Music Books
Taylor & Francis The Persistence of Melancholia in Arts and
Book SynopsisThis book explores the history and continuing relevance of melancholia as an amorphous but richly suggestive theme in literature, music, and visual culture, as well as philosophy and the history of ideas. Inspired by Albrecht DÃrerâs engraving Melencolia I (1514)âthe first visual representation of artistic melancholyâthis volume brings together contributions by scholars from a variety of disciplines. Topics include: Melencolia I and its reception; how melancholia inhabits landscapes, soundscapes, figures and objects; melancholia in medical and psychological contexts; how melancholia both enables and troubles artistic creation; and Sigmund Freudâs essay Mourning and Melancholia (1917).Table of ContentsIntroduction: The Persistence of Melancholia[Andrea Bubenik]Part I: Resonances of Melencolia I (1514) 1. Temporal Turbulence: In Praise of Anachronism[Mieke Bal]2. Between the Angel and the Dog: Dürer’s Melancholy Community [Drew Daniel]Part II: Objects of Melancholia3. Musical Responses to Dürer’s Melencolia I[Denis Collins]4. The Shape of Things to Come: The Melancholy of Dürer’s Polyhedron[Andrea Bubenik]5. The Eyes, Brain and Heart of the Viewer: Love Melancholy & Renaissance Portraiture[Laurinda Dixon]Part III: Landscapes of Melancholia6. The Melancholic Horizon in Australian Art[Allison Holland]7. Sebald’s ‘Under the Sign of Saturn’ and English Hauntology[Rex Butler]Part IV: Politics and Morals of Melancholia8. Melancholia’s Mirror: Moral Conscience in Australian Art[Sally Butler]9. Against a Melancholic Art History: The Afterlife of Images[Chari Larsson]10. After the End: Melancholia and the Politics of Time[Amelia Barikin]Conclusion: Melancholia: Past, Present, Future?[Michael Ann Holly]
£39.99
Taylor & Francis Ltd What in the World is Music
Book SynopsisWhat in the World is Music? Second Edition is an undergraduate, interactive e-textbook that explores the shared ways people engage with music and how humans organize and experience sound. It adopts a global approach, featuring more than 300 streaming videos and 50 streaming audio tracks of music from around the world. Drawing from both musicological and ethnomusicological modes of inquiry, the authors explain the nature and meaning of music as a universal human practice, making no distinction between Western and non-Western repertoires while providing students with strong points of connection to the ways it affects their own lives.The What in the World is Music? curriculum is divided into five parts, with a fully integrated multimedia program linked directly to the chapters: The Foundations of Music I proposes a working definition of music and considers inquiry-guided approaches to its study: Why do humans have innate musical perception? How Trade Review"Arnold and Kramer's deep dive into music is astonishing in its breadth. It takes readers from old camp meetings songs at Mount Carmel Baptist Church in Atlanta to khoomei singers in the Mongolian steppes, from the tenor Caruso and Italian castrati to Chinese legends about music and bells that survive from ancient times, from singing to celebrate independence and ethnic identity in Estonia as the Soviet Union collapsed to Ella Fitzgerald, and from American country music to Western Africa’s Salif Keita and the 'Voice of Egypt,' Umm Kulthum. The project is distinguished, not just for its breadth, but because of the multiple video and audio files, some field recordings and others studio quality, that illustrate the text. These will prove of immense use for students and teachers alike, bringing into one place materials that otherwise require detective work to source. There are, of course, many musics in the world, and Arnold and Kramer offer much more than a mere ethnomusicological account. They attempt, with considerable success, to be inclusive. Their task begins with defining what music is – they tighten John Blacking's pithy 'humanly organized sound' to 'sounds organized by humans and intended for human purposes.' They erect a scaffold, asking pertinent questions: What is sound? What is hearing? What are the elements of music? Where does music come from? Multiple answers are found for each question, precisely because human creativity has created a treasure-trove of musics that are almost infinite in their diversity, but which nonetheless are brought here into a single resource."—Keith Howard, Professor Emeritus of Music, SOAS, University of London "The second edition of What in the World is Music? not only explores the various ways we can study and interact with music styles from around the world, but also demonstrates how different musical cultures can be both related and unique. The authors' perspicuity and book's theme-based approach make it accessible to undergraduates, including non-music majors who wish to explore music’s cultural, political, spiritual, and economic importance in global contexts. Readers of What in the World is Music? will deepen their understanding of other cultures' music in relation to that of their our own."—Damascus Kafumbe, Professor and Chair, Department of Music, Middlebury College "What in the World is Music? is aimed at undergraduate students seeking to experience the role, the function and the meaning of music from a global perspective. It is an enjoyable and yet authoritative interactive e-textbook that engages students with the richness of its visual and audio material. Organized around interesting and important themes and approaches to the study of music, each chapter provides a starting point for a particular topic informed by several case studies that are integrated with video and audio files. A very useful list of key terms and concepts, as well as study questions at the end of each chapter, reinforce the educational effectiveness of the textbook. The book provides material with which it is possible to make the study of music more wide ranging and inclusive, particularly in its aim to dissolve the opposition between so-called Western and non-Western repertoires. It is a rich and stimulating work that can be read, listened to, and used to teach. I recommend What in the World is Music? to students and to instructors. Arnold and Kramer have demonstrated their skills and understanding in the way they have put the project together, and in their ability to broaden our musical horizons."—Alessandra Ciucci, Associate Professor of Music, Columbia University "Arnold and Kramer’s What in the World is Music? offers a distinctive structure for undergraduate music appreciation courses. Their work succeeds in flattening pedagogical hierarchies between art and folk music, the sacred and secular, and traditional and popular styles. The textbook makes a point of drawing out unlikely comparisons. A section on Umm Kulthum follows one on Jimmie Rodgers, for example: 'the voice of Egypt' alongside 'the singing brakeman' from Meridian, Mississippi. Arnold and Kramer's textbook offers students robust ways of understanding the material of music (voices and musical instruments), the structure of music (rhythm, melody, harmony, texture, form, genre, style), and the ways in which music is inseparable from social, historical, and political contexts. They make use of a broad catalog of audio and video examples as they scaffold a layered and well-designed student curriculum. As broad as it is creative, What in the World is Music? is a brilliant roadmap for revealing the relevance and radiance of music studies for today’s undergraduate students."—Jonathan Henderson, Professor of Music, College of the Atlantic "The second edition of What in the World is Music? offers fascinating, meaning-filled practical experiences, which enable one to understand that music is highly vital to human experience by exemplifying many cases using text, video, and audio files illustrating musical behavior across the globe in an original, simple, but a deeply engaging scholarly way. I highly recommend this ground-breaking, thought-provoking e-textbook for music students, educators, and researchers."—James Isabirye, Lecturer of Music and Music Education, Kyambogo University (Kampala, Uganda) "In What in the World is Music?, Alison Arnold and Jonathan Kramer, drawing upon their personally rich, backgrounds, both intersecting and complementary, have created a highly commendable, innovative textbook which stands out among many laudable peers. Although their title question may in the end be definitively unanswerable, they have grappled with it effectively and engagingly through a range of physiological, psychological, philosophical, musically analytical, and sociological approaches and criteria. What in the World is Music? is clearly among the most au courant of extant World Music textbooks in its attention to sound technologies, hybridity, and musical change, as well as the authors' highly imaginative choices of musical traditions. My warmest congratulations to Arnold and Kramer for their imaginative, insightful, and innovative achievement."—Ted Solis, Professor of Music and Ethnomusicology, Arizona State University "Asking foundational questions about the nature of music (what is it, what is it made of, where does it come from) and about the way people use it to express their identities, their spirituality, and their place in society allows the authors to survey an astonishing range of human music making, put vastly different musical traditions in conversation with each other, and demonstrate the richness of musical experience that all humans share. This textbook is a most welcome and highly original intervention in the way music can be taught in undergraduate classes."—Tim Rice, Distinguished Professor Emeritus of Ethnomusicology, UCLA "A decorous envisioning of World Music in its transcendental and diverse nature. Jonathan and Alison bring us yet another updated edition of What in the World is Music? considering how World Music has evolved since their first edition. This second edition e-textbook is a timely contribution to Ethnomusicology and general music scholarship, as well as the Social Sciences and general humanities globally. Their transcontinental perspectives are represented with diversified case studies that rightly articulate World Music in its broadest sense. It is indeed an essential companion for every undergraduate music program internationally."—Nicholas Ssempijja, Lecturer in Music, Makerere University (Uganda) "In the second edition of What in the World is Music?, Arnold and Kramer have compiled a monumental array of audio and video examples demonstrating the diversity of musical activity around the world. This text investigates not just the 'what' but also the 'how' and the 'why' of music making, illustrated through myriad case studies. Framed through the themes of identity, the sacred, and the social, What in the World is Music? leads students to decipher musical meanings using analytical, contextual, semiotic, and performative lenses. This inquiry-guided approach provides the tools for students to engage thoughtfully with any music… anywhere."—Gavin Douglas, Professor of Ethnomusicology, University of North Carolina at Greensboro Table of ContentsPart 1: The Foundations of Music I / Chapter 1: What Is Music? / Chapter 2: What Is Music Made Of? The Human Voice / Chapter 3: What Is Music Made Of? Musical Instruments / Part 2: The Foundations of Music II / Chapter 4: What Is Music Made Of? The Elements of Music / Chapter 5: Where Does Music Come From? The Origins of Music / Chapter 6: What Is Music For? The Functions of Music / Part 3: Music and Identity / Chapter 7: Music and Group Identity / Chapter 8: Music and Hybrid Identity / Chapter 9: Music and Oppositional Identity / Part 4: Music and the Sacred / Chapter 10: Sacred Chant and Devotional Singing / Chapter 11: Sacred Embodiment and Sacred Enactment / Chapter 12: Sacred Space and Sacred Time / Part 5: Music and Social Life / Chapter 13: Narrative Singing, Theater, and Opera / Chapter 14: Music in Public Spaces / Chapter 15: Music and Tourism, Sound Recording, and Film / Glossary / Further Resources / Credits / Media Index / Index
£82.64
Taylor & Francis Ltd Points of Disruption in the Music Education
Book SynopsisFor decades, scholars in the field of music education have recognized the need for growth and change in our approach to teaching music, yet despite these calls for change, the music education curriculum today remains remarkably similar to that of a century ago. Points of Disruption in the Music Education Curriculum, Volume 2: Individual Changes is one of two volumes that bring together applied suggestions, analyses, and best practices for disrupting cycles of replication in the curriculum of K-12 and collegiate music education programs in the United States and beyond, considering disruption as a force for positive change. Identifying specific strategies for interrupting or reimagining traditional practices, the contributors provide music teachers and music educators with a variety of potential practical approaches to creating changes that foster a better musical education at all levels of the curriculum.This second volume focuses on changes that can be implemented by i
£62.58
Taylor & Francis Ltd Points of Disruption in the Music Education
Book SynopsisFor decades, scholars in the field of music education have recognized the need for growth and change in our approach to teaching music, yet despite these calls for change, the music education curriculum today remains remarkably similar to that of a century ago. Points of Disruption in the Music Education Curriculum, Volume 1: Systemic Changes is one of two volumes that bring together applied suggestions, analyses, and best practices for disrupting cycles of replication in the curriculum of K-12 and collegiate music education programs in the United States and beyond, considering disruption as a force for positive change. Identifying specific strategies for interrupting or reimagining traditional practices, the contributors provide music teachers and music educators with a variety of potential practical approaches to creating changes that foster a better musical education at all levels of the curriculum.This first volume focuses on systemic changes, including topics like
£62.58
Taylor & Francis Music in the Human Experience
Book SynopsisMusic in the Human Experience: An Introduction to Music Psychology, Third Edition, explores the ways in which we make sense of music and how we respond to itâcognitively, physically, and emotionally. Written by musicians, for musicians, while incorporating findings from biology, anthropology, sociology, physics, philosophy, and education, the text presents musical experiences as widely varied and hugely complex affairs. How did human beings come to be musical creatures? Why do people have emotional responses to music? In the third edition of Music in the Human Experience, the authors seek to understand and explain these musical phenomena that lie at the core of what it means to be human.New to the Third Edition: New co-author, Gary McPherson Fresh discussions on in-demand topics: social justice in music, fitness for musicians, constructivism, and more Increased recognition of non-Western music and musical experiences A digi
£51.29
Taylor & Francis Ltd Psychology of Music
Book SynopsisHow does music affect our moods?What is the best way to develop musical skills?How does the definition of music vary between cultures?The Psychology of Music explores the important impact music has on our everyday lives, and its influence on society, groups and individual people. It demonstrates how music can benefit our intellectual functioning, and health and well-being, and examines musical ability as both a gift and something that can be developed through learning and practice.Music can enhance our understanding of humanity and modern life and The Psychology of Music shows us the significance of music, and the power it can have over our behaviour.Table of Contents1. Music, its significance and functions 2. The processing of music 3. The development of general musical skills 4. Music in everyday life 5. The benefits of music to health and well-being 6. Issues relating to musical ability 7. The development of specialist musical skills 8. The benefits of music to intellectual functioning
£123.50
Taylor & Francis Vocal Music and Contemporary Identities
Book SynopsisLooking at musical globalization and vocal music, this collection of essays studies the complex relationship between the human voice and cultural identity in 20th- and 21st-century music in both East Asian and Western music. The authors approach musical meaning in specific case studies against the background of general trends of cultural globalization and the construction/deconstruction of identity produced by human (and artificial) voices. The essays proceed from different angles, notably sociocultural and historical contexts, philosophical and literary aesthetics, vocal technique, analysis of vocal microstructures, text/phonetics-music-relationships, historical vocal sources or models for contemporary art and pop music, and areas of conflict between vocalization, ethnicity, and cultural identity. They pinpoint crucial topical features that have shaped identity-discourses in art and popular musical situations since the1950s, with a special focus on the past two decades. The volume Table of Contents1. Introduction: Voice, Identities, and Reflexive Globalization in Contemporary Music Practices Christian Utz and Frederick Lau Part 1: Global Perspectives on the Voice 2. Presence and Ethicity of the Voice Dieter Mersch 3. The Rediscovery of Presence: Intercultural Passages through Vocal Spaces between Speech and Song Christian Utz 4. Imagining the Other’s Voice: On Composing across Vocal Traditions Sandeep Bhagwati Part 2: Voices of/in Art Music 5. Voice, Culture, and Ethnicity in Contemporary Chinese Compositions Frederick Lau 6. Narrative, Voice, and Reality in the Operas by Hosokawa Toshio and Mochizuki Misato Fuyuko Fukunaka 7. Reconsidering Traditional Vocal Practices in Contemporary Korean Music Heekyung Lee 8. Escaped from Paradise? Construction of Identity and Elements of Ritual in Vocal Works by Helmut Lachenmann and Giacinto Scelsi Jörn Peter Hiekel 9. The Notation and Use of the Voice in Non-Semantic Contexts: Phonetic Organization in the Vocal Music of Dieter Schnebel, Brian Ferneyhough, and Georges Aperghis Erin Gee Part 3: Voices of/in Popular Music and Media Art 10. A "Digital Opera" at the Boundaries of Transnationalism: Human and Synthesized Voices in Zuni Icosahedron’s The Memory Palace of Matteo Ricci Samson Young 11. "Voices of the Mainstream:"Red Songs and Revolutionary Identities in the People’s Republic of China Andreas Steen 12. Asagi’s Voice: Learning How to Desire with Japanese visual-kei Oliver Seibt 13. Voicing Body, Voicing Seoul: Vocalization, Body, and Ethnicity in Korean Popular Music Michael Fuhr 14. Afterword: Giving Voice to Difference Nicholas Cook
£43.99
Taylor & Francis Ltd Aesthetics
Book SynopsisAesthetics: A Reader in Philosophy of the Arts, fourth edition, contains a selection of ninety-six readings organized by individual art forms as well as a final section of readings in philosophical aesthetics that cover multiple art forms. Sections include topics that are familiar to students such as painting, photography and movies, architecture, music, literature, and performance, as well as contemporary subjects such as mass art, popular arts, the aesthetics of the everyday, and the natural environment. Essays are drawn from both the analytic and continental traditions, and multiple others that bridge this divide between these traditions. Throughout, readings are brief, accessible for undergraduates, and conceptually focused, allowing instructors many different syllabi possibilities using only this single volume. Key Additions to the Fourth EditionThe fourth edition is expanded to include a total of ninety-six essays with niTrade Review"This 4th Edition offers broad coverage of many fascinating contemporary topics while also including some of the key works in the history of aesthetics. This text demonstrates the vibrancy of aesthetics today without losing sight of its past."--Christopher Bartel, Appalachian State University"I’ve long considered Aesthetics: A Reader in Philosophy of the Arts to be the best collection for undergraduate philosophy of art classes because of the breadth of its readings, and because of its excellent coverage of recent debates in the arts. The fourth edition builds on these strengths, expanding its coverage of contemporary topics."--Joshua Shaw, Penn State Erie, The Behrend College"The editors have have imaginatively selected essays both canonical and offbeat from diverse traditions. This anthology would be engaging and accessible to undergraduates of all levels and majors, as it shows the importance of Aesthetics to everyday life, as well as to philosophy and culture. It is an outstanding new contribution to the pedagogical literature in the field."--Carol S. Gould, Florida Atlantic UniversityTable of ContentsTable of contents Acknowledgements for the 4th EditionGeneral IntroductionPart 1: Painting Against ImitationPlatoThe Limits of LikenessErnst Gombrich Reality RemadeNelson Goodman The "Perfect" FakeNelson GoodmanArtistic CrimesDenis DuttonForm in Modern PaintingClive BellA Formal AnalysisEdmund Burke Feldman Intentional Visual InterestMichael Baxandall Works of Art and Mere Real ThingsArthur C. Danto The Origin of the Work of ArtMartin HeideggerWhy Are There No Great Women Artists? Linda Nochlin Painting and EthicsA. W. EatonArt and CorruptionDavid Alfaro SiqueirosPart II: Photography and Moving Pictures The Work of Art in the Age of Mechanical ReproductionWalter Benjamin Transparent PicturesKendall L. WaltonWhy Photography Does Not Represent ArtisticallyRoger Scruton The Hubble Photographs as Aesthetic ObjectsFlo LeibowitzArchitectural Photography: The "Urban Photogénie" of ArchitainmentJennifer BurrisHow Beauty MattersPeg Brand WeiserAllegory of the CavePlato Towards an Ontology of the Moving ImageNoël CarrollMoving PicturesArthur C. DantoWoman as Image, Man as Bearer of the LookLaura Mulvey Beauty and Evil: The Case of Leni RiefenstahlMary Devereaux The Last King of Scotland: The Ethics of Race on FilmPaul C. TaylorPart III: Architecture The Problem of ArchitectureRoger Scruton Home is Where the Heart Is: Taking Architecture PersonallyEdward Winters Ornament and Crime: TattoosAdolf Loos Towards an ArchitectureLe CorbusierArchitecture as Decorated ShelterRobert Venturi and Denise Scott BrownA Discussion of Architecture (with Christopher Norris)Jacque Derrida How to Experience ArchitectureJenefer RobinsonSpectacular vs. Deferential Art Museums in the Twenty-First Century Larry Shiner Architectural GhostsJeanette BicknellDigital Architecture and the New EleganceHina JamellePart IV: MusicOn the Concept of MusicJerrold Levinson Ontology of MusicBen Caplan and Carl Matheson Making Tracks: The Ontology of Rock MusicAndrew KaniaIs Live Music Dead?Lee B. BrownThe Expression of Emotion in MusicStephen Davies Representation in MusicRoger ScrutonSound and SemblancePeter Kivy African MusicJohn Miller ChernoffJazz and LanguageRobert KrautA Topography of Musical ImprovisationPhilip AlpersonFakin’ It: Is There Authenticity in Commercial Music? Theodore Gracyk Can White People Sing the Blues? Joel Rudinow Social Consciousness in Dancehall ReggaeAnita M. Waters Part V: Literature What is Literature? Terry EagletonThe Poetic Expression of Emotion R. G. Collingwood The Paradox of ExpressionGarry L. HagbergThe Intention of the AuthorMonroe C. Beardsley What is an Author? Michel Foucault Criticism as RetrievalRichard Wollheim Beneath InterpretationRichard Shusterman The Art of WritingLu ChiHow to Eat a Chinese PoemRichard W. Bodman Imagination and Make-BelieveGregory CurriePart VI: PerformanceIonPlatoOn TragedyAristotleThe Birth of TragedyFriedrich NietzscheWhat Is Going On in a Dance? Monroe C. Beardsley Working and Dancing: A Reponse to Monroe Beardsley's "What is Going On in a Dance?"Noël Carroll and Sally BanesAppreciating Dance: The View from the AudienceAili Bresnahan Literature as a Performing ArtJ. O. UrmsonThe Artwork as PerformanceDavid Davies Why (Not) Philosophy of Stand-up Comedy?Sheila Lintott Ventriloquism and ArtDavid GoldblattMagic: The Art of the ImpossibleJason Leddington Part VII: Mass Art Defining Mass ArtNoël CarrollPlato and the Mass MediaAlexander Nehamas Adorno’s Case Against Popular MusicLee B. Brown In Defense of Popular ArtsRichard Shusterman Television and AestheticsUmberto EcoRelating Comics, Cartoons, and AnimationHenry John Pratt Videogames, Interactivity and ArtGrant TavinorIs It Only a Game? The Ethics of Video Game PlayStephanie Patridge Part VIII: Nature and Everyday Aesthetics Aesthetic Appreciation of the Natural EnvironmentAllen CarlsonEveryday AestheticsYuriko Saito Kitsch Robert SolomonThe Aesthetics of JunkyardsThomas Leddy Nonsense in Public Places: Songs of Black Vocal Rhythm and Blues or Doo-WopDavid GoldblattStreet ArtSondra BacharachJokesTed Cohen Racist Humor Luvell Anderson A Sensible Antiporn Feminism A. W. EatonFalling in Lust: Sexiness, Feminism, and PornographyHans MaesPart IX: Art in General Of the Standard of TasteDavid HumeThe SublimeEdmund Burke Judgments about the BeautifulImmanuel KantThe Philosophy of Fine ArtG. W. F. HegelAesthetic ConceptsFrank Sibley Categories of ArtKendall L. Walton The Role of Theory in AestheticsMorris Weitz Art and Natural SelectionDenis Dutton Feminism in ContextPeg Brand Weiser Contributors
£142.50
Taylor & Francis Ltd The New Guitarscape in Critical Theory Cultural Practice and Musical Performance
In The New Guitarscape, Kevin Dawe argues for a re-assessment of guitar studies in the light of more recent musical, social, cultural and technological developments that have taken place around the instrument. The author considers that a detailed study of the guitar in both contemporary and cross-cultural perspectives is now absolutely essential and that such a study must also include discussion of a wide range of theoretical issues, literature, musical cultures and technologies as they come to bear upon the instrument. Dawe presents a synthesis of previous work on the guitar, but also expands the terms by which the guitar might be studied. Moreover, in order to understand the properties and potential of the guitar as an agent of music, culture and society, the author draws from studies in science and technology, design theory, material culture, cognition, sensual culture, gender and sexuality, power and agency, ethnography (real and virtual) and globalization. Dawe presents the guit
£53.99
Taylor & Francis Ltd Musicological Identities
Book SynopsisNo music scholar has made as profound an impact on contemporary thought as Susan McClary, a central figure in what has been termed the ''new musicology''. In this volume seventeen distinguished scholars pay tribute to her work, with essays addressing three approaches to music that have characterized her own writings: reassessing music''s role in identity formation, particularly regarding gender, sexuality, and race; exploring music''s capacity to define and regulate perceptions and experiences of time; and advancing new modes of analysis more appropriate to those aspects and modes of musicking ignored by traditional methods. Contributors include, in overlapping categories, many fellow pioneers, current colleagues, and former students, and their essays, like McClary''s own work, address a wide range of repertories ranging from the established canon to a variety of popular genres. The collection represents the generational arrival of the ''new'' musicology into full maturity, dividing faTrade Review'Rose Rosengard Subotnik was awarded the 2009 Slim Award (best article by scholar beyond early stages) by the AMS for her contribution to Musicological Identities: "Shoddy Equipment for Living?: Deconstructing the Tin Pan Alley Song,". Anyone still uncertain of Susan McClary's impact on musicology is warmly recommended to seek out this stimulating collection of essays. It is a remarkable tribute, not simply as an illustration of affection from two generations of musical scholars, but as an indication of how confidently and unapologetically the social meanings of music are now foregrounded. McClary was among the first to attempt to tease out such meanings, and inspired others to do likewise. The breadth of scholarship on display here is representative of the changed musicological landscape she helped to bring about.' Derek B. Scott, University of Leeds, UK ’[There is] diversity and openness... in many aspects of the book: in the range of musics and methodologies, in the willingness of scholars to interrogate their assumptions. In these qualities I detect a confident and mature discipline, one that goes far beyond appropriation or imitation of other disciplines to give something back to the humanities. Grown-up musicology? I think so.’ Journal of the Society for Musicology in IrelandTable of ContentsContents: Tribute to Susan McClary, Rose Rosengard Subotnik; Introduction, Steven Baur, Raymond Knapp and Jacqueline Warwick. Part I Musical Identities: Gender Sexuality and Race: Value and meaning in The Magic Flute, Lawrence Kramer; Whirling fanatics: orientalism, politics, and religious rivalry in western operatic representation of the orient, Nasser Al-Taee; Reveling in the rubble: where is the love?, George Lipsitz; 'Waltz me round again Willie': gender, ideology and the waltz in the Gilded Age, Steven Baur; 'And the colored girls sing': backup singers and the case of the Blossoms, Jacqueline Warwick; The universe will tell you what it needs: being, time, Sondheim, Paul Attinello. Part II Music and Temporality: Making time - the soundtrack and narrative time, Daniel Goldmark; Sleights of time in the music of Cassandra Wilson, Charles Hiroshi Garrett; Temporal turntables: on temporality and corporeality in dance culture, Stan Hawkins; Resisting the sublime: loose synchronization in La Belle et la Bête and The Dark Side of Oz, John Richardson; Of railroads, Beethoven and Victorian modernity, Ruth A. Solie; Marking time in Pacific Overtures: reconciling East, West and history within the theatrical now of a Broadway musical, Raymond Knapp. Part III Reinventing Analysis: 3 little essays on evanescence, Mitchell Morris; Gender sonics: the voice of Patsy Cline, Richard Leppert; Shoddy equipment for living? Deconstructing Tin Pan Alley song, Rose Rosengard Subotnik; Musicology beyond the score and the performance: making sense of the creak on Miles Davis's 'Old Folks', David Atke; Uninvited: gender, schizophrenia and Alanis Morissette, Robert Walker; Index.
£49.99
Taylor & Francis Ltd Perspectives on the Performance of French Piano
Book SynopsisPerspectives on the Performance of French Piano Music offers a range of approaches central to the performance of French piano music of the nineteenth and twentieth centuries. The contributors include scholars and active performers who see performance not as an independent activity but as a practice enriched by a wealth of historical and analytical approaches. To underline the usefulness of contextual understanding for performance, each author highlights the choices performers must confront with examples drawn from particular repertoires and composers. Topics explored include editorial practice, the use of early recordings, emergent disciplines such as analysis-and-performance, and traditions passed down from teacher to student. Themes that emerge demonstrate the importance of editions as a form of communication, the challenges of notation, the significance of detail and of deeper continuity, the importance of performing and teaching traditions, and the influence of cross disciplinaryTrade Review’ ... a significant achievement that provides a number of penetrating insights into the performance practice of the French piano tradition... a timely reminder that scores rarely give us all the information that we need to create music, and that, as musicians, we always need to seek creative solutions to musical (and notational) questions. The collection draws together an impressive roster of pianists, performer scholars, and musicologists, each with a specialist insight into aspects of the French piano repertory and tradition ... this collection also usefully reminds us that a thorough examination of all the evidence available to us reveals that more than one interpretation may be valid (and exciting!) in performance. The real significance of this new volume, however, may lie in its potential as a pedagogic text. Despite the specific focus on French repertory, the book could be used within a teaching context to introduce students to a wide range of issues pertinent to contemporary Classical Music Studies and Performance Studies, including editing, approaching historical sources critically, using early recordings, and the application of analysis to informed performances’. Music and Letters
£45.99
Taylor & Francis Ltd Artistic Practice as Research in Music Theory
Book SynopsisArtistic Practice as Research in Music: Theory, Criticism, Practice brings together internationally renowned scholars and practitioners to explore the cultural, institutional, theoretical, methodological, epistemological, ethical and practical aspects and implications of the rapidly evolving area of artistic research in music. Through various theoretical positions and case studies, and by establishing robust connections between theoretical debates and concrete examples of artistic research projects, the authors discuss the conditions under which artistic practice becomes a research activity; how practice-led research is understood in conservatoire settings; issues of assessment in relation to musical performance as research; methodological possibilities open to music practitioners entering academic environments as researchers; the role of technology in processes of musical composition as research; the role and value of performerly knowledge in music-analytical enquiry; issues in relatiTable of ContentsContents: Introduction, Mine DoÄŸantan-Dack. Part I Institutional and Critical Perspectives: Performing research: some institutional perspectives, Nicholas Cook; Practising research, playing with knowledge, Celia Duffy and Stephen Broad; Artistic research and music scholarship: musings and models from a continental European perspective, Darla Crispin; Determination and negotiation in artistic practice as research in music, Anthony Gritten. Part II Disciplinary and Methodological Issues: Practice-based music research: lessons from a researcher’s personal history, Jane W. Davidson; Following performance across the research frontier, Kathryn Whitney; The (f)utility of performance analysis, John Rink; Imaginary workspaces: creative practice and research through electroacoustic composition, John Young. Part III Specific Projects: The role of the musical instrument in performance as research: the piano as a research tool, Mine DoÄŸantan-Dack; Creating new music for a redesigned instrument, Christopher Redgate; Improvisations towards an origin: the steel cello and the bow chime, Adrian Palka; FLAT TIME/sounding, David Toop; Index.
£43.99
Taylor & Francis Ltd Concert Design
Book SynopsisConcert Design: The Road, The Craft, The Industry offers an exceptional journey though the world of concert design, exploring not only its unique design attributes but also the industry that has grown around it and how to make a career of the road'.Concert designer Seth Jackson analyzes how the industry has changed over the last three decades from its early days of no rules' and cowboys' to a thriving and growing industry with countless career opportunities. Drawing on 25 years of experience and clients ranging from Carrie Underwood to Don Henley, he explores design techniques, working with Artists and directors, the rigors of concert touring, and navigating a career path through a challenging industry. The book also includes stories from numerous industry luminaries such as Steve Cohen, Jeff Ravitz, Eric Loader, Howard Ungerleider, and Jim Lenahan, along with Jackson's own experiences.Written for aspiring concert lighting designers and stuTrade Review"Jackson has an easy-to-read narrative style of writing that’s like sitting down with him in a big, comfy chair talking about what he’s been doing with himself. The content is made up primarily of lessons big and small that are intelligently relayed, in a language that’s relaxed and familiar. The stories will make you want to keep reading, and before you know it, you’ll be at the end and wanting more."-Richard Cadena, Lighting & Sound America August 2020Table of Contents1. I Want to Do This for the Rest of My Life 2. I’m Sweeping the Shop… with My BFA 3. Wheels on the Highway 4. Designs and Sausages 5. It May Take a Village, but You Are Just One of the Chiefs 6. Allied Forces 7. Where’s the Band? 8. The Call for Artistry
£31.99
Taylor & Francis Ltd The Persistence of Melancholia in Arts and
Book SynopsisThis book explores the history and continuing relevance of melancholia as an amorphous but richly suggestive theme in literature, music, and visual culture, as well as philosophy and the history of ideas. Inspired by Albrecht DÃrerâs engraving Melencolia I (1514)âthe first visual representation of artistic melancholyâthis volume brings together contributions by scholars from a variety of disciplines. Topics include: Melencolia I and its reception; how melancholia inhabits landscapes, soundscapes, figures and objects; melancholia in medical and psychological contexts; how melancholia both enables and troubles artistic creation; and Sigmund Freudâs essay Mourning and Melancholia (1917).Table of ContentsIntroduction: The Persistence of Melancholia[Andrea Bubenik]Part I: Resonances of Melencolia I (1514) 1. Temporal Turbulence: In Praise of Anachronism[Mieke Bal]2. Between the Angel and the Dog: Dürer’s Melancholy Community [Drew Daniel]Part II: Objects of Melancholia3. Musical Responses to Dürer’s Melencolia I[Denis Collins]4. The Shape of Things to Come: The Melancholy of Dürer’s Polyhedron[Andrea Bubenik]5. The Eyes, Brain and Heart of the Viewer: Love Melancholy & Renaissance Portraiture[Laurinda Dixon]Part III: Landscapes of Melancholia6. The Melancholic Horizon in Australian Art[Allison Holland]7. Sebald’s ‘Under the Sign of Saturn’ and English Hauntology[Rex Butler]Part IV: Politics and Morals of Melancholia8. Melancholia’s Mirror: Moral Conscience in Australian Art[Sally Butler]9. Against a Melancholic Art History: The Afterlife of Images[Chari Larsson]10. After the End: Melancholia and the Politics of Time[Amelia Barikin]Conclusion: Melancholia: Past, Present, Future?[Michael Ann Holly]
£135.00
Taylor & Francis Ltd The Creative Reflective Practitioner
Book SynopsisThe Creative Reflective Practitioner explores research and practice through the eyes of people with a wholehearted commitment to creative work. It reveals what it means to be a reflective creative practitioner, whether working alone, in collaboration with others, with digital technology or doing research, and what we can learn from listening and observing closely. It gives the reader new insights into the fascinating challenge that having a reflective creative mindset can bring.Creative reflective practice is seen through practitioner ideas and works which have informed the writing at every level, supported by research studies and historical accounts. The practitioners featured in this book represent a broad spectrum of interdisciplinary creative activities producing works in film, music, drama, dance and interactive installations. Their work is innovative, full of new ideas and exciting to experience, offering engagement and challenge for audiences and participants alTrade ReviewThis book makes an important contribution to the literature of creative studies. Drawing on contemporary research in the field with particular insight into the value of recent digitally based practice, the author introduces a rigorous and illuminating analysis of the often enigmatic nature of the creative process, grounded in lively interviews with practising artists, scientists and technologists, providing a deeper understanding of the ways in which artworks, and indeed any other creative outcomes, evolve in all their complexity.Siân Ede, author of ‘Art & Science’Linda Candy shows us how the powerful paradigm of reflective practice can be used to understand creative thought in such diverse fields as science, engineering, art, design and music. Her interviews with distinguished practitioners provide a privileged glimpse into especially creative minds and her analysis reveals fascinatingly generic aspects of cognition. This book deserves to become a standard text in the field; there is every chance that it will.Bryan Lawson (Emeritus Professor: Dip Arch (dist) (Oxford), Msc (dist), PhD (Aston), RIBA, Registered Architect.)Linda Candy has created an incredible book on creativity. Her deep reflections on the nature of creativity will be of vital importance to anyone engaging with reflective creative practice. Through the voice of many significant artists and practitioners from a broad range of fields and disciplines, Candy weaves together a framework with which to understand their reflective practices, but more importantly how we, the readers, can benefit and enhance our own creativity.Craig Vear, Professor of Digital Performance (Music), De Montfort University, Leicester, UKTable of ContentsList of FiguresList of Practitioner PortraitsAcknowledgementsPreface1. Reflection, Practice and the Creative Practitioner 2. Reflective Professional Practice 3. Reflective Creative Practice Practitioner Interviews4. Reflective Collaborative Practice Practitioner Interviews5. Digitally Amplified Reflective Practice Practitioner Interviews6. Reflection through Research 7. Learning from the Reflective Practitioner AfterwordReferences
£47.00
Taylor & Francis Ltd The Routledge Companion to Embodied Music
Book SynopsisThe Routledge Companion to Embodied Music Interaction captures a new paradigm in the study of music interaction, as a wave of recent research focuses on the role of the human body in musical experiences. This volume brings together a broad collection of work that explores all aspects of this new approach to understanding how we interact with music, addressing the issues that have roused the curiosities of scientists for ages: to understand the complex and multi-faceted way in which music manifests itself not just as sound but also as a variety of cultural styles, not just as experience but also as awareness of that experience.With contributions from an interdisciplinary and international array of scholars, including both empirical and theoretical perspectives, the Companion explores an equally impressive array of topics, including: Dynamical music interaction theories and concepts Expressive gestural interaction Table of ContentsIntroduction: What is Embodied Music Interaction? (Marc Leman, Micheline Lesaffre, and Pieter-Jan Maes) Part 1: Dynamical Music Interaction Theories and Concepts 1 The Interactive Dialectics of Musical Meaning Formation (Marc Leman) 2 Metrically Structured Time and Entrainment (Guy Madison, Fredrik Ullén, and Björn Merker ) 3 Participatory Sense-Making in Joint Musical Practice (Andrea Schiavio and Hanne De Jaegher) 4 Playing with the Beat: A Process-Oriented Approach to Studying Sensorimotor Synchronization in Early Childhood (Ana Almeida, Katie Overy, and Dorothy Miell) 5 The Merging of Musician and Musical Instrument: Incorporation, Presence, and Levels of Embodiment (Luc Nijs) 6 Music Knowledge Construction: Enactive, Ecological, and Biosemiotic Claims (Mark Reybrouck) Part 2: Expressive Gestural Interaction 7 Cognitive and Sensorimotor Resources for the Encoding of Expressiveness during Music Playing (Muzaffer Çorlu, Pieter-Jan Maes, and Marc Leman) 8 Beyond Emotion: Multi-Sensory Responses to Musical Expression (Giovanni De Poli, Maddalena Murari, Sergio Canazza, Antonio Rodà, and Emery Schubert) 9 Conveying Expressivity and Individuality in Keyboard Performance (Bruno Gingras) 10 The Resilience Approach to Studying Group Interaction in Music Ensemble (Donald Glowinski, Fabrizio Bracco, Carlo Chiorri, and Didier Grandjean) 11 Agency in Embodied Musical Interaction (Nikki Moran ) 12 Postures and Motion Shaping Musical Experience (Rolf Inge Godøy ) 13 The Communication of Emotions in Dance (Edith Van Dyck, Birgitta Burger, and Konstantina Orlandatou) Part 3: Social Music Interaction 14 Group Flow (Tom Cochrane) 15 Entrainment and Mutual Adaptation in Musical Movement and Dance (Tommi Himberg) 16 Embodied Expression through Entrainment and Co-Representation in Musical Ensemble Performance (Jennifer MacRitchie, Manuel Varlet, and Peter E. Keller) 17 Musical Performance as Joint Action (John Michael) 18 Do Jazz Improvizers Really Interact? The Score Effect in Collective Jazz Improvization (François Pachet, Pierre Roy, and Raphaël Foulon) 19 Gestural Interactions in Ensemble Performance (Davi Mota, Mauricio Loureiro, and Rafael Laboissière) 20 Interpersonal Coordination in Dyadic Performance (Marc R. Thompson, Georgios Diapoulis, Tommi Himberg, and Petri Toiviainen) 21 Embodied Social Synchronization in Children’s Musical Development (Leon van Noorden, Leen De Bruyn, Raven van Noorden and Marc, Leman) Part 4: Sociological and Anthropological Approaches 22 Embodied Interaction with "Sonic Agents": An Anthropological Perspective (Filippo Bonini Baraldi) 23 The Ethnography of Embodied Music Interaction (Martin Clayton) 24 Combat-Dancing, Cultural Transmission and Choreomusicology: The Globalization of Embodied Repertoires of Sound and Movement (Paul Mason) 25 The Hiplife Zone: Cultural Transformation Processes in African Music Seen from the Angle of Embodied Music Interactions (Dominik Phyfferoen, Koenraad Stroeken, and Marc Leman) 26 Crafting the Playing Body as an Infrastructure of "Immediate" and "Mediate" Embodied Music Cognition in an Academic Jazz Program (Eitan Wilf) 27 Brain-to-Brain Coupling and Culture as Prerequisites for Musical Interaction (Elvira Brattico and Peter Vuust) Part 5: Empowering Health and Well-Being 28 Coupling Music and Motion: From Special Education to Rehabilitation (Danilo Spada and Emmanuel Bigand) 29 Embodied Music Listening (Lars Ole Bonde) 30 Jymmin - The Medical Potential of Musical Euphoria (Thomas Hans Fritz) 31 Music in the Exercise and Sport Domain: Conceptual Approaches and Underlying Mechanisms (Costas I. Karageorghis, Panteleimon Ekkekakis, Jonathan M. Bird and Marcelo Bigliassi) 32 Monitoring Music and Movement Interaction in People with Dementia (Micheline Lesaffre, Bart Moens, and Frank Desmet) 33 Synchronization to Music as a Tool for Enhancing Non-Verbal Communication in People with Neurological Diseases (Nia Cason, Loris Schiaratura, and Séverine Samson) 34 Modifying Movement Optimization Processes with Music (Rebecca Schaefer and Scott T. Grafton) Part 6: Modeling Music Interaction 35 Modeling Music Interaction (Denis Amelynck) 36 Analyzing Complex Datasets Based on the Variability Framework, Distribution Analysis and Generalized Linear Modeling (Frank Desmet) 37 Removing Obstacles to the Analysis of Movement in Musical Performance: Recurrence, Mixed Models, and Surrogates (Alexander P. Demos and Roger Chaffin) 38 Dynamic Bayesian Networks for Musical Interaction (Baptiste Caramiaux, Jules Françoise, and Frédéric Bevilacqua) 39 Temporal Dependencies in the Expressive Timing of Classical Piano Performances (Maarten Grachten and Carlos Eduardo Cancino Chacón) 40 Interactions in Ensemble Music Performance: Empirical and Mathematical Accounts (Caroline Palmer and Anna Zamm) 41 Linking Movement Recurrence to Expressive Patterns in Music Performance (Euler C. F. Teixeira, Mauricio Loureiro, and Hani C. Yehia) Part 7: Music-Based Interaction Technologies and Applications 42 Designing Action–Sound Metaphors Using Motion Sensing and Descriptor-Based Synthesis of Recorded Sound Materials (Freìdeìric Bevilacqua, Norbert Schnell, Jules Françoise, Éric O. Boyer, Diemo Schwarz, and Baptiste Caramiaux) 43 Designing for the Subtle: A Systematic Approach Towards Expressivity in New Musical Interfaces (Nicolas d’Alessandro ) 44 Gestural Agency in Human-Machine Musical Interaction (Juan Ignacio Mendoza and Marc R. Thompson) 45 Gestural Musical Performance with Physiological Sensors, Focusing on the Electromyogram (Atau Tanaka and Miguel Ortiz) 46 Sonic Microinteraction in "the Air" (Alexander Refsum Jensenius) 47 Embodied Cognition and Digital Musical Instruments: Design and Performance (Joseph Malloch and Marcelo M. Wanderley)
£215.00
Taylor & Francis Electronics for Vinyl
Book SynopsisElectronics for Vinyl is the most comprehensive book ever produced on the electronic circuitry needed to extract the best possible signal from grooves in vinyl. What is called the vinyl revival is in full swing, and a clear and comprehensive account of the electronics you need is very timely. Vinyl reproduction presents some unique technical challenges; the signal levels from moving-magnet cartridges are low, and those from moving-coil cartridges lower still, so a good deal of high-quality low-noise amplification is required.Some of the features of Electronics for Vinyl include: integrating phono amplifiers into a complete preamplifier; differing phono amplifier technologies; covering active, passive, and semi-passive RIAA equalisation and transconductance RIAA stages; the tricky business of getting really accurate RIAA equalisation without spending a fortune on expensive components, such as switched-gain MM/MC RIAA amplifiers thaTable of ContentsAcknowledgements Other Titles Preface Chapter 1: The Basics Chapter 2: Passive Components Chapter 3: Opamps and Their Properties Chapter 4: Preamp Architecture Chapter 5: Moving-Magnet Inputs: Phono Amp Architecture Chapter 6: Signals from Vinyl: Levels and Limitations Chapter 7: RIAA Equalisation Chapter 8: Archival & Non-Standard Equalisation Chapter 9: Moving-Magnet Inputs: Noise and Distortion Chapter 10: Moving-Magnet Inputs: Discrete Circuitry Chapter 11: Moving-Coil Head Amplifiers Chapter 12: Subsonic Filtering Chapter 13: Ultrasonic and Scratch Filtering Chapter 14: Line Outputs Chapter 15: Level Indication Chapter 16: Power Supplies Chapter 17: Moving-Magnet Inputs: Practical Designs Appendix 1: Component Series E3-E96 Appendix 2: Phono Amplifier Articles in Linear Audio
£54.99
Taylor & Francis Ltd Audio Production and Critical Listening
Book SynopsisAudio Production and Critical Listening: Technical Ear Training, Second Edition develops your critical and expert listening skills, enabling you to listen to audio like an award-winning engineer. Featuring an accessible writing style, this new edition includes information on objective measurements of sound, technical descriptions of signal processing, and their relationships to subjective impressions of sound. It also includes information on hearing conservation, ear plugs, and listening levels, as well as bias in the listening process.The interactive web browser-based ear training software practice modules provide experience identifying various types of signal processes and manipulations. Working alongside the clear and detailed explanations in the book, this software completes the learning package that will help you train you ears to listen and really hear your recordings.This all-new edition has been updated to include: Audio and psychoaTable of ContentsList of Illustrations Introduction Chapter 1: Listening Chapter 2: Tonal Balance and Equalization Chapter 3: Spatial Attributes and Reverberation Chapter 4: Dynamic Range Control Chapter 5: Distortion and Noise Chapter 6: Amplitude Envelope and Audio Edit Points Chapter 7: Analysis of Sound Bibliography Index
£61.74
Taylor & Francis Ltd The Routledge Companion to Music Technology and
Book SynopsisThe Routledge Companion to Music, Technology, and Education is a comprehensive resource that draws together burgeoning research on the use of technology in music education around the world. Rather than following a procedural how-to approach, this companion considers technology, musicianship, and pedagogy from a philosophical, theoretical, and empirically-driven perspective, offering an essential overview of current scholarship while providing support for future research.The thirty-seven chapters in this volume consider the major aspects of the use of technology in music education: Part I. Contexts. Examines the historical and philosophical contexts of technology in music. This section addresses themes such as special education, cognition, experimentation, audience engagement, gender, and information and communication technologies. Part II. Real Worlds. Discusses real world scenarios that relate to music, technology, Trade Review"Distinctive contributions are always welcomed in the literature, so it was with great pleasure that I became acquainted with this edited volume that draws together valuable insights across a range of topics related to music, technology, and education. Because it fills a much-needed gap in the literature, this comprehensive, insightful, and unique volume will be applauded by music educators internationally." —Gary McPherson, Ormond Professor and Director, Melbourne Conservatorium of Music, the University of Melbourne, Australia "This volume is a testament to our growing understanding of technology and its role in music learning. The editors have assembled a powerful set of writings that, on the one hand provide a badly needed conceptual frame for music technology and education, and on the other provide dramatic and meaningful examples of practical usage. Voices from engineering and computer science are welcome additions. Impressive are the descriptions of progressive applications nuanced by our understanding of the social context of learning, written by some of our finest scholars." —Peter R. Webster, Scholar-in-Residence, Thornton School of Music, University of Southern California, USA Table of ContentsPart I: Contexts 1. Digital Aletheia: Technology, Culture and the Arts in Education (Andrew Burn) 2. Instrument Technology: Bones, Tones, Phones, and Beyond (Tae Hong Park) 3. Cognition and Technology for Instrumental Music Learning (Marc Leman and Luc Nijs) 4. Learning from Live Coding (Pamela Burnard, Franziska Florack, Alan F. Blackwell, Samuel Aaron and Carrie Anne Philbin) 5. The Sounds of Music (Leigh Landy) 6. For What It's Worth (Teresa Dillon) 7. Gendered Perspectives (Victoria Armstrong) 8. Technology, SEN and EY (Evangelos Himonides, Adam Ockelford and Angela Voyajolu) 9. ICT in Music Education (William I. Bauer and Hiromichi Mito) Part II: Real Worlds 10. Game Technology in the Music Classroom (Andrew Brown) 11. Audio and Education (Kyle P. Snyder) 12. Music Production: Education and Industry (Andrew King) 13. The Painting of Sound (Jonathan Savage) 14. Improvisation (Matthew Sansom) 15. The Laptop Orchestra (Ge Wang) 16. Popular Music and Technology in the Secondary School (Bradley Merrick) 17. Young Children's Potentialities as Music-Makers (Vicky Charisi) 18. Young Offenders (Jennie Henley) 19. Multimodal Environments for Learning (Serena Zanolla, Antonio Camurri, Corrado Canepa, Paolo Coletta, and Gualtiero Volpe) Part III: Virtual Worlds 20. Media (Jordan Mroziak) 21. Social Networks as Agency in Music Learning (Janice Waldron) 22. Musical Making (Eric Rosenbaum) 23. Video Games (Evan S. Tobias and Jared O’Leary) 24. Transnational Collaboration (Andrea Giráldez and David Carabias) 25. Virtual Choirs (David Howard) 26. Researching Virtual Music Worlds (Kari Veblen and Nathan B. Kruse) Part IV: Developing and Supporting Musicianship 27. TPACK and Music Teacher Education (Marina Gall) 28. Technology and Group Teaching (Cynthia Stephens-Himonides and Martha Hilley) 29. Professional Development for Music Teachers (Samuel Leong) 30. Music Therapy (Adam Patrick Bell) 31. Research Training (Paul Draper) 32. Creative Interaction (Al McNichol, Michael Clarke and Lesley-Anne Pearson) 33. Harmony and Technology-Enhanced Learning (Simon Holland) 34. Preserving Music Cultural Heritage (Federica Bressan and Sergio Canazza) 35. Disruptive Performance Technologies (Clint Randles) 36. Beyond the Classroom (Cynthia Stephens-Himonides and Martha Hilley) 37. Music Technology and Response Measurement (Evangelos Himonides)
£209.00
Taylor & Francis Ltd The Routledge Research Companion to Electronic
Book SynopsisThe theme of this Research Companion is ''connectivity and the global reach of electroacoustic music and sonic arts made with technology''. The possible scope of such a companion in the field of electronic music has changed radically over the last 30 years. The definitions of the field itself are now broader - there is no clear boundary between ''electronic music'' and ''sound art''. Also, what was previously an apparently simple divide between ''art'' and ''popular'' practices is now not easy or helpful to make, and there is a rich cluster of streams of practice with many histories, including world music traditions. This leads in turn to a steady undermining of a primarily Euro-American enterprise in the second half of the twentieth century. Telecommunications technology, most importantly the development of the internet in the final years of the century, has made materials, practices and experiences ubiquitous and apparently universally available - though some contributions to this voTable of ContentsPart 1: Global reach – local identities [1] Ricardo Dal Farra (and others): ‘Research-Creation in Latin American’ [2] Marc Battier and Lin-Ni Liao: 'Electronic Music in East Asia' [3] Leigh Landy: ‘The Three Paths: Cultural retention in contemporary Chinese electroacoustic music’ [4] Patrick Valiquet: ‘Technologies of Genre: Digital distinctions in Montreal’ [5] Hillegonda Rietveld: ‘Dancing in the Technoculture’ Part 2: Awareness, consciousness, participation [6] Pedro Rebelo and Rodrigo Cicchelli Velloso: ‘Participatory Sonic Arts: the Som de Maré project - towards a socially engaged art of sound in the everyday’ [7] Atau Tanaka and Adam Parkinson: ‘The Problems with Participation’ [8] Leah Barclay: ‘The Agency of Sonic Art in Changing Climates’ [9] Sally-Jane Norman: ‘Tuning and Metagesture After New Natures’ [10] Eduardo Miranda and Joel Eaton: ‘Music Neurotechnology: a natural progression’ Part 3: Extending performance and interaction [11] Simon Emmerson and Kenneth Fields: ‘Where are we? Extended Music Practice on the Internet’’ [12] Jonty Harrison: ‘Rendering the Invisible: BEAST and the performance practice of acousmatic music’ [13] Mick Grierson: ‘Creative Coding for Audiovisual Art: The CodeCircle Platform’
£195.00
Cambridge University Press The Cambridge Companion to Rossini Cambridge Companions to Music
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Cambridge University Press Music and Performance 3 Cambridge Studies in Performance Practice Series Number 3
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Cambridge University Press Music of English Parish Church v2 Cambridge Studies in Music
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Cambridge University Press Proust as Musician
Book SynopsisStudying the texts devoted to the Sonata and Septet of Vinteui, Nattiez demonstrates the fundamental role played by music in the evolution of the novel. Music as model for literature: this is the subject of Professor Nattiez's essay, which unravels the various musical themes running through Proust's work, and which thus constitutes a particularly clear and perceptive introduction to his writing.Trade Review"...pleasant reading for the specialist and non-specialist alike. It is agreeably written and smoothly translated...." Pauline Newman-Gordon, French ReviewTable of ContentsPreface to the English edition; Translator's note; 1. Introduction: beyond the 'little phrase'; 2. Parsifal as redemptive model for the redemptive work; 3. Music as redemptive model for literature; 4. From Vinteuil to Schopenhauer; 5. In conclusion: quest for the essence and denial of the origin; Appendix: passages from A la recherche translated in the text; Notes; References; Index.
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Cambridge University Press Poetry and Music in 17C England
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Cambridge University Press Scotland in Music A European Enthusiasm
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Cambridge University Press Music and the French Revolution
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Cambridge University Press Jean Baptiste Lully French Baroque Essays in Honor of James R Anthony
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Cambridge University Press Music and Patronage in SixteenthCentury Mantua Volume 1
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Cambridge University Press Music in European Thought 18511912 Cambridge Readings in the Literature of Music
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Cambridge University Press Early Music History Studies in Medieval and Early Modern Music Volume 1 Early Music History Series Number 1
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Cambridge University Press Early Music History Studies in Medieval and Early Modern Music Volume 2 Early Music History Series Number 2
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Cambridge University Press Early Music History Studies in Medieval and Early Modern Music Volume 3 Early Music History Series Number 3
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Cambridge University Press Early Music History Studies in Medieval and Early Modern Music Volume 4 Early Music History Series Number 4
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Cambridge University Press Early Music History Studies in Medieval and Early Modern Music Volume 5 Early Music History Series Number 5
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Cambridge University Press Early Music History Studies in Medieval and Early Modern Music Volume 6 Early Music History Series Number 6
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Cambridge University Press Early Music History Studies in Medieval and Early Modern Music Volume 9 Early Music History Series Number 9
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Cambridge University Press Early Music History Studies in Medieval and Early Modern Music Volume 10 Early Music History Series Number 10
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Cambridge University Press Early Music History Studies in Medieval and Early Modern Music Volume 11 Early Music History Series Number 11
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Cambridge University Press Early Music History Studies in Medieval and Early Modern Music Volume 12 Early Music History Series Number 12
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Cambridge University Press Early Music History Studies in Medieval and Early Modern Music Volume 13 Early Music History Series Number 13
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Cambridge University Press Early Music History
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Cambridge University Press Early Music History Studies in Medieval and Early Modern Music Volume 15 Early Music History Series Number 15
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Cambridge University Press Early Music History
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Cambridge University Press Early Music History Studies in Medieval and Early Modern Music Volume 17 Early Music History Series Number 17
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Cambridge University Press Early Music History Studies in Medieval and Early Modern Music Volume 18 Early Music History Series Number 18
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Cambridge University Press Early Music History Studies in Medieval and Early Modern Music Volume 19 Early Music History Series Number 19
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Cambridge University Press Early Music History Studies in Medieval and Early Modern Music Volume 20 Early Music History Series Number 20
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