Music Books

Book SynopsisThe Last Romantic in His Own Words combines carefully curated personal and professional letters with reminiscences, pedagogical essays, and statements on public affairs that Hungarian musician Ernst von Dohnányi (1877-1960) wrote throughout his lengthy career. Also included are a selection of interviews he gave in various capacities: as a celebrated and versatile performer, as the composer of beloved masterworks, as an internationally respected pedagogue, and as a leader in Hungary''s leading musical institutions. These texts--many of which have never appeared in English--shed new light on Dohnányi''s singular aesthetics, as well as on his career as a charismatic and at times controversial public figure who was one of the most influential musicians of the twentieth century, particularly in Hungary.The result of twenty-five years of archival research in England, Hungary, and the United States, the documents outline the major chapters in Dohnányi''s long and fascinating life, from his joyful childhood in Hungary, through a globetrotting career that witnessed the advent of the radio as well as air travel, and ultimately to his final years in political exile. Along the way, readers will gain valuable insights into not only Dohnányi''s musical influences and personal philosophies as a performer, music educator, and composer, but more broadly musical life and the dissemination of musical knowledge and public taste in the first half of the twentieth century. The documents facilitate a much-needed reevaluation of a public figure and private individual caught up in the web of twentieth-century politics, resulting in a picture that is more complete than ever of one of the most elusive musicians of the twentieth century.

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Book SynopsisThe 1990s have seen a growth of interest in questions of music history and meaning, together with their relationships to culture and society. This reader includes works which explore the cultural and social significance of music.Trade ReviewThere is much to enjoy in Music, Culture, and Society, many of the readings making one want to go away and read more ... This is very much a collection to dip into, rather than to read from cover to cover, and will thus prove useful for postgraduates, or for musicologists wishing to get some idea about debates outside their own immediate concerns. * Music and Letters *Timely ... presents a diversity of viewpoints around the central subject which often bounce off each other in intriguing ways ... Such a collection can perhaps be imagined as a kind of musicological party: some old friends (or perhaps enemies) are here, but there are plenty of new faces to get to know. * Music and Letters *This book shows just how thoroughly and irrevocably [the] purist view of classical music has been shattered. * Ivan Hewett, BBC Music Magazine *Table of ContentsPART I: MUSIC AND LANGUAGE ; PART II: MUSIC AND THE BODY (GENDER, SEXUALITY, AND ETHNICITY) ; PART III: MUSIC AND CLASS ; PART IV: MUSIC AND CRITICISM ; PART V: MUSIC PRODUCTION AND CONSUMPTION

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Book SynopsisA major figure in American blues and folk music, Big Bill Broonzy (1903-58) left his Arkansas Delta home after World War I, headed north, and became the leading Chicago bluesman of the 1930s. This book traces Big Bill's career from his rise as a nationally prominent blues star to his influential role in the post-World War II folk revival.Trade Review"Bob Riesman's account of Broonzy's career in Chicago, Paris, London, and later on the US folk circuit with Peter Seeger and others, is as dense and detailed as it is clear and straightforward.... I Feel So Good is a well-written, beautifully produced account of a life lived in performance." (Times Literary Supplement)"

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Book SynopsisDisciplining Music confronts a topic that has sparked considerable debate in recent years: how do musicians and music scholars discipline music in their efforts to confer order and meaning on it? This collection of essays addresses this issue by formulating questions about music's canons.Table of ContentsPreface 1: Prologue, Disciplining Music Katherine Bergeron 2: The Canons in the Musicology Toolbox Dan Michael Randel 3: Sophie Drinker's History Ruth A. Solie 4: Rethinking Musical Culture: Canonic Reformulations in a Post Tonal Age Robert P. Morgan 5: Cultural Dialogics and Jazz: A White Historian Signifies Gary Tomlinson 6: History and Works That Have No History: Reviving Rossini's Neapolitan Operas Philip Gossett 7: Ethnomusicology's Challenge to the Canon: the Canon's Challenge to Ethnomusicology Philip V. Bohlman 8: Mozart and the Ethnomusicological Study of Western Culture: An Essay in Four Movements Brune Nettl 9: Hierarchical Unity, Plural Unities: Toward a Reconciliation Richard Cohn, Douglas Dempster. 10: A Lifetime of Chants Katherine Bergeron 11: Epilogue: Musics and Canons Philip V. Bohlman Contributors Index

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Book SynopsisThis clearly written guide to good listening habits is an excellent introduction to the essential musical knowledge one needs to understand the great musical masterpieces of past and present. Complete with examples and illustrations, this handbook introduces its reader to technicalities such as notation, terminology, and metrics, and will enable him to follow a score, identify instruments, pick out themes, and recognize common musical terms.

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Book SynopsisThis study explores music's place in the cultural, artistic and literary life of medieval Italian courts, paying particular attention to the influence of French culture on Italian artistic and musical traditions in the 13th, 14th and 15th centuries.

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Book SynopsisThis volume explores the everyday lives of Nazarite women - part of one of the most popular indigenous religious communities in South Africa - through their songs and dances, dream narratives and fertility rituals, which come to life both musically and visually on CD-ROM.

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Book SynopsisA surprising study reveals a plethora of attempts to communicate with non-humans in the modern era. In Interspecies Communication, music scholar Gavin Steingo examines significant cases of attempted communication beyond the humancases in which the dualistic relationship of human to non-human is dramatically challenged. From singing whales to Sun Ra to searching for alien life, Steingo charts the many ways we have attempted to think about, and indeed to reach, beings that are very unlike ourselves. Steingo focuses on the second half of the twentieth century, when scientists developed new ways of listening to oceans and cosmic spacetwo realms previously inaccessible to the senses and to empirical investigation. As quintessential frontiers of the postwar period, the outer space of the cosmos and the inner space of oceans were conceptualized as parallel realities, laid bare by newly technologized ears. Deeply engaging, Interspecies Communication explores our attempts to cross the bord

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Book SynopsisIf you've ever wanted to take dynamic and vibrant digital photos of your favorite band in concert, but aren't sure how to tackle such obstacles as approaching the stage, tricky lighting situations, or even what equipment to use, then look no further! Concert and Live Music Photography is a comprehensive guide to shooting live music performances, providing you with the right information on equipment, camera settings, composition, and post-processing to get the best out of each performance shot. J. Dennis Thomas, whose work has appeared in such magazines as Rolling Stone, SPIN, and Country Weekly, shares tips on lighting, common problems, etiquette, and recommended camera settings for shooting in a variety of different venues, including clubs, bars, outdoor concerts, theatres, stadiums, and arenas. He also explains how to get the right credentials to get you closer to each performance.Jam packed with over 160 photos from today's top concerts, this book will not only give you thTable of ContentsChapter 1: Gear Chapter 2: The Basics Chapter 3: Clubs, bars, and small venues Chapter 4: Outdoor Concerts Chapter 5: Theaters Chapter 6: Stadiums, Arenas, and Amphitheaters Chapter 7: Backstage and Offstage Chapter 8: Etiquette Chapter 9: Composition and Framing tips Chapter 10: Editing your photos Chapter 11: Credentials & Marketing

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Book SynopsisBelow the level of the musical note lies the realm of microsound, of sound particles lasting less than one-tenth of a second. Recent technological advances allow us to probe and manipulate these pinpoints of sound, dissolving the traditional building blocks of music—notes and their intervals—into a more fluid and supple medium. The sensations of point, pulse (series of points), line (tone), and surface (texture) emerge as particle density increases. Sounds coalesce, evaporate, and mutate into other sounds. Composers have used theories of microsound in computer music since the 1950s. Distinguished practitioners include Karlheinz Stockhausen and Iannis Xenakis. Today, with the increased interest in computer and electronic music, many young composers and software synthesis developers are exploring its advantages. Covering all aspects of composition with sound particles, Microsound offers composition theory, historical accounts, technical overviews, acoustical experiments, descriptions of musical works, and aesthetic reflections.

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Book SynopsisA wide-ranging overview of the global history and development of Christian music, from the very earliest psalms and hymns through to today's Christian music industry.Trade Review'Contains an impressive amount of information on a crucially important subject, beautifully presented and accessibly written ... the clarity of presentation and ease of style ensure that the narrative is not swamped by the many names and dates ... such an ambitious and successful project is to be commended.', The Tablet;'Seems to cover every aspect of Christian music, including medieval polyphony, psalms, sacred music in the baroque, romantic and contemporary periods, hymns, carols, gospel, camp meetings and revivals, trombone ensembles of the Moravian Church, spirituals and the blues, country music, folk music, jazz and Christian rock music.', Classical Music Magazine

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Book SynopsisThe oboe is an instrument with a long and rich history. In this book two distinguished oboist-musicologists trace that history from its beginnings to the 21st century, discussing how and why the oboe evolved, what music was written for it, and which players were prominent.Trade Review“A welcome addition to the oboe literature. . . . Burgess and Haynes draw on their vast experience, knowledge and enthusiasm for the oboe to produce a book that will be invaluable to all players and enjoyable for the general reader.”—Rachel Pankhurst, Muso -- Rachel Pankhurst * Muso *"The Oboe is notable for its scholarly integrity and breadth. . . . The book is a highly welcome addition to the publications on this topic currently available. It contains a huge amount of information, presented in a clear, lively, and interesting way."—Samantha Owens, Journal of the American Musical Instrument Society -- Samantha Owens * Journal of the American Musical Instrument Society *"[This book] is very enjoyable to read and packed with information."—Gail Hennessy, Early Music Today -- Gail Hennessy * Early Music Today *

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Book SynopsisInclusive, knowledgeable, and enthusiastic, Kenyon shows that no matter how great the crisis, music has the power to bring us togetherTrade Review“A wonderfully engaging survey...It is what every music lover needs close by...We are left in no doubt about music’s extraordinary power.”—Ian Thomson, Financial Times“Nicholas Kenyon is an amiable and enthusiastic guide to a thousand years of classical music.”—Neil Fisher, The Times“This is always a book about music in performance, and about the art of listening. At almost every turn, I wanted to stop reading and listen to the music Kenyon describes – and consistently felt rewarded for doing so.”—Mathew Lyons, Literary Review“The Life of Music is at its lively best when Kenyon’s own passions are laid bare...his belief, above all, in the power of music to unite individual and community.”—Fiona Maddocks, The Observer“Kenyon loops elegantly between decades and nations, making connections between works of different styles, always making sure that the reader is not stranded.”—Anna Picard, Times Literary Supplement“A brilliant introduction to early music...Certainly, it's hard to think of any living individual better placed than Kenyon to take such an all-embracing overview.”—Richard Bratby, Gramophone“[Kenyon] is not oblivious to forms of music that for some classical lovers is at best ignored and here we are venturing briefly into contemporary popular song, traditional folk, the areas that owe to new interactive technology and sounds from across the world. The end chapters are worth their weight in gold; stimulating, arresting thoughts on music and culture pour out from Nicholas Kenyon. Hey, this is a super book.”—Tony Jasper, Methodist Recorder“Nicholas Kenyon is a fluent and gifted writer, and this is a personal history with reference to performers and recordings on the way.”—Ronald Corp, Church Times“A typically wise and thoughtful book, which manages to combine a wealth of unexpected information with an immensely readable style - it should grab anybody, whatever their level of musical knowledge.”—Sir Simon Rattle, music director, London Symphony Orchestra"What better moment to ponder the question of where music has been, where it might be headed and the existential issue of what meaning it may hold? The Life of Music ponders these questions with wit and a depth of information."—Deborah Borda, president and CEO, New York Philharmonic Orchestra"Nicholas Kenyon brings a lifetime of listening and wisdom to his encyclopaedic survey of the Western classical music canon. In a narrative of breadth and critical acumen, The Life of Music traverses a millennium of music-making with stopping points along the way to ponder its past, present and future."—John Adams, composer 'As critic, author, broadcaster, and administrator, Nicholas Kenyon has seen the art and life of music from every possible angle, and the breadth of his experience is evident on every page of this hugely absorbing volume. He also brings to bear keen insight, an aversion to dogma, and a wisdom steeped in humility. Classical music has a tendency toward grandiose rhetoric: Kenyon unfurls the entire monumental story in unwaveringly human terms.'—Alex Ross, music critic at The New Yorker and author of The Rest is Noise“Nick Kenyon takes us to the very heart and soul of music, by surveying the past, he gives us hope for the future."—Gustavo Dudamel, artistic and music director, Los Angeles Philharmonic

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Book SynopsisAn authoritative guide to Prokofiev’s nine piano sonatas by the pianist and teacher Boris BermanTrade Review“Berman’s book opens up Prokofiev’s musical language marvellously. There is a chapter each for all nine piano sonatas, with a general discussion, then a detailed but accessible analysis, then a ‘masterclass’ with suggestions for performance practice. Berman briefly traverses his life, musical influences, style and context.”—Barney Zwartz, The Age (Australia)“Berman has a vast knowledge of Russian sources—almost completely unknown in the West—and Russian traditions as well as international experience as a performer. He brings a wealth of new ideas and new information. His new book is invaluable.”—Alexander Ivashkin, Centre for Russian Music, Goldsmiths College, University of London“Having performed and recorded (to acclaim) Prokofiev’s piano sonatas, Professor Berman has a unique point of view to offer in writing about one of the twentieth century’s most important collections of piano works. An important, personal, and original work.”—Boaz Sharon, University of Florida“Drawing from a wide cultural background and vast experience as performer and teacher, Boris Berman has fashioned a remarkable guide to the Prokofiev piano sonatas.”—Jerome Lowenthal, Juilliard School“A lucid and originally conceived book from one of the most respected performers of this music—essential reading for the enquiring listener and the skilled performer alike.”—Christopher Elton, Royal Academy of Music, London“This new book by Boris Berman is a must read for those who care about the music of Prokofiev. It is a very in-depth guide by someone who has obviously spent many years thinking about and playing the music of this great genius. Bravo to Boris Berman!”—Yefim Bronfman

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Book Synopsis So fascinatingly behind-the-scenes that it will make you listen to the album as if you''ve never heard it before.--Esquire In 1974 Bob Dylan wrote, recorded, reconsidered, and then re-recorded the best-selling studio album of his career. Blood on the Tracks was composed as Dylan''s twelve-year marriage began to unravel, and songs like Tangled Up in Blue and Shelter from the Storm have become templates for multidimensional, adult songs of love and loss. Yet the story behind the creation of this album has never been fully told; even the credits on the present-day album sleeve are inaccurate. Dylan recorded the album twice-once in New York City and again in Minneapolis, with a rag-tag gang of local musicians, quickly rewriting many of the songs in the process. For A Simple Twist of Fate, the authors have interviewed the musicians and producers, industry insiders, and others, creating an engaging chronicle of how one musician channeled his pain and confusion into great art.Trade Review"So fascinatingly behind-the-scenes that it will make you listen to the album as if you've never heard it before." Esquire"

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Book SynopsisBest known for his Oscar-nominated song Miss Misery from the Good Will Hunting soundtrack, Elliott Smith was catapulted to the status of indie rock star after performing at the 1997 Academy Awards. Some of his albums, XO and Either/Or among them, would become''90s classics, helping to define an understated aesthetic that owed as much to the melodic emphasis of The Beatles as it did to punk. In the afterglow of the success of Miss Misery, Smith''s fame grew- alongside his struggles with depression and substance abuse. First relocating to Brooklyn, and then finally to L.A., he fell into a downward spiral evident to friends and fans alike, even as he continued to write such beautifully realized songs as Waltz #2 ( XO ). Drawing on new interviews with those who knew and loved Smith, and focusing on the crucial interplay between Smith''s life and music, Ben Nugent compellingly and sympathetically portrays an enormously gifted, yet troubled, artist.

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Book SynopsisEverybody knows the hits of 1984-pop music''s greatest year. From Thriller to Purple Rain, Girls Just Want to Have Fun to Like a Virgin, Hello to Against All Odds, Sister Christian to Love Is a Battlefield, What''s Love Got to Do with It to Wake Me Up Before You Go-Go, they continue to dominate advertising, karaoke nights, and the soundtracks for film classics (Boogie Nights) and TV hits (Stranger Things). But the story of that thrilling, turbulent time, an era when Top 40 radio was both the leading edge of popular culture and a moral battleground, has never been told with the full detail it deserves-until now.Can''t Slow Down is the definitive portrait of the exploding world of mid-eighties pop and the time it defined, from Cold War anxiety to the home-computer revolution. Big acts like Michael Jackson (Thriller), Prince (Purple Rain), Madonna (Like a Virgin), Bruce Springsteen (Born in the U.S.A.), and George Michael (Wham!'

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Book SynopsisHandmade Electronic Music: The Art of Hardware Hacking provides a long-needed, practical, and engaging introduction to the craft of makingâas well as creatively cannibalizingâelectronic circuits for artistic purposes. With a sense of adventure and no prior knowledge, the reader can subvert the intentions designed into devices such as radios and toys to discover a new sonic world. You will also learn how to make contact microphones, pickups for electromagnetic fields, oscillators, distortion boxes, mixers, and unusual signal processors cheaply and quickly. At a time when computers dominate music production, this book offers a rare glimpse into the core technology of early live electronic music, as well as more recent developments at the hands of emerging artists.This revised and expanded third edition has been updated throughout to reflect recent developments in technology and DIY approaches. New to this edition are chapters contributed by a diverse group of practitioTrade ReviewPraise for the Second Edition"Nicolas Collins wants to tear apart your CD player." WIRED magazine"Nic Collins’ book passes the torch of home-brew electronics to the next generation of musical experimentalists. Providing practical and fun recipes for sonic adventures, it simultaneously introduces the reader to the past and present field of electronic sound art." Chris Brown, Mills College Center for Contemporary Music"This is a terrific, unique, and much needed book; I wish I had it fifteen years ago." Dan Trueman, Princeton Laptop Orchestra, Princeton University"The most radical music book I’ve read so far this year. This jargon-free text offers a fresh alternative to the usual instruments prized by the music business." Christopher Delaurenti, The Stranger, Seattle"With wit, wisdom and enviable clarity, Nicolas Collins guides the would-be hardwarehacker through the possibilities and pitfalls of playing with electricity. Those who follow his guidance assiduously will not only be able to make noise that is both personal andinstilled with the virtue of self-discovery; they will also gain an education and mostimportant of all, stay alive."David Toop"Nic Collins has provided an informative and gently structured doorway through which anyone can enter the limitless world of possibilities to be discovered in a raw, hands-on approach to sculpting original, electronic arts hardware. Even starting with little experience, a motivated reader can emerge with invaluable circuit building, hacking and bending skills, while also gaining an enhanced understanding of what goes on inside the boxes and behind the panels of artist-invented, electronic music devices."David Rosenboom, Composer-Performer, Richard Seaver Distinguished Chair in Music and Dean, The Herb Alpert School of Music, California Institute of the Arts"A friendly portal into the seemingly arcane art form of circuit bending and building, rich with insights into the history and spirit of experimental electronic music. Chockfull of projects, ideas, and inspirations . . . enough to keep your neighborhood circuitbender out of trouble for years to come."Mark TraylePraise for the First Edition"Here we have, at last, an electronics book that caters to people who have ideas first, and electronics second. Collins offers a splendidly integrative look into the history of‘sound art,’ basic electronics, and junk revisioning."Meara O’Reilly, MAKE magazine and makezine.com"There are times in the history of any art form when its true visionaries set down in words, the blueprint behind an entire generation of genius. Collins has done just that with Handmade Electronic Music, an essential manifesto of know-how, trade secrets, andaesthetic accomplishment leaping off from Cage and Tudor and landing in today’sclassroom."Thom Holmes, author of Electronic and Experimental MusicTable of ContentsForeword to First Edition (David Behrman)Introduction PART I: STARTING1. Getting Started: Tools and Material Needed 2. The Seven Basic Rules of Hacking: General Advice PART II: LISTENING3. The Victorian Synthesizer: Twitching Loudspeakers 4. In/Out: Speaker as Microphone, Microphone as Speaker, the Symmetry of it All 5. How to Solder: an Essential Skill 6. Circuit Sniffing: Eavesdropping on Hidden Magnetic Music 7. How to Make a Contact Mike: Using Piezo Disks to Pick up Tiny Sounds 8. Turn Your Wall into a Speaker: Resonating Objects with Transducers, Motors and More 9. Paper Speakers (Jess Rowland)10. Tape Heads: Play Your Credit11. Electret Microphones: Binaural on a Budget12. Laying of Hands: transforming a Radio into a Synthesizer by Making Your Skin Part of the Circuit PART III: BUILDING13. My First Oscillator™: Six Oscillators on a Chip, Guaranteed to Work14. Solder Up! From Breadboard to Circuit Board15. Getting Messy: Modulation, Feedback, Instability and Crickets 16. Soft Circuitry: An Introduction to E-Textile Interfaces (Lara and Sarah Grant) 17. On/Off (More Fun With Photo Resistors): Gating, Tremolo, Panning and More18. Mixers and Matrices: Very Simple, Very Cheap, Very Clean Ways of Configuring Lots of Circuits19. Boost and Distort: A Simple Circuit that Goes from Clean Preamp to Total Distortion20. Analog to Digital Conversion, Sort of: Modulating Other Audio with Your Circuits, Pitch Tracking, and a Sequencer21. Beyond Bending: Triggering, Sequencing and Modulating Circuit Bent Toys (Alex Inglizian) 22. Video Hacking (LoVid (Tali Hinkis, Kyle Lapidus) and Jon Satrom)23. An Introduction to Op Amps24. A Little Hacker’s Amp 25. The Mumma-Tudor Ring Modulator (Michael Johnsen and You Nakai)26. Paper Circuits (Peter Blasser)27. Rule the Airwaves: Build a Radio Transmitter (Brett Balogh) 28. A Grab Bag of Samples: A Voltage Controlled Radio Receiver (Holger Heckeroth)29. A Lo-Fi Sampler and Looper (Holger Heckeroth) 30. The Bissell Function Block: A Lag Processor (Peter Speer)31. Sounds from Neural Networks (Wolfgang Spahn)PART IV: COMPUTING 32. Sharing Traces: Designing and Fabricating Your Own Printed Circuit Boards with Fritzing (Eduardo Rosario)33. Microcontroller Sound (Joseph Kramer)34. Small Sound: Pure Data on the Raspberry Pi (Robb Drinkwater) 35. Data Hacking: The Foundations of Glitch Art (Nick Briz)PART V: CONNECTING36. Handmade Sound Communities (Lisa Kori and David Novak)37. Hello World!COMPANION WEBSITE CONTENTS1. Project SupportSharing Traces -- Designing and Fabricating Your Own Printed Circuit Boards (Eduardo Rosario)Microcontroller Sound (Joseph Kramer): Data files and additional projects for chapter 33Paper Circuits (Peter Blasser): Circuit board artwork for Rungling circuit in chapter 26Sounds from Neural Networks (Wolfgang Spahn): Circuit board artwork for Confetti Neuron circuit in chapter 312. Technical BootcampOhm’s Law for Dummies: How to Understand Resistors Switches: How to Understand Different Switches, and Make Your Own Jack, Batt and Pack: Powering and Packaging Your Circuits Power Supplies: Carbon Footprints from AA to EEE 3. Circuit BendingTickle the Clock: Finding the Clock Circuit in Toys Hack the Clock: Changing the Clock Speed for Cool New Noises Video Music/Music Video: Translating Video Signals into Sound, Hacking Cameras, and Extracting Sounds from Remote Controls Beyond the Pot: Photoresistors, Pressure Pads and Other Ways to Play Your Toy LCD Art: Making Animated Modern Daguerreotypes and Alternate Video Projectors 4. Culture and HistoryDo It With Others: Hardware Hacking in South America (Florencia Curci, Alma Laprida and Sebastián Rey) Hacer con Otrxs: Hardware Hacking en Sudamérica (Florencia Curci, Alma Laprida and Sebastián Rey) (Original Spanish version of Do It With Others) Bleep Listening (Ezra Teboul) A History of Japanese Hacking and DIY Music (ADACHI Tomomi) 日本のハッキング・DIY音楽史 （足立智美）(Original Japanese version of A History of Japanese Hacking and DIY Music) (ADACHI Tomomi) Livening Things Up: Australian Hand-Built Electronic Instruments (Caleb Kelly and Pia van Gelder) Gambioluthiery: Hacking and DIY in Brazil (Giuliano Obici) A Brief Personal History of dorkbot-nyc (Douglas Repetto) The Contact Microphone: A Cultural Object (Daniela Fantechi) David Tudor (You Nakai and Michael Johnsen) Pixel Artists (LoVid and Jon Satrom) Circuit Board as Design (Eduardo Rosario) Circuit Bending (Nicolas Collins) Visual Music (Nicolas Collins) The Future Was Then (Nicolas Collins) 5. Tutorials6. Gallery of Artist's Work

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Book SynopsisHow do musicians play and talk to audiences? Why do audiences listen and what happens when they talk back? How do new (and old) technologies affect this interplay? This book presents a long overdue examination of the turbulent relationship between musicians and audiences. Focusing on a range of areas as diverse as Ireland, Greece, India, Malta, the US, and China, the contributors bring musicological, sociological, psychological, and anthropological approaches to the interaction between performers, fans, and the industry that mediates them. The four parts of the book each address a different stage of the relationship between musicians and audiences, showing its processual nature: from conceptualisation to performance, and through mediation to off-stage discourses. The musician/audience conceptual division is shown, throughout the book, to be as problematic as it is persistent.Table of ContentsJonathan P.J. Stock – Foreword: AudiencingIoannis Tsioulakis & Elina Hytönen-Ng – Introduction to Musicians and AudiencesPART I: CONCEPTUALISING THE AUDIENCE-PERFORMER ENGAGEMENT Bruce Johnson – In the Body of the Audience Laura Leante – Observing Musicians/Audience Interaction in North Indian Classical Music Performance Mary Louise O’Donnell & Jonathan Henderson – ‘One Step Above the Ornamental Greenery’: A Survivor’s Guide to Playing to an Audience Who Does Not Listen PART II: LIVE RELATIONSHIPS: NEGOTIATIONS OF PERFORMANCE Elina Hytönen-Ng – Contemporary British Jazz Musicians’ Relationship with the Audience: Renditions of We-Relations and Intersubjectivity Barbara Bradby – Performer-Audience Interaction in Live Concerts: Ritual or Conversation? Andrew Pace – Refiguring Maltese Heritage through Musical Performance: Audience Complicity and the Role of Venues in Etnika’s Stage Shows PART III: TECHNOLOGICAL MEDIATIONS: THE VIRTUAL AND THE MATERIAL Hillegonda C. Rietveld – Authenticity and Liveness in Digital DJ Performance Richard Osborne – That’s Me in the Spotlight: Audiences and Musicians on Screen Ioannis Tsioulakis – ‘Soon You’ll Wish They Would Shut Up!’: The Digitised Political Voices of Music Stars and their Audiences in Recession Greece PART IV: OFF-STAGE DISCOURSES AND THE POWER OF FANDOM Nancy Bruseker – ‘Where are the girls of the old brigade?’: Vesta Tilley and Her Female Audience in Correspondence Mark Duffett – From Secret Fantasies to Social Systems: Re-reading Starlust as a Portrait of the Dedicated Popular Music Audience Walter van de Leur – Afterword: ‘Moved to the point where she could no longer contain herself’: Ellington and Audience Interaction at the Newport Jazz Festival

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Book SynopsisPart of a growing group of works that addresses the burgeoning field of sound studies, this book attends not only to theoretical and empirical examinations, but also to methodological and philosophical considerations at the intersection of sound and education. Gershon theoretically advances the rapidly expanding field of sound studies and simultaneously deepens conceptualizations and educational understandings across the fields of curriculum studies and foundations of education. A feature of this work is the novel use of audio files aligned with the arguments within the book as well as the discussion and application of cutting-edge qualitative research methods. Table of Contents1 Introduction: Sound Curriculum: Breaking Frames and Opening Ears2 Sounds as Educational Systems of Being and Knowing3 Resonances and Reverberations: A Sonic Educational Philosophy4 Silencing Students: Wishing the Hearing Deaf and the Deaf Hearing5 Sound Methods in Education: Ethnographic, Cartographic, Narrative, and Otherwise6 Songs to Nowhere: When Critically Creative Processes Meet Impotent Curricular Products7 Students as Improvisers: The Extra-ordinary Negotiations of Daily Life in Schools8 Sound Art, Social Justice: Black Lives Matter/Aural Response 9 Conclusion

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Book SynopsisUnderstanding Post-Tonal Music is a student-centered textbook that explores the compositional and musical processes of twentieth-century post-tonal music. Intended for undergraduate or general graduate courses on the theory and analysis of twentieth-century music, this book will increase the accessibility of post-tonal music by providing students with tools for understanding pitch organization, rhythm and meter, form, texture, and aesthetics. By presenting the music first and then deriving the theory, Understanding Post-Tonal Music leads students to greater understanding and appreciation of this challenging and important repertoire. The updated second edition includes new Explorations features that guide students to engage with pieces through listening and a process of exploration, discovery, and discussion; a new chapter covering electronic, computer, and spectral musics; and additional coverage of music from the twenty-first century and recent trends. TTable of ContentsIntroduction: An Overview of Twentieth Century Compositional Styles The Century of Plurality: Tonal, Post-tonal, Atonal, and Other StylesThe Stylistic MosaicChapter 1. Pitch Centricity and Composition with Motivic Cells Pitch CentricityDiatonic CollectionsPentatonic CollectionsAnalysis 1.1. Debussy, "La cathédrale engloutie," from Preludes, Book I (Anthology, no. 1)Analysis 1.2. Stravinsky, Introduction to Part I, from The Rite of Spring (Anthology, no. 4)Chapter 2. Pitch Centricity, Equal Divisions of the Octave, and Symmetry Interval Cycles and Equal Divisions of the OctaveSymmetrical Motivic CellsSymmetry Around an AxisSymmetrical ScalesAnalysis 2.1. Bartók, "Song of the Harvest," from Forty-four Violin Duets (Anthology, no. 5)Analysis 2.2. Bartók, "Whole-tone Scale," from Mikrokosmos, Vol. 5 (Anthology, no. 6)Chapter 3. Introduction to Pitch-Class-Set Theory Preliminary ConceptsPitch-Class Sets: Orderings and Basic RelationshipsPitch-Class Sets: Further Properties and RelationshipsPitch-Class Set Theory: A SummaryChapter 4. Analyzing Atonal Music Analyzing Atonal MusicAnalysis 4.1. Webern, "Five Movements for String Quartet," Op. 5, III (Anthology, no. 10)Analysis 4.2. Schoenberg "Angst und Hoffen," No. 7 from Book of the Hanging Gardens, Op. 15 (Anthology, no. 11)Chapter 5. Drawing on (and Reinterpreting) the Past . . . NeoclassicismAnalysis 5.1. Stravinsky, Agnus Dei, from Mass (Anthology, no. 13)Hindemith’s Theoretical and Compositional PremisesAnalysis 5.2. Hindemith, Interlude in G, from Ludus tonalis (Anthology, no. 14)Chapter 6. . . . And Inventing the Future Ultramodern AestheticsIves and Musical BorrowingAnalysis 6.1. Ives, "The Cage" (Anthology no. 16)Analysis 6.2. Crawford, Diaphonic Suite No. 4, III (Anthology no. 17)Chapter 7. Twelve-Tone Music I: An Introduction The Twelve-Tone Method Basic PrinciplesBuilding a RowLabeling Row FormsBuilding a Twelve-Tone MatrixIdentifying Given Row Forms Without Using a MatrixAnalysis 7.1. Dallapiccola, "Contrapunctus secundus," from Quaderno musicale di Annalibera (Anthology no. 18)Chapter 8. Twelve-Tone Music II: Invariance, Symmetry, and Combinatoriality InvarianceWebern and Row SymmetryAnalysis 8.1. Webern, Piano Variations, Op. 27, II (Anthology no. 20)Hexachordal CombinatorialityAnalysis 8.2. Schoenberg, Klavierstück, Op. 33a (Anthology no. 21)Chapter 9. Serialism: Developments After 1945 Control vs. IndeterminacyStravinsky and SerialismAnalysis 9.1. Stravinsky, "Lacrimosa," from Requiem Canticles (Anthology no. 22)Analysis 9.2. Boulez, Structures Ia (Anthology no. 23)Milton Babbitt’s Serial MethodsChapter 10. Expanding the Limits of Musical Temporality Rhythmic and Metric Irregularities in Post-Tonal MusicTemporal Issues in the Music of MessiaenAnalysis 10.1. Messiaen, Introduction, from Turangalîla Symphony (Anthology, no. 24)Tempo as a Structural Element in the Music of Elliott CarterAnalysis 10.2. Stockhausen, Stimmung (Anthology no. 25)Chapter 11. Aleatory Music: Sound Mass, Texture, and Timbre John Cage’s Creative JourneyAnalysis 11.1. Lutosławki, Jeux vénitiens, I (Anthology no. 26)Analysis 11.2. Penderecki, St. Luke Passion, no. 13, "Et Surgens Omnis Multitudo" (Anthology no. 27)Analysis 11.3. Gubaidulina, String Quartet no. 2, Reh. 1–21 (Anthology, no. 28)Chapter 12. Electronic, Computer, and Spectral MusicsThe Principles of Sound SynthesisAnalysis 12.1. Stockhausen, Telemusik, Sections 1–5 (Anthology no. 29)Composition with ComputersAnalysis 12.2: Jonathan Harvey, Mortuos plango, vivos vocoAnalysis 12.3. Barry Truax, Riverrun (Anthology no. 30)Spectral MusicChapter 13. Integrating the Past and Reimagining Harmony Integrating the PastAnalysis 13.1. Berio, Sinfonia, III (Anthology no. 31)Analysis 13.2. Ligeti, Ramifications, mm. 1–44 (Anthology no. 32)Analysis 13.3. Crumb, "Primeval Sounds," from Makrokosmos, vol. 1, no. 1 (Anthology no. 33)Chapter 14. Simplifying MeansMinimalism Analysis 14.1. Reich, Violin Phase (Anthology no. 35)Nonfunctional Triadic Voice LeadingAnalysis 14.2. Adams, Nixon in China, Act I, "News" Aria, mm. 374–542 (Anthology no. 36)Analysis 14.3. Pärt, Cantus (Anthology no. 37)Chapter 15. Into the Twenty-First Century Analysis 15.1. Torke, Adjustable Wrench, mm. 1–72 (Anthology no. 38)The Return of the MotiveAnalysis 15.2. Thomas, Spring Song (Anthology no. 39)Analysis 15.3. Adès, Asyla, II (Anthology no. 40)Analysis 15.4. Saariaho, Ariel’s Hail (Anthology no. 41)

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Book SynopsisResearching Live Music offers an important contribution to the emergent field of live music studies.Featuring paradigmatic case studies, this book is split into four parts, first addressing perspectives associated with production, then promotion and consumption, and finally policy. The contributors to the book draw on a range of methodological and theoretical positions to provide a critical resource that casts new light on live music processes and shows how live music events have become central to raising and discussing broader social and cultural issues. Their case studies expand our knowledge of how live music events work and extend beyond the familiar contexts of the United States and United Kingdom to include examples drawn from Argentina, Australia, France, Jamaica, Japan, New Zealand, Switzerland, and Poland.Researching Live Music is the first comprehensive review of the different ways in which live music can be studied as an interdiTable of ContentsList of illustrationsList of contributorsAcknowledgments Live Music Studies in PerspectiveChris Anderton and Sergio Pisfil PART I: Promotion Festivals, Free and Unfree: Alex Cooley and the American Rock Festival Steve Waksman As Long As They Go Home Safe: The Voice of the Independent Music Festival Promoter Danny Hagan Under the Cover of Darkness: Situating "Covers Gigs" within Live Music Ecologies Pat O’Grady Showcase Festivals as a Gateway to Foreign Markets Patryk Galuszka Disruption and Continuity: Covid-19, Live Music, and Cyclic Sociality Chris Anderton PART II: Production Live Sound Matters Christopher James Dahlie, Jos Mulder, Sergio Pisfil, and Nick Reeder Mobile Spectacle: Es Devlin’s Pandemonium Tour Design Glyn Davis Fulfilling the Hospitality Rider: Working Practices and Issues in a Tour’s Supply Chain Gabrielle Kielich Vocaloid Liveness? Hatsune Miku and the Live Production of the Japanese Virtual Idol Concerts Kimi Kärki Part III: Consumption Making Music Public: What Would a Sociology of Live Music Promotion Look Like? Loïc Riom Dead Stars Live: Exploring Holograms, Liveness, and Authenticity Kenny Forbes Live … as You’ve Always Heard It Before: Classic Rock, Technology, and the Re-positioning of Authenticity in Live Music Performance Andy Bennett Approaching the Live from a Distance: The Unofficial Led Zeppelin Archive Stephen Loy Part IV: Policy Music Cities, or Cities of Music? Christina Ballico and Dave Carter State of Play: Tensions and Interventions in Live Music Policy Adam Behr "Por Más Músicas Mujeres en Vivo!": The Live Music Female Quota Law and Its Implications for Argentine Music Festivals Sarah Lahasky Beyond Live Shows: Regulation and Innovation in the French Live Music Video Economy Gérôme Guibert, Michaël Spanu, and Catherine RudentIndex

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Book SynopsisCaring for the Whole Musician brings together insights from two expert musicians and educators to consider the relationship between mental and physical health and artistic practice for musicians. Offering a holistic perspective that encompasses the whole being â body, mind, and heart â this book provides emerging musicians with tools, practices, and mindsets to address key challenges throughout their journey.The first part, Awareness, addresses wellness and embodiment in music, exploring how our bodies are constructed and how the use of our bodies as instruments affects function. Using approaches including Body Mapping and the Alexander Technique, this part helps readers discover adverse habits that interfere with natural movement, and nurture awareness of the body. The second part, Mindfulness, explores how meditative practice can be incorporated into every stage of concert preparation and embedded within the daily life of the musician. Offering mindfuTable of ContentsPART ONE: AWARENESS 1. The Well of Awareness2. Know Thyself3. Alexander Technique Principles4. The Well Never Runs DryRecommended MaterialsPART TWO: MINDFULNESS 5. The Musician and the Monk6. Pre-Game Strategies7. Mid-Game Strategies8. Post-Game Strategies and Final Thoughts

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Book SynopsisThe Psychology of Teaching and Learning Music introduces readers to the key theoretical principles, concepts, and research findings about learning and how these concepts and principles can be applied in the music classroom. Beginning with an overview of the study of teaching and learning, and moving through applying theory to practice, and reflective practice in the process of personal growth, this text focuses on music learning theories, behavioral approaches, cognitive, social-cognitive development, and constructive views of learning. It includes culture and community, learning differences, motivation, effective curricular design, assessment, and how to create learning environments, illustrated by practical case studies, projects, exercises, and photos. Showing students how to apply the psychology theory and research in practice as music educators, this book provides a valuable resource for undergraduate and graduate music education students and faculty.Table of ContentsIntroduction 1. The Study of Teaching and Learning 2. Becoming a Reflective Teacher Part I: Theories of Learning and Teaching Music 3. Behaviorism: Learning Theory and Applications to Teaching 4. Cognitivism: Learning Theory and Applications to Teaching 5. Social Learning Theory and Applications to Teaching 6. Humanism: Learning Theory and Applications to Teaching 7. Brain-Based Learning Theory and Applications to Teaching Part II: Theory Applied to Practice 8. Cognitive Approaches in Teaching and Learning 9. Sociocultural Characteristics of Learning in the Music Classroom 10. School Music Curriculum Design Part III: Applications to the Music Classroom 11. Effective Instructional Design 12. Assessment and Evaluation in the Music Classroom

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Book SynopsisFinding Your Career in the Modern Audio Industry equips the reader with the skills they need to turn an interest in audio, sound, or music technology into a career.This book provides insight for aspiring professionals seeking audio-related opportunities in entertainment, technology, education, and more. In the audio industry, there is typically a gap between those in-training and those with professional (and financially sustainable) careers. This book bridges the information gap, offering practical and real-world advice to those in this volatile stage of their career. Including 70+ interviews with professionals from over 20 countries, Finding Your Career in the Modern Audio Industry offers insight into how others (across the industry and the world) have applied entrepreneurial thinking, problem-solving, and creative solutions to build their careers.Including international case studies and interviews with diverse professionals, Finding Your Career iTrade Review"When I received word about this book, I first thought "How could anyone write about finding a career in the audio biz?" The possibilities and personal experiences of this lifelong process are simply too big and varied to write about. Then, I started reading and, WOW, through the use of straightforward talk and first-hand excerpts from industry pro experiences, I think she nailed it! I'm a huge fan of anyone who'll take the time to help others find their way in the audio and music production industry. We all need guidance to make it through our own personal maze in life. I'd truly recommend it to anyone who wants to devote their life towards getting and maintaining a career in the music industry." David Miles Huber, 4X Grammy-nominated musician and producer"April’s book contains immensely valuable information and detailed advice for anyone trying to carve out a career in the audio industry where freelancing is now the norm. The interviews with so many varied professionals are especially informative – they form a tapestry of different experiences from which April draws out the key messages and common themes. It is refreshing to hear from so many different voices in the audio world, and I really wish I had been able to read this book 20 years ago! I can recommend this to anyone currently working in audio, whatever their career stage, but especially to those trying to start out."Caroline Haigh, Institute of Sound Recording, University of Surrey"You need non-audio skills to succeed in the audio industry. April Tucker’s Finding Your Career in the Modern Audio Industry spells it out, showing a structure and a process for introspective assessments of your goals, your limits, your dreams, as well as essential outward-facing action: networking, job searching, marketing yourself, and more. Business acumen can’t be ignored, and can be mastered: negotiating rates and salaries, contracts, accounting, etc. You might be focused on one career path, but this book widens your view to full range of possibilities in the wide world of audio. With quotes and advice from folks across all facets of the industry throughout each chapter, Tucker’s book is a pleasure to read, and you’ll see there is no mystery to beginning your career in the modern audio industry."Alex U. Case, Sound Recording Technology, University of Massachusetts LowellTable of ContentsAcknowledgementsPrefacePart 1 – PlanningPart 1 helps the reader define their personal preferences, challenges and barriers and how that can affect the direction of a career path. These chapters teach the fundamentals of networking, business relationships, marketing, sales, and finding opportunities, all of which are critical foundational skills towards any career in the entertainment or audio industry. Industry Introduction Defining Your Dream & Goals Defining Your Barriers Networking Business Relationships Preparing to Seek Out Opportunities The Search for Work Marketing & Sales (How to Land the Gig) What Makes You Stand Out? Part 2 – Operations Part 2 addresses the logistics of operating a business, whether doing an occasional freelance gig or making a living off of freelance work. These chapters help readers with common business concerns: learning how to set rates, create an invoice, offers and contracts, and managing financial information. Rates and Knowing Your Worth Offers, Bids & Contracts Accounting & Financial Planning for Your Business Part 3 - Career Paths Part 3 takes the principles and ideas of the earlier chapters and puts them into practice. Each chapter addresses the needs specific or unique to these industries. These chapters are largely based on quotes, interviews, stories, and case studies. What business advice would someone who’s been through it give to someone who’s just getting started? Live Sound & Theater Music Production Interactive Media (Game Audio) Sound for Picture (Broadcast, Production & Post-Production) Spoken Word Audio Beyond Entertainment Part 4 The Audio Industry Around the World Q&A Moving Forward Appendix: Bios of intervieweesSupplemental material available online Recommendations, sample contracts, other resources Index

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Book SynopsisExploring High-risk Offender Treatment and the Role of Music Therapy explores the treatment delivered to high-risk offenders with complex needs, focusing on sex and violent offenders. The book advocates for the further use of less traditional and creative therapies, in particular, music therapy.The higher the risk, the greater the needs. Offenders with complex needs have a range of factors impacting their abilities and well-being including mental health and learning disorders. Importantly, high-risk offenders commonly present with complex needs and, therefore, require treatment that is highly responsive. Guiding this book is the existing literature and qualitative research, conducted by the author, that sought to gain the perspectives and experiences of practitioners in the field. This included 38 interviews with those that deliver treatment to high-risk offenders and music therapy. This book examines the components of high-risk offender treatment, highlighting Table of ContentsIntroduction Part I: EXPLORING HIGH-RISK OFFENDER TREATMENT AND CREATIVE CORRECTIONS1. The Higher the Risk, the Greater the Needs: High-risk Offender Treatment 2. Contemporary Offender Treatment from the Practitioner’s Perspective3. Moving Towards a Creative Corrections Approach PART II: MUSIC THERAPY AS A COMPONENT OF OFFENDER TREATMENT 4. Exploring the Research: Music Therapy for Offending Behaviour5. The Practitioner’s Perspective and Experience of Music Therapy for High-risk Offenders 6. The Role of Music Therapy in High-risk Offender TreatmentAppendicesReferencesIndex

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Book SynopsisThe Ordo Virtutum, Hildegard von Bingenâs twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon. Not only does the Ordoâs expansive duration set it apart from its precursors, but also its complex imagery and non-biblical narrative have raised various questions concerning its context and genre. As a poetic meditation on the fall of a soul, the Ordo deploys an array of personified virtues and musical forces over the course of its eighty-seven chants. In this ambitious analysis of the work, Michael C. Gardiner examines how classical Neoplatonic hierarchies are established in the music-drama and considers how they are mediated and subverted through a series of concentric absorptions (absorptions related to medieval Platonism and its various theological developments) which lie at the core of the workâs musical design and text. This is achieved primarily through Gardinerâs musical network Table of Contents1. A Metaphysical Medieval Assemblage 2. Analytic Introduction 3. Deterritorialized Bodies 4. The Taking-Place of Prayer 5. On Reterritorialization

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Book SynopsisThis volume draws together a collection of Robin A. Leaver's essays on Bach's sacred music, exploring the religious aspects of this repertoire through consideration of three core themes: liturgy, hymnology, and theology. Rooted in a rich understanding of the historical sources, the book illuminates the varied ways in which Bach's sacred music was informed and shaped by the religious, ritual, and intellectual contexts of his time, placing these works in the wider history of Protestant church music during the Baroque era.Including research from across a span of forty years, the chapters in this volume have been significantly revised and expanded for this publication, with several pieces appearing in English for the first time. Together, they offer an essential compendium of the work of a leading scholar of theological Bach studies.Table of ContentsPrefacePart I Liturgy1. Bach’s Cantatas and the Liturgical Year2. Bach’s Music and the Leipzig Liturgy3. Bach’s Agnus Dei Compositions4. Bach’s Parody Process: From Cantata to Missa5. Bach and the Cantata Controversy in the Early Eighteenth CenturyPart II Hymnology6. Bach and Johann Christoph Olearius7. Bach’s Christ lag in Todesbanden (BWV 4): Hymnology and Chronology 8. Bach’s Orgelbüchlein9. Bach and the Hymnic Aria10. Bach and the Letter Codes of the Schemelli GesangbuchPart III Theology11. Bach and Pietism12. Bach, Gesner, and Johann August Ernesti13. Bach and Erdmann Neumeister14. Bach’s Clavierübung III15. Bach and Anniversaries of the ReformationBibliography

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Book SynopsisGender Issues in Scandinavian Music Education: From Stereotypes to Multiple Possibilities introduces much-needed updates to research and teaching philosophies that envision new ways of considering gender diversity in music education. This volume of essays by Scandinavian contributors looks beyond the dominant Anglo-American lens while confronting a universal need to resist and rethink the gender stereotypes that limit a young person's musical development. Addressing issues at all levels of music educationfrom primary and secondary schools to conservatories and universities topics discussed include: the intersection of social class, sexual orientation, and teachers' beliefs; gender performance in the music classroom and its effects on genre and instrument choice; hierarchical inequalities reinforced by power and prestige structures; strategies to fulfill curricular aims for equality and justice that meet the diversity of the classroom;Table of ContentsChapter 1: Introduction: Envisioning gender diversity for music education (Hilde Synnøve Blix, Ingeborg Lunde Vestad and Silje Valde Onsrud) / Chapter 2: Music, gender and social change: Contemporary debates, directions and challenges (Cecilia Björck) / Chapter 3: Singing like a child: Transgressive girlhood in the music classroom (Eirik Askerøi and Ingeborg Lunde Vestad) / Chapter 4: Binary oppositions and third spaces: Perspectives on the interplay between gender, genre practice, instrument and cultural capital in upper secondary schools in Sweden (Carina Borgström Kāllén) / Chapter 5: Equality and sustainable development in Swedish music classrooms (Linn Hentschel and Cecilia Ferm Almqvist ) / Chapter 6: Positioning in a Swedish music profiled school (Mikael Persson) / Chapter 7: Thinking queer pedagogy in music education with Girl in Red (Silje Valde Onsrud) / Chapter 8: On breaking the "citational chains of gender normativity" in Norwegian art and music schools / (Hilde Synnøve Blix and Live Weider Ellefsen) / Chapter 9: Career paths in higher music education: Challenges for gender equality in the arts (Lilli Mittner and Hilde Synnøve Blix)

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Book SynopsisThe Live Music Business: Management and Production of Concerts and Festivals, Third Edition, shines a light on the enigmatic live music business, offering a wealth of inside advice and trade secrets to artists and bands looking to make a living in the industry.Trade Review"Part business book, part career development plan, The Live Music Business is full of practical advice and information."—Adam Moujahid, Artist Manager, 285 Group (Maribou State, George FitzGerald)"I encourage anyone interested in getting into the live music business to read this book."—Geoff Meall, Booking Agent, Paradigm Agency (Muse, My Chemical Romance, Sum 41, Super Furry Animals) "The Live Music Business is a MUST READ for anyone wanting to enter the live industry. Andy Reynolds is one of very few qualified to give such an experienced and insightful description of such a complex industry."—Ben Bushell, Course Leader, London College of Music "There are few people who have combined industry experience with academic process. Andy is one of them. Any information he presents in a book should be taken seriously by students studying the live music business."—Steve Melhuish, CEO, Music Business School"Andy has years of experience of both working in the live music business and teaching. He has laid out his vast knowledge in a clear, concise way. Any student studying the wider music business should buy and read this book."—Jamie Johnston, Label Owner, Physical Education Recordings"The Live Music Business is an insightful new guide that simplifies and demystifies the business of concerts and music festivals. Read this book!"—Danny Hagan, Senior Lecturer and Head of Subject: Music Technology, Music Management and Popular Music Performance, University of West London Table of ContentsIntroduction / Part One: Live Music Management / 1. THE ARTISTS / 2. ARTIST MANAGEMENT / 3. BOOKING AGENTS / 4. CONCERT PROMOTERS / 5. CREATING THE DEALS / 6. THE CONTRACT / 7. THE CONTRACT RIDER / 8. REVENUE STREAMS FROM LIVE MUSIC – ARTISTS / 9. REVENUE STREAMS FROM LIVE MUSIC –PROMOTERS AND ORGANISERS / 10. MARKETING AND PROMOTION / 11. FESTIVALS / 12. STRATEGY / Part Two: Live Music Production / 13. PLANNING A TOUR / 14. BUDGET / 15. WAGES / 16. TRANSPORT / 17. ACCOMMODATION / 18. PRODUCTION / 19. OTHER PRODUCTION CONSIDERATIONS / Appendix 1: Concert Production Personnel / Appendix 2: A Performance Contract / Appendix 3: Contract Rider / Appendix 4: Tour Budget Sheet / Appendix 5: Day-to-Day Schedules

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Book SynopsisThe definitive history of the Broadway musical: the shows, the stars, the movers, and the shakers.Trade Review"Starred Review. Not just a catalog or reference book, but a highly astute, integrative cultural history." -- Kirkus Reviews"Throughout, as Stempel traces the evolution with exhaustive archival research, he offers a penetrating and illuminating analysis of various musical forms and influences. Many of the 105 carefully selected black-and-white illustrations are surprising and revelatory. Theater buffs will be delighted to find that this scholarly, definitive work is also a hugely entertaining read." -- Publishers Weekly

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Book SynopsisThe definitive collection of lyrics from three decades of songwriting.Trade Review"Songs of Love and Horror feels significant; [Will Oldham is] able to make a connection directly, without the protective veil of a moniker. The blue annotations that accompany each lyric in the book offer his personal reflections. But as much as Oldham attempts transparency, his music, which radiates humour, tenderness, frustration and audacity, remains seductively mysterious." -- Wired"There aren't too many popular songwriters whose words can withstand being read and scrutinised as poetry. Oldham's not only stand up, but stripped of their melodic context, offer different insights... Honest, wry, confessional, occasionally harrowing and frequently laugh-out-loud funny, Oldham's lyrics make for enjoyable and illuminating reading." -- fRoots"His [Will Oldham's] book was more fascinating for me because I knew fewer of the songs." -- Jude Rogers - New Statesman

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Book SynopsisInteraction, Improvisation, and Interplay in Jazz Performance offers a new and exciting way to listen to and understand jazz. When describing a performance, most jazz writers focus on the improvised lines of the soloist and their underlying harmonic progressions. This approach overlooks the basic fact that when you listen to jazz, you almost never hear a single line, but rather a musical fabric woven by several musicians in real time. While it is often pragmatic to single out an individual solo line, it is important to remember that an improvised solo is but one thread in that fabric; and it is a thread supported by, responded to, and responsive of the parts being played by the other musicians in the group. Interaction, Improvisation, and Interplay in Jazz Performance explores the process of player interaction in jazz, and the role this interaction plays in creating improvised music, including: jazz improvisation through theory and analysis musical roles, behaviours and relationships harmony, interaction and performance Interaction, Improvisation, and Interplay in Jazz Performance will appeal to students of jazz history, composition, and performance, as well as to the general jazz audience. Table of Contents1. Jazz Improvisation: Theory, Analysis, Context, and Process, Musical Roles and Behaviours, Musical Relationships within the Rhythm Section 2. Harmony and Interaction, Basic Harmonic Interaction, Figuring the Blues, Generating Jazz Harmony 3. Form and Interaction, Turnarounds and Breaks, Common Forms 4. Breaking Down the Boundaries: Steps Toward Free Jazz, Bill Evans’s "Autumn Leaves", Miles Davis’s "Flamenco Sketches", Ornette Coleman’s "Chronology", "Free Jazz" and "Ascension", Coda, Endnotes, Recordings Cited

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Book SynopsisThis book deals with various aspects of musical life at the Aragonese court of Naples, from its establishment in 1442 to its demise in the opening years of the sixteenth century.Table of Contents1. The Historical-Cultural Background; 2. The Royal Chapel; 3. The Composers in the Chapel and Other 'Illustrissimi' at Naples; 4. The Singers and Chaplains: An Inventory; 5. Music for Secular Entertainment; 6. The Music Sources; 7. The Repertory.

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