the rhythms of performance Alan Dodson; 4. A percussionist understands rhythm Steven Schick; 5. A different kind of virtuosity Russell Hartenberger; 6. Conducting rhythm David Robertson; III. Composing with rhythm: 7. Expressive rhythm and meter in the German Lied Harald Krebs; 8. Rhythm in post-tonal music: a modernist primer Gretchen Horlacher; 9. The concept of rhythm: composers in their own words Adam Sliwinski; IV. Rhythm in jazz and popular music: 10. Jazz rhythm: the challenge of “swing” Matthew W. Butterfield; 11. Rhythmic influence in the rock revolution Trevor de Clercq; 12. Rhythm in contemporary rap music Mitchell Ohriner; V. Rhythm in global musics: 13. The musical rhythm of Agbadza songs David Locke; 14. Rhythmic thought and practice in the Indian subcontinent James Kippen; 15. The draw of Balinese rhythm Leslie Tilley; 16. Rhythmic structures in Latin American and Caribbean music Peter Manuel; 17. Indigenous rhythm and dance in North and South America Kristina F. Nielsen; VI. Epilogue: 18. The future of rhythm Nick Collins; Select bibliography; Index.

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Book SynopsisBenjamin Britten, pianist, conductor, educator, composer of a wide range of music from large-scale operas and choral works to string quartets and songs, is acknowledged as a pivotal figure in mid-twentieth-century Britain. This volume explores the contexts for his multi-faceted career and his engagement with his contemporaries in music, art, literature, and film, British musical institutions, royal and governmental entities, and the church, as well as his ground-breaking projects, philosophical and ideological tenets. The book is thematically structured in five parts: Britten''s relationships with Peter Pears, his close friends, mentors, and colleagues; musical life in Britain; his interactions with previous and contemporary generations of composers; his professional work with choreographers, librettists, stage designers, and directors; and his socio-cultural, religious, and political environment. The chapters shed light on the many opportunities and challenges of post-war British musical life that shaped Britten''s creative output.Trade Review'informative and thought-provoking' Nigel Simeone, GramophoneTable of ContentsPrologue: Positioning Britten Vicki P. Stroeher and Justin Vickers; Part I. The Britten Circle(S): 1. Early mentors: The bridges, the Auden set, and the mayers of long Island Arnold Whittall; 2. Peter Pears Justin Vickers; 3. The open secret Nicholas Clark; 4. Britten's circle Lucy Walker; 5. Britten's musical assistants Christopher Scheer; 6. Britten's publishers as advance and rear guard Philip Reed; Part II. British Musical Life: 7. Composing in England Eric Saylor; 8. Britten and Film Mervyn Cooke; 9. Britten and the radio Alison Garnham; 10. Television and the composer Danielle Ward-Griffin; 11. Music critics and the press Philip Reed and Vicki P. Stroeher; 12. Britten and English opera: Myths and a (Chequered) history Mervyn Cooke; 13. Festival culture in the British Isles Justin Vickers; 14. Concert life in Britain Philip Reed; 15. Benjamin Britten and folksong Julian Onderdonk; 16. Educating the Nation: Britten's music for young people Kate Guthrie; Part III. Britten and Other Composers: 17. The compositional context: creating a voice Christopher Mark; 18. Responding to a British musical past Michael Burden; 19. Britten and the English musical renaissance Alain Frogley; 20. Responding to the continent Arved Ashby; 21. An English tradition? Christopher Mark; 22.'An exciting time with all Russians': Anglo-Soviet musical contacts Cameron Pyke; 23. The Avant-Garde Philip Rupprecht; Part IV. Wordsmiths, Designers, and Performers: 24. W. H. Auden Vicki P. Stroeher; 25. Eric Crozier Justin Vickers; 26. Two librettists: Montagu slater and Ronald Duncan Ian Patterson; 27. The wise, queer heart of Englishness: E. M. Forster Hanna Rochlitz; 28.William Plomer's poetics of exile at home Kevin Salfen; 29.'Don't colour them, the music will do that': Myfanwy Piper and Britten's marriage of words and music Frances Spalding; 30. Designing and dancing Britten Kevin Salfen and Lucy Walker; 31.Pears as illuminator, interpreter, and inspiration Justin Vickers; 32. Britten's singers Roger Vignoles; 33. Britten's performers: those most 'Instrumental' Thomas Schuttenhelm; Part V. British Socio-Cultural, Religious, and Political Life: 34. English and British national identity in the Arts Irene Morra; 35. Britten's landscapes Charlotte de Mille; 36. Monarchy, royalty, and arts patronage Matthias Range; 37. Literary leanings Nicholas Clark; 38. Faith, spirituality, and the church Margaret Lane; 39. The politics of the closet J. P. E. Harper-Scott; 40. Communism, socialism, and pacifism in British politics: From the 1930s to the cold war Joanna Bullivant; Epilogue: Britten's Legacy Arnold Whittall; Topical bibliography for further reading; Works cited; Index.

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Book SynopsisThe body of pre-1972 sound recordings is vast. Commercially released "popular" recordings come most readily to mind -- from Frank Sinatra and Ella Fitzgerald to the Beatles and the Rolling Stones. But pre-1972 commercial recordings encompass a wide range of genres: ragtime and jazz, rhythm and blues, gospel, country and folk music, classical recordings, spoken word recordings and many others. Some remain popular; others have long since faded from memory and are of interest only to scholars. There are, in addition, many unpublished recordings such as journalists'' tape, oral histories, and ethnographic and folklore recordings. There are also recordings of old radio broadcasts, which were publicly disseminated by virtue of the broadcast, but in many cases are technically unpublished under the standards of the U.S. Copyright Act. These recordings are a rich aspect of this country''s cultural heritage, and it is important to ensure that they will be preserved and accessible for researchers and scholars, as well as to future generations. This book provides an overview of the Copyright Office''s research and public outreach concerning the legal treatment of pre-1972 sound recordings. It explains the process by which the Office undertook its research; describes the comments received as well as the views expressed at the public meetings; and explains the Office''s recommendations and the reasons for them.

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Book SynopsisFew music groups have been able to sustain a fan base as passionate and dedicated as that of Phish, and this entertaining guide rewards those fans with everything they need to know about the band in a one-of-a-kind format. Packed with history, trivia, lists, little-known facts, and must-do adventures that every Phish fan should undertake, it ranks each item from one to 100, providing an indispensable, engaging road map for devotees old and new.

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Book SynopsisMalcolm Forsyth (1936–2011) was a musical legend: a much-loved composer, performer, teacher, and mentor. Reflections on Malcolm Forsyth presents a captivating and approachable portrait of one of Canada’s finest modern composers. Readers will discover both public and private sides to the man and gain fresh insights from critical assessments of a broad range of Forsyth’s compositions, his continuing popular appreciation, and his lasting influence on the next generation of musicians and music scholars. Drawing from the perspectives of leading scholars, composers, and musicians, as well as on those of family, friends, students, and colleagues, Reflections on Malcolm Forsyth honours the rich life and cultural significance of this exceptional creative mind. It is important reading for music students and researchers, professional performers, and anyone who loves contemporary music. Contributors: Tommy Banks, Allan Gordon Bell, Nora Bumanis, Robin Elliott, Amanda Forsyth, Valerie Forsyth, Allan Gilliland, Carl Hare, Mary I. Ingraham, Edward Jurkowski, Ryan McClelland, John McPherson, Fordyce C. (Duke) Pier, Roxane Prevost, Kathy Primos, Tanya Prochazka, Leonard Ratzlaff, Rayfield Rideout, Robert C. Rival, Julia Shaw, Dale Sorensen, Christopher TaylorTrade Review"Reflections On Malcolm Forsyth has obvious interest for musicologists, but also tells an uncommon and compelling tale of an immigrant who fell under Canada’s spell." -- Holly DoanTable of ContentsFigures Acknowledgements Prelude / AMANDA FORSYTH Introduction / MARY I. INGRAHAM & ROBERT C. RIVAL 1 Reflections on a Life and Career / ROBIN ELLIOTT 2 Sonorous Pleasure: Portrait of a Master Orchestrator as Pedagogue / ALLAN GORDON BELL 3 Remembering and Continuing: Rhapsody for 14 Strings / RYAN MCCLELLAND 4 Finding Inspiration in Canadian Folk Songs: An Analysis of Three Métis Songs from Saskatchewan / ROXANE PREVOST 5 Breathing in G: Harmonic Tension and Repose in the Cello Concerto Electra Rising / ROBERT C. RIVAL 6 Allusion and Reflection in Je répondrais… for Solo Piano / EDWARD JURKOWSKI 7 “Here, All Is a Beginning”: Reflections of Forsyth in A Ballad of Canada / MARY I. INGRAHAM 8 Interlude: Reminiscences / CARL HARE, TOMMY BANKS, NORA BUMANIS & JULIA SHAW, ALLAN GILLILAND, JOHN MCPHERSON, FORDYCE C. (DUKE) PIER, TANYA PROCHAZKA, RAYFIELD RIDEOUT, CHRISTOPHER TAYLOR 9 A Life Experience: The Early Orchestral Works / KATHY PRIMOS 10 Splendour in the Brass: A Legacy of Brass Music / DALE SORENSEN 11 The Choral Music / LEONARD RATZLAFF Postlude / VALERIE FORSYTH List of Works Contributors Permissions Index

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book SynopsisWe cannot simply listen to our urban past. Yet we encounter a rich cultural heritage of city sounds presented in text, radio and film. How can such "staged sounds" express the changing identities of cities? This volume presents a collection of studies on the staging of Amsterdam, Berlin and London soundscapes in historical documents, radio plays and films, and offers insights into themes such as film sound theory and museum audio guides. In doing so, this book puts contemporary controversies on urban sound in historical perspective, and contextualises iconic presentations of cities. It addresses academics, students, and museum workers alike. With contributions by Jasper Aalbers, Karin Bijsterveld, Carolyn Birdsall, Ross Brown, Andrew Crisell, Andreas Fickers, Annelies Jacobs, Evi Karathanasopoulou, Patricia Pisters, Holger Schulze, Mark M. Smith and Jonathan Sterne.Trade Review"An important compendium for dealing with questions concerning the study of urban soundscapes." Stefan Drees, Die Musikforschung [German quarterly musicological journal published by the German Society for Music Research], 62/1 (2015) "Recommended to connoisseurs who wish to broaden their perspective with the insights of the media studies as well as socio-cultural and/or historiographical perspectives on sound." Jan Wedekind, DIE TONKUNST [German quarterly journal for classical music and musicology], 8/2 (2014) Reviewed in: H-Net-Reviews, 6 (2014), Andrew Behrendt

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Book SynopsisThe integration of audible space is a central aspect of electroacoustic music. Ever since the earliest analogue days of electroacoustic music, pioneers of the genre - including Pierre Schaeffer, Iannis Xenakis, Karlheinz Stockhausen, and Luigi Nono - used special devices and methods for their compositions and refined the possibilities of integrating the sound of space into music.In this anthology, analytical portraits of compositions and groups of compositions show the wide spectrum of spatial practices in early electroacoustic music. Additionally, retrospective views on the use of spatial composition in earlier epochs and in instrumental music of the 20th century portray the practice of spatial composition in different eras and genres, as well as the universality of spatial music as a topic. In this way the book contributes to a more differentiated understanding of the term "spatial music".Die Integration des hörbaren Raums ist ein zentraler Aspekt der elektroakustischen Musik. Schon auf Basis der Analogtechnik entstanden spezielle Geräte und Verfahren, die Pioniere des Genres wie Pierre Schaeffer, Iannis Xenakis, Karlheinz Stockhausen oder Luigi Nono für ihre Vorstellungen von Raummusik heranzogen und weiter entwickelten.In diesem Band, der englisch- und deutschsprachige Beiträge gleichermaßen versammelt, zeigen analytische Portraits einzelner Kompositionen oder Kompositionsgruppen das breite Spektrum spatialer Praktiken in der frühen elektroakustischen Musik. Geschichtliche Rückblicke auf spatiale Kompositionsweisen früherer Epochen bis hin zur instrumentalen Musik des 20. Jahrhunderts stellen den epochen- und genrespezifischen Umgang mit Raum dar und belegen nicht nur die Universalität des Themas Raummusik, sondern leisten auch einen Beitrag zu deren begrifflicher Differenzierung.

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Book SynopsisDieser durchgehend zweisprachige Band versammelt Beiträge zu ästhetischen, künstlerischen und pädagogischen Fragestellungen der musikalischen Improvisation. Er beinhaltet Reflexionen und Modelle, die sich mit der Kunst der Improvisation und den in ihr handelnden Menschen befassen und darüber hinaus faszinierende Perspektiven auch für Kultur und Wissenschaft bieten.This book, bilingual throughout, brings together essays providing aesthetic, artistic and pedagogical interrogations of the art of musical improvisation. It contains reflections and models which deal both with the art of improvisation and with the people who carry it out and offers fascinating perspectives for culture and for scholarship more generally.Contributions by Alan Bern, Rogério Costa, Nina Polaschegg, Edwin Prévost, and others.

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Book SynopsisEveryday articulations of music, place, urban politics, and inclusion/exclusion are powerfully present in Istanbul. This volume analyzes landscapes of music, community, and exclusion across a century and a half.An interdisciplinary group of scholars and artists presents four case studies: the rembetika, the music of the Asiks, the Zakir/Alevi tradition, and hip-hop, in Beyoglu, Üsküdar, the gentrifying Sulukule neighborhood, and across the metropolis.Trade Review"A significant contribution to the literature of music in and from Istanbul, which will show readers from different disciplines, social, and musical contexts the four important musical cornerstones of this landscape." -- Hande Saglam, Anthropos, 114 (2019)

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Book SynopsisAnonymity practices in electronic music culture have long been the object of journalistic and academic discourse. Yet anonymity itself is ephemeral and ontologically precarious. How can scholars research anonymous entities without impairing their anonymity, and what can they learn from their precarity? This study describes two projects of anonymity performance as forms of critical practice (Judith Butler/Michel Foucault) involving performative play with anonymity through the use of fake identities or collaborative persona imaginations. Adopting a reflexive and performative writing style, this performance ethnography calls for a radical performative turn and an ontological reflexivity in the cultural studies of music.

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Book SynopsisThis collection investigates the concept of modernity in music and its multiple interpretations in Europe and East Asia. Through contributions by both European and East Asian musicologists it discusses how a decentered understanding of musical modernity could be matched on multiple historiographical perspectives while being attentive to the specificities of local music and their narratives in East Asia and Europe. The essays connect local, global and transnational history with sociological theories of modernity and modernization, making the volume an important contribution to overcoming the Eurocentric dichotomy between western music and world music within the field of historical musicology.

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Book SynopsisConnecting migration studies and the theory of valuation, this collection offers an interdisciplinary approach to the study of transnational music practices. Conceiving music as a practice not confined to audibility, the contributions reveal how music emerges in concrete situations through people, objects, techniques, meanings, and emotions in different parts of the world and during different historic periods. Values are thereby created and shared, and creative processes are evaluated in terms of diversity, space and exchange. This book presents cases of contemporary, popular and traditional music, festivals and trade fairs, albums and band projects, shedding light on the tensions between the transfer, reconstruction and creation of music in different contexts.

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Book SynopsisContemporary music, like other arts, is dealing with the rise of "curators" laying claim to everything from festivals to playlists - but what are they and what do they do anyway? Drawing from backgrounds ranging from curatorial studies to festival studies and musicology, Brandon Farnsworth lays out a theory for understanding curatorial practices in contemporary music, and how they could be a solution to the field's diminishing social relevance. The volume focuses on two case studies, the Munich Biennale for New Music Theatre, and the Maerzmusik Festival at the Berliner Festspiele, putting them in a transdisciplinary history of curatorial practice, and showing what music curatorial practice can be.

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Book SynopsisVarious modes of women's contemporary cultural, social and political leadership can be found in music. Informed by different histories and culturally bound social mores but also by a comparative perspective, the contributors of this volume ask what can be considered leadership in culture from women's point of view. They deconstruct the notion of leadership as corporative and career-related modes of success by showing how women's agency, power and negotiation in and through music can and should be considered as empowering, transformative and role-modeling. By interweaving several disciplinary perspectives - from ethnomusicology, musicology and cultural management to sociology and anthropology - this volume aims to substantially contribute to the study of women's leadership.

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Book SynopsisJ.P.E. Hartmann (18051900) is one of Denmarks greatest composers. Throughout his long life he played a central role, not only in Danish musical life but in the entire cultural life of the nineteenth century, although he never became as well known abroad as his son Emil Hartmann (183698) or his son-in-law Niels W. Gade (181790). This book offers a survey of his prolific works, including nearly five hundred works composed over the span of seventy-six years, and it will be an essential tool for future research in Danish music and cultural history during the nineteenth century.

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Trade Review“A masterful tale of music, social, and economic history…. Wolff’s elegantly intertwined historical drama is consistently revelatory. A dazzling, richly researched story impeccably told.” — Kirkus Reviews (starred review) “In this book—so soberly inflamed that the pages seem to turn of their own accord—the history of the American twentieth century is made of lodestars that don’t figure in conventional accounts… It is at precisely this moment that its story will be most fully heard.” — Greil Marcus “In Grown-Up Anger, Daniel Wolff assembles an American triad to raise the ghosts of greed and misery. Through memory, music, and a clear insight into the emotional process of protest, Wolff reminds us of how it did, and how it does, ultimately feel.” — Patti Smith “The path leading from Woody Guthrie to Bob Dylan has been well traveled, but Daniel Wolff has gone off-road and forged bold new connections between the two cultural titans… The result is an imaginative tour de force that sheds new light on…the heartbreaking history that created them both.” — Anthony DeCurtis, contributing editor, Rolling Stone “No matter how much you think you know about Bob Dylan and Woody Guthrie, you’re wrong… This is the best sense anyone has ever made about the connection between them, and the best reappraisal either has had in a couple of decades.” — Dave Marsh “…Wolff provides a primer on the complicated history of anger, political and personal, in American music, one that’s never been more needed than it is today. There aren’t many cultural histories that read like they’ve been written for activists and fans. Grown-Up Anger moves to the head of that list.” — Craig Werner, Evjue-Bascom Professor of Afro-American Studies, University of Wisconsin-Madison, author of A Change Is Gonna Come “…an exciting romp across labor union history through the lens of American music. Bob Dylan and Woody Guthrie’s protest and solidarity songs represent the disaffection of those marginalized by industrialization, war, and later globalization. If you’re not sure why we need unions… consider Daniel Wolff’s Grown-Up Anger a must read.” — Karen Lewis, president of the Chicago Teachers Union, local 1 of the American Federation of Teachers “…Wolff provides a primer on the complicated history of anger, political and personal, in American music, one that’s never been more needed than it is today. There aren’t many cultural histories that read like they’ve been written for activists and fans. Grown-Up Anger moves to the head of that list.” — Timothy B. Tyson, author of The Blood of Emmett Till

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Book SynopsisHe was there when Dylan went electric, when a generation danced naked at Woodstock, and when Ken Kesey started experimenting with acid. Jerry Garcia was one of the most gifted musicians of all time, and he was a member of one of the most worshiped rock ''n'' roll bands in history. Now, Blair Jackson, who covered the Grateful Dead for twenty-five years, gives us an unparalleled portrait of Garcia--the musical genius, the brilliant songwriter, and ultimately, the tortured soul plagued by his own addiction. With more than forty photographs, many of them previously unpublished, Garcia: An American Life is the ultimate tribute to the man who, Bob Dylan said, had no equal.

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Trade ReviewThe main objective of this volume is highly innovative and stimulating... Hicks' essay is a very accurate study of Harmony in the Medieval Platonic Cosmos, and is going to become a must for future researchers in a field that includes a number of disciplines with different epistemological statutes. * Letterio Mauro, Università di Genova, Greek and Roman Musical Studies *written from a multidisciplinary perspective that includes musicology, philosophy, and history of science ... the inspiration Hicks's book provides to reflect on the place of music in historical and contemporary ways of world-making. * Jacomien Prins, Isis *Composing the World is itself well-composed -- its chapters flow, despite their many long citations from the works under discussion. As the book is very much about these texts, most readers will be glad of this florilegium ... Hicks has done a wonderful job of making a complex subject and its somewhat forbidding texts accessible and of drawing out their importance and relevance to manifold wider concerns. * Speculum *Andrew Hicks has been so bold as to add a new book about world harmony, the music of the spheres, and the medieval reception of the Pythagorean concept of a creation organised according to musical principles to the already existing wealth of scholarship ... Hicks has chosen an approach which is new and refreshing, and which goes far beyond the boundaries of what already exists on the subject. * Plainsong & Medieval Music *Andrew H's Composing the World is a well-written and informative work. It was undoubtedly a courageous and imaginative decision to embark on a study of the notion of cosmic harmony in twelfth-century Latin sources, since a successful outcome could only be achieved by someone who combines many skills including not only musicology but medieval Latin philology and paleography, not without some acquaintance with the histories of philosophy and science ... Andrew H. is obviously a person of great intelligence and already of considerable learning. It seems to me that with his range of expertise he is adding greatly, and could presumably so add in the future, to medieval musicology and medieval studies more generally. * Mittellateinisches Jahrbuch *This ambitious book opens a new window onto twelfth-century philosophical thought, and successfully shows how deeply Platonic conceptions of harmony were embedded within it. As well as becoming essential reading for medievalists who want to develop their knowledge of speculative music theory, it is also worth the attention of early modernists and scholars who focus on present-day philosophical and scientific thought. * British Journal for the History of Science *Hicks writes towards the beginning of his book that, if we neglect the natural philosophers of the twelfth century, 'we have done ourselves and the discipline of musicology a grand disservice' (p. 8). By bringing a musicological perspective to his engagement with these natural philosophers, he enriches our understanding of the twelfth century's musical speculation and raises new questions that broaden musicology itself. * Music and Letters *There is no other work on this topic that can compare in terms of depth, scope, and complexity. This book is likely to become an indispensable point of reference for the study of both medieval musical theory and the school of Chartres. * Bryn Mawr Classical Review *fascinating insights into the way the medieval mind worked as it tried to develop the notion of "a cosmos animated and choreographed according to a specifically musical aesthetic". * Andrew Benson-Wilson, Early Music Reviews *Table of ContentsContents List of Illustrations Series Editors' Foreword Abbreviations Acknowledgements About the Companion Website PRELUDE: Listening to the Universe PART ONE: The Framework 1. Harmonizing the World: Natural Philosophy and Order 2. Knowing the World: Music, Mathematics, and Physics PART TWO: The Particulars 3. Composing the Human: Harmonies of the Microcosm 4. Hearing the World: Sonic Materialisms 5. Composing the Cosmic: Harmonies of the Macrocosm POSTLUDE: The Musical Aesthetics of a World So Composed Appendix One: William of Conches, Glosulae de magno Prisciano Appendix Two: Hisdosus, De anima mundi Platonica Works Cited Index

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Book SynopsisHow is music implicated in the politics of belonging? Provocatively fusing recent European philosophy with music theory, Music and Belonging explores the instrumental music of Haydn, Mozart, and Beethoven, reveals connections between listening and constructions of community, and testifies to Classical music's enduring political significance in an age of neoliberal exclusion.Trade ReviewWaltham-Smith's ingenious analysis opens up productive conversations between unlikely interlocutors (Deleuze and Caplin, Nietzsche and Mozart), prompting us to contend anew with what each can offer to our understanding of music and its value. And her insights into the musical creativity of Haydn, Mozart and Beethoven offer a novel way to engage with the enduring value of this repertory, and the real possibility of hearing this music with a new ear. * Beth M. Snyder, Eighteenth-Century Music *Waltham-Smith's Music and Belonging Between Revolution and Restoration is an impressive, thought-provoking interpretation of works of the Austro-German canon as 'paradigmatic' of a politics of belonging and community * Jeremy Coleman, Marx and Philosophy Review of Books *

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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This Handbook charts the new and emerging contexts, practices, pedagogies, and research approaches which will define the field of community music in coming decades.

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Book SynopsisOn September 2, 1945, Ho Chi Minh read out the Vietnamese Declaration of Independence over a makeshift wired loudspeaker system to thousands of listeners in Hanoi. Five days later, Ho''s Viet Minh forces set up a clandestine radio station using equipment brought to Southeast Asia by colonial traders. The revolutionaries garnered support for their coalition on air by interspersing political narratives with red music (nh?c d?). Voice of Vietnam Radio (VOV) grew from these communist and colonial foundations to become one of the largest producers of music in contemporary Vietnam. In this first comprehensive English-language study on the history of radio music in mainland Southeast Asia, Lonán Ó Briain examines the broadcast voices that reconfigured Vietnam''s cultural, social, and political landscape over a century. Ó Briain draws on a year of ethnographic fieldwork at the VOV studios (2016-17), interviews with radio employees and listeners, historical recordings and broadcasts, and archiTrade ReviewThe author's successful integration of storytelling and scholarly research makes this an invaluable contribution to scholarship on Vietnam and Southeast Asia in general. * CHOICE *A fascinating account of the relationship between music and radio in Vietnam from colonial times, through the civil war and up to the present day. * David Harris, Communication, journal of BDXC *This book is well written and will be of interest to those who want to learn morre about radio in other countries. * David Harris, Radio User *Voices of Vietnam is a significant contribution to Southeast Asian and Vietnamese studies and ethnomusicology, as well as the bourgeoning field of radio studies. * Ethnomusicology Forum *Table of ContentsAcknowledgements List of Illustrations Introduction: On Radio, Red Music, and Revolution Defining Red Music A Continuous Revolution Radio and Voice Social History of Sound Reproduction Ethnographic and Archival Research Structure of the Book Note on Language and Music Chapter 1: Sound, Technology, and Culture in French Indochina Cultural Colonialism in French Indochina Trading Instruments, Scores, and Recordings The Gramophone as a Lifestyle Choice Radio as a Technology of the Future Public Radio in French Indochina The Radio Club of Northern Indochina Instability under Japanese Occupation Local Clubs with Global Perspectives Chapter 2: Battle of the Airwaves during the First Indochina War Producing the Declaration of Independence Viet Minh Clandestine Radio in the Mountains Making Music for the Masses Cosmopolitan Styles on Radio Hanoi Inventing Traditions for the Vietnamese Forgotten Musicians of the Vi?t Nh?c Ensemble Viet Minh Radio becomes the Official Voice of Vietnam Chapter 3: Songs of the Golden Age in the Democratic Republic Radio Infrastructure in the DRV Recording, Broadcasting, and Receiving Signals VOV Directives and Programming Traditions Iconic Voices, Musicians, and Singers Local and International Tours Reification of Gender Roles Men as Administrators and Composers Women as Mothers and Martyrs Children as Nephews and Nieces Listening and Responding in the South Music for the Liberation of Saigon, April 30, 1975 Sonic Reterritorialization of the Socialist State Chapter 4: National Radio in the Reform Era Post-War Unification of the Musical Media Challenges and Opportunities in the Reform Era VOV3: A Place for Music Programming the Minorities on Air Curating the Past: The VOV Sound Centre and its Archives History of the VOV Soun d Centre Engaging with the Archives Forecasting the Future: Listener-Centred Productions Surveying the Musical Preferences of Audiences Responding to Audience Demand Revolutionizing the Medium, Regurgitating the Message Chapter 5: Studio Production in Contemporary Vietnam The Politics of Intangible Cultural Heritage Representing the Nation with Traditional Music In the Rehearsal Hall, July 12, 2016 In the Recording Studio, July 15, 2016 Redefining the Nation with New Music In the Rehearsal Hall, July 13, 2016 In the Recording Studio, July 14, 2016 Post-Production and Dissemination Reproducing the Homeland in the Late-Reform Era Conclusion: Nostalgia for the Past, Hope for the Future Notes Bibliography Interviews Index

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