Music Books

Book SynopsisThere are creative writers and thinkers who are the origin of words and expressions that have a long life in history. One of them is Nikolai Frederik Severin Grundtvig (1783-1872). He is perhaps best known internationally for his modern ideas about lifelong learning and a completely new type of school -- the folk high school for young people as well as adults -- that was to give people the possibility of developing freely and using their abilities for the benefit of their national community. In this book we feature a selection of his well-known hymns and songs. They are among the most powerful of his entire work marked by an artistic breadth that is immediately sensed. The present English translations -- the work of the poet and translator John Irons, in collaboration with the poet Klaus Høeck -- can and should be sung at everyday gatherings of people wishing to express themselves about what is most important in human existence: faith, hope and love.

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Book Synopsis500 grams of dark reddish-blue matter and cord blood, skin, drainage tubes, sheets, gloves, sterile drapes, clamps, lab coats, stitches, a one-star recovery room. A set of visual data. Your willing, clear-cut, single gesture is an integral part of the work. Listening with your eyes. This includes a vinyl record and perforated pages that can be opened.

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Book SynopsisA story of brave dreams and musical passions'' - Ian Anderson of Jethro TullI sit, I think, I write my story of longing, of long agoI try to fit a lifetime in a hundred and fifty thousand words, blow by blow.- Remo, on writing his autobiography, from his song ''Keep the Faith''Remo Fernandes is a legend: there''s no other word for him really.When he started out as a relatively unknown artist in the 1970s, Remo would record his first albums in his home studio and distribute them around Goa on his yellow scooter. But soon, he was to become a national craze, with blockbuster hits to his credit in English and Hindi pop, and in film music as well. His stage performances were sensational and brought his incredible musical talent. REMO is an extraordinary memoir. It is the story of a rich and full life - filled with professional highs and lows as well as personal triumphs and tragedies.

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Book SynopsisThe songs of Kalden Gyatso reflect his spiritual journey with highs and lows, organized thematically to show his quest for Buddhahood. These profound songs appeal to Tibetology experts, poetry lovers, and spiritual seekers from all traditions.

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Book SynopsisGustav and Alma Mahler in New York City in 1907: He had been invited to lead the Metropolitan opera; his glamorous wife accompanied him to the New World. Nineteen years his junior, Alma was Gustav's constant companion, occasional soulmate, sometimes his muse, always his caretaker: a woman otherwise restless and unfulfilled. Her husband's life was intensely interior, sporadically alert to others' needs and desires. His energy and idealism were aroused by new surroundings, but fitfully. He remained a chronic outsider, with Alma bearing much of the brunt amid their turbulent New York surroundings. A stunning debut novel from renowned cultural historian Joseph Horowitz.Trade ReviewPraise for The Marriage: "Horowitz is a master of passionate scholarship. His deep historical knowledge blends with his narrative imagination to bring to life the very air his characters breathed." --Antonio Munoz Molina, winner of the Jerusalem Prize; "Joe Horowitz's The Marriage portrays Mahler with more power and poignancy than anyone else ever has." --JoAnn Falletta, music director, the Buffalo Philharmonic Orchestra; "Where biographers and other musicologists have struggled, Joseph Horowitz succeeds brilliantly in revealing the inner Gustav Mahler in this powerful and moving novel." --Richard Aldous, author of Tunes of Glory: The Life of Malcolm Sargent; "If we want to get closer to the "truth" of Mahler and his music, if we hope to improve our understanding of the person and his creations, we need to acknowledge the role our imagination must play in the learning process. In the case of Mahler, the essential facts have long been known. What we need now are fresh attempts to conceive what further truths they might contain. Joseph Horowitz's brilliant novel reveals much to us about who Mahler was, what he accomplished, and how he related to his world. Readers will be as eager to study it as they would any biography, and they can expect to learn as much."-- Charles Yuma's, Professor of Musicology, Penn State University; "Persuasive and fair. It is refreshing to see this chapter of Gustav Mahler's biography from an American perspective, written by someone not automatically biased in favor of Europe." --Karol Berger, author of Beyond Reason: Wagner contra Nietzsche; Osqood Hooker Professor in Fine Arts, Stanford University

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Book SynopsisBefore The Legend goes beyond the myth of Marley to bring readers the private side of a man few people ever really knew.

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Book SynopsisOffers a compendium of the greatest sad songs and artists of the modern era and a collection of essays that attempts to explain what exactly draws us to sad music, and how sad music actually makes us happy.Trade Review"A comprehensive, sharply written journey through the music of sadness, of every stripe and from every genre...Whether read straight through or dipped into at random, in times of despair or not, this is a most helpful musical sourcebook through every kind of blue." -- Kirkus Reviews (starred review) "Highly entertaining." -- Publishers Weekly "For the meticulously melancholy music fan in all of us, a celebration of songs with a dark side. This Will End in Tears gathers the downest, doomiest sounds in rock, soul, jazz, the blues, and any music that can put a serious chill in your evening." -- Rob Sheffield, author of Love Is A Mix Tape and Talking To Girls About Duran Duran "Sad sacks of the world: Rejoice! Adam Brent Houghtaling has ingeniously compiled the ultimate guide to this cruel world's maestros of miserabilism. The feel bad book of the year!" -- Craig Marks and Rob Tannenbaum, co-authors of I Want My MTV: The Uncensored Story of the Music Video Revolution "Breaking up is hard to do, but not when you've got a book like this to help you make the saddest playlist of all time. Now, someone pass me a Kleenex...and that Elliott Smith album." -- Leslie Simon, co-author of Everybody Hurts and author of Wish You Were Here "Sad songs say so much, but Adam Brent Houghtaling has a lot to add to the conversation. This Will End in Tears is a book well worth wallowing in." -- Mark Yarm, author of Everybody Loves Our Town: An Oral History of Grunge

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

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Book SynopsisContributers from image and sound studies explore the history and the future of moving-image media across a range of formats including blockbuster films, video games, music videos, social media, experimental film, documentaries, video art, pornography, theater, and electronic music.Trade Review"This is an assemblage of monumentally impressive scholarly thought on timely issues and will undoubtedly stand up to repeated readings, analysis, and dialogue."--Association for Recorded Sound Collections JournalTable of ContentsIntroduction: ; 1. Carol Vernallis and Amy Herzog ; Cinema in the Realm of the Digital: Foundational Approaches ; 2. Thomas Elsaesser, Digital Cinema: Convergence or Contradiction? ; 3. Jean-Pierre Geuens, Angels of Light ; 4. William Whittington, Lost in Sensation-Reevaluating the Role of Cinematic Sound in the Digital Age ; Dialogue: Screens and Spaces ; 5. Sean Cubitt, Large Screens, Third Screens, Virtuality and Innovation" ; 6. Will Straw, Public Screens and Urban Life" ; Glitches, Noise, and Interruption: Materiality and Digital Media ; 7. Laura U. Marks, A Noisy Brush with the Infinite: Noise in Enfolding-Unfolding Aesthetics" ; 8. Lisa Coulthard, Dirty Sound: Haptic Noise in New Extremism" ; 9. Caetlin Benson-Allott, "Going Gaga for Glitch: Digital Failure @nd Feminist Spectacle in Twenty-F1rst Century Music Video" ; 10. Joanna Demers, "Discursive Accents in Some Recent Digital Media Works" ; 11. Melissa Ragona, "Doping the Voice" ; Uncanny Spaces and Acousmatic Voices ; 12. William Cheng, "Monstrous Noise: Silent Hill and the Aesthetic Economies of Fear" ; 13. Amy Herzog, "'Charm the Air to Give a Sound': The Uncanny Soundscape of Punchdrunk's Sleep No More>" ; 14. George Toles, "A Gash in the Portrait: Martin Arnold's Deanimated" ; 15. Warren Buckland, "The Acousmatic Voice and Metaleptic Narration in Inland Empire" ; Dialogue: Visualization and Sonification ; 16. Lev Manovich, "Visualization Methods for Media Studies" ; 17. Jake Smith, "Explorations in Cultureson" ; Virtual Worlds, Paranoid Structures, and States of War ; 18. Dale Chapman, "Music and the State of Exception in Alfonso Cuaron's Children of Men" ; 19. Matthew Sumera, "Understanding the Pleasures of War's Audiovision" ; 20. James Buhler and Alex Newton, "Outside the Law of Action: Music and Sound in the Bourne Trilogy" ; 21. Eleftheria Thanouli, "Debating the Digital: Film and Reality in Barry Levinson's Wag the Dog" ; 22. Theo Cateforis, "Between Artifice and Authenticity: Music and Media in Wag the Dog" ; Blockbusters! Franchises, Remakes, and Intertextual Practices ; 23. Jessica Aldred, "'I Am Beowulf! Now, It's Your Turn': Playing With (And As) the Digital Convergence Character" ; 24. Carol Donelan and Ron Rodman, "Lion and Lambs: Industry-Audience Negotiations in the Twilight Saga Franchise" ; 25. Aylish Wood, "Sonic Times in Watchmen and Inception" ; 26. Miguel Mera, "Inglo(u)rious Basterdization? Tarantino and the War Movie Mashup" ; Dialogue: De-Coding Source Code ; 27. Garrett Stewart, "Sound Thinking: Looped Time, Duped Track" ; 28. Sean Cubitt, "Source Code: Eco-Criticism and Subjectivity" ; 29. James Buhler, "Notes to Source Code's Soundtrack" ; Rethinking Audiovisual Embodiment ; 30. Kiri Miller, "Virtual and Visceral Experience in Music-Oriented Videogames" ; 31. David McCarthy and Maria Zuazu, "A Gaga-World Pageant: Channeling Difference and the Performance of Networked Power" ; 32. Paul Morris and Susanna Paasonen, "Coming to Mind: Pornography and the Mediation of Intensity" ; Sounds and Images of the New Digital Documentary ; 33. John Belton, "The World in the Palm of Your Hand: Agnes Varda, Trinh T. Minh-ha, and the Digital Documentary" ; 34. Selmin Kara, "The Sonic Summons: Meditations on Nature and Anempathetic Sound in Digital Documentaries" ; 35. Jennifer Peterson, "Workers Leaving the Factory: Witnessing Industry in the Digital Age" ; Modes of Composition: Digital Convergence and Sound Production ; 36. Eric Lyon, "The Absent Image in Electronic Music" ; 37. Jann Pasler, "Hugues Dufourt's Cinematic Dynamism: Space, Timbre, and Time in L'Afrique d'apres Tiepolo" ; 38. Ron Sadoff, "Scoring for Film and Video Games: Collaborative Practices and Digital Post-Production" ; 39. Nicola Dibben, "Visualising the App Album with Bjork's Biophilia" ; Digital Aesthetics Across Platform and Genre ; 40. Carol Vernallis, "Accelerated Aesthetics: a New Lexicon of Time, Space and Rhythm" ; 41. Jay Beck, "Acoustic Auteurs and Transnational Cinema" ; 42. Allan Cameron, "Instrumental Visions: Electronica, Music Video, and the Environmental Interface" ; Index

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Book SynopsisThe book is a compendium of thinking on virtuality and its relationship to reality from the perspective of a variety of philosophical and applied fields of study. Topics covered include presence, immersion, emotion, ethics, utopias and dystopias, image, sound, literature, AI, law, economics, medical and military applications, religion, and sex.Table of ContentsIntroduction ; Mark Grimshaw ; I. The Foundations of Virtuality ; 1. The Virtuality and Reality of Avatar Cyberspace ; Bruce Damer and Randy Hinrichs ; 2. The Physical and Social Reality of Virtual Worlds ; Philip Brey ; 3. Envisioning the Virtual ; Brian Massumi ; 4. Being More Than Yourself: Virtuality and Human Spirit ; Andre Nusselder ; 5. Mythologies of Virtuality: "Other Space" and "Shared Dimension" from Ancient Myths to Cyberspace ; Maria Beatrice Bittarello ; 6. The Paradox of Virtuality ; Michael R. Heim ; II. Psychology and Perception ; 7. Avatar Psychology ; James K. Scarborough and Jeremy N. Bailenson ; 8. Not Quite Human: What Virtual Characters Have Taught Us about Person Perception ; Elizabeth J. Carter and Frank E. Pollick ; 9. Emotions and Altered States of Awareness: The Virtuality of Reality and the Reality of Virtuality ; Jean-Claude Martin ; 10. Applying Psychological Plausibility to the Uncanny Valley Phenomenon ; Angela Tinwell ; 11. The Psychology of Addiction to Virtual Environments: The Allure of the Virtual Self ; Deborah Abdel Nabi and John P. Charlton ; 12. Being Present in a Virtual World ; Giuseppe Riva and John A. Waterworth ; 13. Immersion in Virtual Worlds ; Gordon Calleja ; III. Culture and Society ; 14. Communication in Virtual Worlds ; Paul C. Adams ; 15. So Good, They Named It Twice? A Lacanian Perspective on Virtual Reality from Literature and the Other Arts ; David Rudd ; 16. History and Cultural Heritage in Virtual Environments ; Erik Champion ; 17. Flirting, Cheating, Dating, and Mating in a Virtual World ; Julie M. Albright and Eddie Simmens ; 18. Cybersex ; Stale Stenslie ; 19. A Virtual Assembly: Constructing Religion out of Zeros and Ones ; Robert M. Geraci ; 20. Acoustemologies of the Closet ; William Cheng ; IV. Sound ; 21. Breaking the Fourth Wall? User-Generated Sonic Content in Virtual Worlds ; Karen Collins ; 22. Sonic Virtuality: Understanding Audio in a Virtual World ; Tom A. Garner and Mark Grimshaw ; 23. Virtual Worlds: An Ethnomusicological Perspective ; Trevor S. Harvey ; 24. The Music That's Not There ; Martin Knakkergaard ; V. Image ; 25. Through the Looking Glass: Philosophical Reflections on the Art of Virtual Worlds ; Gary Zabel ; 26. Recreating Visual Reality in Virtuality ; Anthony Steed ; 27. The Translation of Art in Virtual Worlds ; Patrick Lichty ; 28. Painting, the Virtual, and the Celluloid Frame ; Simon J. Harris ; VI. Economy and Law ; 29. Virtual Law ; Greg Lastowka ; 30. Virtuality in the Sphere of Economics ; Vili Lehdonvirta ; VII. A-Life and Artificial Intelligence ; 31. On the Role of "Digital Actors" in Entertainment-Based Virtual Worlds ; Phil Carlisle ; 32. Evolution in Virtual Worlds ; Tim Taylor ; 33. Virtual Ecologies and Environments ; David G. Green and Tom Chandler ; 34. Computational Modeling of Brain Function and the Human Haptic System at the Neural Spike Level: Learning the Dynamics of a Simulated Body ; Gabriel Robles-De-La-Torre ; VIII. Technology and Applications ; 35. Distributed Embodiment: Real Presence in Virtual Bodies ; John A. Waterworth and Eva L. Waterworth ; 36. Level of Realism: Feel, Smell, and Taste in Virtual Environments ; Alan Chalmers ; 37. Developing Handheld Augmented Reality Interfaces ; Mark Billinghurst, Huidong Bai, Gun Lee, and Robert Lindeman ; 38. Avoidable Pitfalls in Virtual-World Learning Design ; Keysha I. Gamor ; 39. Medical Clinical Uses of Virtual Worlds ; Giuseppe Riva ; 40. Military Simulations Using Virtual Worlds ; Roger Smith ; IX. Utopia and Dystopia ; 41. Ethics at the Boundaries of the Virtual ; Charles M. Ess ; 42. The Social Imaginary of Virtual Worlds ; Patrice Flichy ; 43. Virtuality and Humanity ; David Kreps ; 44. Virtual Dystopia ; Andrea Hunter and Vincent Mosco ; An Afterword in Four Binarisms ; Tom Boellstorff ; Index

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

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

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

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

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Book SynopsisThe first comprehensive study of the relationship between music and language, this book challenges the widespread belief that music and language are processed independently. It argues that music and language share deep and critical connections, and that comparative research provides a powerful way to study the cognitive and neural mechanisms underlying these uniquely human abilities.Trade Reviewa fascinating synopsis of the current, young state of scientific research in cross-domain language-music comparative study. The book transverses with ease the disciplinary lines of linguistics, music and neuroscience. This impressive work of scholarship will serve as a reference of the topic for years to come. * Phonology *...an intellectual tour-de-force...[the book] requires focused engagement, but the rewards are rich...this definitive analysis of music cognition and its relationship to language [is] a work of exceptional scholarship and clarity. * Nature *...this book undoubtedly provides the best attempt so far to synthesize theory and research findings, and in doing so highlights the many advantages of applying a holistic approach to the study of music and language. * Brain: A Journal of Neurology *Table of Contents1. Introduction ; 2. Sound Elements: Pitch and Timbre ; 2.1 Introduction ; 2.2 Musical Sound Systems ; 2.3 Linguistic Sound Systems ; 2.4 Sound Category Learning as a Key Link ; 2.5 Conclusion ; Appendixes ; 3. Rhythm ; 3.1 Introduction ; 3.2 Rhythm in Music ; 3.3 Rhythm in Speech ; 3.4 Interlude: Rhythm in Poetry and Song ; 3.5 Non-Periodic Aspects of Rhythm as a Key Link ; 3.6 Conclusion ; Appendixes ; 4. Melody ; 4.1 Introduction ; 4.2 Melody in Music: Comparisons to Speech ; 4.3 Speech Melody: Links to Music ; 4.4 Interlude: Musical and Linguistic Melody in Song ; 4.5 Melodic Statistics and Melodic Contour as Key Links ; 4.6 Conclusion ; Appendix ; 5. Syntax ; 5.1 Introduction ; 5.2 The Structural Richness of Musical Syntax ; 5.3 Formal Differences and Similarities between Musical and Linguistic Syntax ; 5.4 Neural Resources for Syntactic Integration as a Key Link ; 5.5 Conclusion ; 6. Meaning ; 6.1 Introduction ; 6.2 A Brief Taxonomy of Musical Meaning ; 6.3 Linguistic Meaning in Relation to Music ; 6.4 Interlude: Linguistic and Musical Meaning in Song ; 6.5 The Expression and Appraisal of Emotion as a Key Link ; 6.6 Conclusion ; 7. Evolution ; 7.1 Introduction ; 7.2 Language and Natural Selection ; 7.3 Music and Natural Selection ; 7.4 Music and Evolution: Neither Adaptation nor Frill ; 7.5 Beat-Based Rhythm Processing as a Key Research Area ; 7.6 Conclusion ; Appendix ; Afterword ; References ; List of Sound Examples ; Lis of Credits ; Author Index ; Subject Index

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Book SynopsisMusic in the USA: A Documentary Companion is an anthology of primary sources, which charts a map of American music and musical life through the words of composers, performers, writers and "the people." The anthology contains about 160 selections from 1540 to 2000 ranging from William Billings to Qbert, from psalmody to rap.Trade ReviewA treasure for anyone who is fascinated by America and its many streams of music. The selections are fresh and varied. The items treated include (to mention some that involve the letter C) Colonial hymns, Civil War marches, nineteenth-century prima donna and opera-company manager Clara Kellogg, Copland's Rodeo, Chuck Berry, and salsa musician Willie Colon. The annotations provide crisp information and context but also are studded with subtle, sometimes sly provocations. An ideal compendium for classroom use to complement - or perhaps even replace - a standard textbook on music in America. * Ralph P. Locke, Professor of Musicology, Eastman School of Music (University of Rochester) *The entire course of American music emerges from this judiciously selected and introduced collection of 159 examples. * Gramophone *A truly awesome and significant volume. * Alan Rich *Judith Tick has provided the field of American music studies with an eclectic body of source materials, a road map to our individual and collective pasts. This major contribution turns the volume up: it documents this country's unbridled obsession with her musical self. The experiences lived in America's hushed concert halls, smoky jam sessions, pious cathedrals, and rowdy theaters are embedded in the written cultures they inspired. Have readings ever sounded so good? * Guthrie P. Ramsey, Jr., Associate Professor of Music History and Africana Studies, University of Pennsylvania *Everyone who has an interest or a passion for this nation's music will want to become immersed in Music in the USA. Judith Tick weaves this collection of source readings and other writings into an ecstatic quil?- a portrait that could only be made in America. * George Boziwick, Curator, American Music Collection, The New York Public Library for the Performing Arts *Table of ContentsPREFACE; INTRODUCTION; ACKNOWLEDGEMENTS; TABLE OF CONTENTS; LIST OF ILLUSTRATIONS; FIGURES AND GRAPHICS; 1540-1770

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Book SynopsisAdvice to young singers often follows the standard line of the great French singer Claire Croiza: Study the poem away from the music, so that you know what the words really mean. But Croiza''s advice is notoriously difficult to follow when performing French mélodies. Just how do you approach a French poem? In the lyric poetry on which the mélodie is based, meaning is conveyed not just through the words but also through the poem''s formal structure. Understanding French Verse: A Guide for Singers explains this formal structure and sets out the basics of French versification, using examples drawn from a wide range of well-known song settings. Its chapters examine French meters, stanzaic forms, sonnets, rondels and other fixed forms, rhyme and sound patterning, and free verse poems. Written in a clear and concise way, it explains the Alexandrine, how to distinguish different meters by counting syllables, and how to identify stresses in French verse. The book also illustrates how rhyme woTrade Review...very useful... * Dorothee Mertz-Weigel, French Review, vol. 80.1 *Table of Contents1: Why This Guide? 2: The Basics of the French Line 3: Common French Meters 4: Stanzas 5: Sonnets, rondels, and other fixed forms 6: Rhyme 7: Free verse Appendix 1. Commentaries on four poems Adieux de l'hôtesse arabe Le colibri En sourdine Montparnasse Appendix 2. Poems and songs discussed in the guide Appendix 3. A brief history of French versification Glossary of technical terms Notes Suggestions for further reading Index

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Book SynopsisIn this pioneering work of cultural history, historian Anthony Harkins argues that the hillbilly-in his various guises of briar hopper, brush ape, ridge runner, and white trash-has been viewed by mainstream Americans simultaneously as a violent degenerate who threatens the modern order and as a keeper of traditional values of family, home, and physical production, and thus symbolic of a nostalgic past free of the problems of contemporary life. Hillbilly signifies both rugged individualism and stubborn backwardness, strong family and kin networks but also inbreeding and bloody feuds. Spanning film, literature, and the entire expanse of American popular culture, from D. W. Griffith to hillbilly music to the Internet, Harkins illustrates how the image of the hillbilly has consistently served as both a marker of social derision and regional pride. He traces the corresponding changes in representations of the hillbilly from late-nineteenth century America, through the great Depression, the Trade Review"a sophisticated mélange of image and reality regarding southern white culture"-- History of Education Quarterly"Harkin's research is truly impressive, and his writing could not be clearer....a significant, highly accessible book of considerable value to scholars and advanced students."--History"Tony Harkins has gone deeper, understood a wider range of pop-culture materials, and analyzed more insightfully the twentieth-century image of the American 'hillbilly' than any other scholar in this or the previous century. My hat's not only off to him. It's way up in the air!"-- Jerry Williamson, author of Hillbillyland"This is an impressively researched and meticulously documented study of one of the pervasive terms in American popular culture, 'hillbilly,' a concept that has both reflected and shaped public views of southern white working people. Students in my field of research, Southern Folk Music, will obviously profit from this beautifully written work, but anyone intrigued by the ways in which stereotypes have clouded our perceptions will want to read this book."-Bill C. Malone, author of Country Music, U.S.A."Harkins' Hillbilly is an intriguing and wide-ranging study of a strangely enduring American type, one both loved and despised but still nationally (if not internationally) recognized. From Snuffy Smith and Li'l Abner to The Real McCoys and the Clampett clan, Harkins discusses how the hillbilly image itself has remained relatively unchanged, while its meaning has evolved in response to broader social, economic, and cultural transformations in American society."--Erika Doss, University of Colorado"Distilling truths and untruths about a great American archetype, Hillbilly is insightful and respectful without draining out all the fun. Anthony Harkins writes entertaining yet sophisticated analysis, free of ten-dollar words and other academic moonshine."--Scott A. Sandage, Carnegie Mellon University

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Book SynopsisFrom the Foreword by Renee Fleming: Kathryn LaBouff has developed an approach to singing in the English language which is wonderfully user-friendly, and which has surely saved much wear and tear on my voice. It is a technique that has empowered me with the knowledge and skills to bring a text to life and to be able to negotiate all of the sounds of the language with the least amount of effort. I have found her clever and extremely creative use of substitute consonants or combinations of consonants in creating clear diction utterly delightful because they are surprising and because they work. These techniques have been equally useful when singing in foreign languages. We sopranos are not usually known to have good diction, particularly in our high range. I found that working with Kathryn improved my ability to be understood by an enormous percentile of the audience with much less vocal fatigue than I would have experienced if left to my own devices. I have often told my colleagues enthuTrade ReviewIn the rehearsal process Kathryn LaBouff is my secret weapon. She has an uncanny ability to take dramatic ideas and unify them with her own technical and diction work for the performer. The result of her collaboration is that the performer can activate and communicate the text like no one else. The diction techniques that she developed are easily accessible in this book, and will help clean up English text delivery in productions around the world. This is a must-have for all directors, coaches, teachers, performers and anyone who champions opera in English. * Francesca Zambello, Director, Artistic Advisor to San Francisco Opera *Staggeringly high standard of diction. The surest method of converting people to Opera. * Opera Now *Singing in English can be one of the most satisfying experiences for a singer. Whilst singers realize considerable skills in a range of European languages, English remains sidelined, expected to look after itself. This book offers guidance to singers for 'singing and communicating,' which then leads to comprehension -- for artist and audience alike. In exploring this rich and varied language, Kathryn LaBouff deals fully with some obvious, and other much less obvious aspects of singing in English. Her book deserves a special place in every singer's library. * Sir Thomas Allen CBE, Kammersänger of the Bayerische Staatsoper Munich *Table of ContentsPreface Acknowledgements Foreword Chapter 1: Why Study English Diction? Chapter 2: Communication Through Appropriate Stress Chapter 3: Preparation for Vowel Production Chapter 4: The Front Vowels Chapter 5: The Backing Vowels Chapter 6: The Mixed Vowels Chapter 7: The Diphthongs & Triphthongs Chapter 8: The Three Semi-Vowel Glides Chapter 9: Introduction to Consonants Chapter 10: The Plosives Chapter 11: The Fricatives Chapter 12: Nasal Consonants Plus Lyrical L Chapter 13: The Owner's Manual: Connecting the Dots Chapter 14: Singing in the British Dialect: "The Rain in Spain" Chapter 15: The Mid-Atlantic Dialect Afterword Appendices: I: IPA Alphabet for the English Language II: Three-Dialect Overview III: Regional Dialects Glossary Bibliography Index of Texts and Music Examples CD Guide

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Table of ContentsPREFACE

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Table of ContentsIntroduction ; Antonin Dvorak Comes to America ; American and Negro Music ; Dvorak's Symphony From the New World ; The Chicago World's Columbian Exposition from 1893 ; The National Conservatory of Music in America ; Paul Laurence Dunbar, Clorindy, and "The Talented Truth" ; James Reese Europe ; George Gershwin and African American Music ; Leonard Bernstein ; Gershwin's Rhapsody in Blue ; The Clef Club Concert ; Will Marion Cook ; George Antheil's Ballet Mecanique ; Bernstein's Mass ; Duke Ellington ; Ellington's Queenie Pie ; Ellington's Black, Brown, and Beige ; Afterword ; Notes ; Selected Discography ; Selected Bibliography ; Index

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Book SynopsisNot long ago, ideas of creativity in music revolved around composers in garrets and the idea of genius. In the last decade there has been a sea change in thinking: musical creativity is seen in terms of collaboration and real-time performance. Music as Creative Practice is a first attempt to synthesise both perspectives.Trade Review...highly informative insights... * Anna Falkenau, Ethnomusicology Ireland *This is a most valuable volume ... it tackles some fundamental issues that are largely becoming ignored in our current populist political and social environment ... As in all his writing, Nicholas Cook goes a very long way in this book to clarify these issues, along with many other intriguing musicological concepts, and to stimulate debate in a most lucid and informative manner. * Sinan Carter Savaskan, Notes *Table of ContentsTable of Contents List of figures Acknowledgements Introduction: creativity in context 1 Making music together 1 Listening together 2 From the inside out 3 You do an up-bow, I do a down-bow 4 Beyond real time 5 Production as relational practice 6 Assemblages in action 7 Creativity on the other side 2 Imagining music 1 Cultures of imagination 2 Composition by stages 3 Improvisations on paper 4 Seeing through the myths 5 Sonic ontology 6 The extended musical mind 7 Talking back 3 Creative in a different sort of way 1 The ghost in the machine 2 Significant others 3 The composer's alter ego 4 Traditions of creative learning 5 Pathways to creative performance 6 Owning creativity 7 A culture of creative repetition Conclusion: creativity everywhere References Index

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Book SynopsisIn The Oxford Handbook of Philosophy in Music Education, editors Wayne D. Bowman and Ana Lucía Frega have drawn together a variety of philosophical perspectives from a global who's who of scholars. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere. Emphasizing clarify, fairness, rigor, and utility above all,Trade ReviewOf special interest is the inclusion of a variety of practices in music education from a global perspective...Essential. * Choice *Table of ContentsAbout the Contributors ; 1. Introduction ; Wayne Bowman and Ana Lucia Frega ; I. The Nature and Value of Philosophical Inquiry in Music Education ; 2. What Should the Music Education Profession Expect of Philosophy? ; Wayne Bowman and Ana Lucia Frega ; 3. Rethinking Philosophy, Re-Viewing Musical-Emotional Experiences ; David J. Elliott and Marissa Silverman ; 4. Voicing imbas: Performing a Philosophy of Music Education ; Helen Phelan ; 5. Philosophy of Music Education as Art of Life: A Deweyan View ; Lauri Vakeva ; 6. Uncomfortable with Immanence: The Nature and Value of Music and Music Education as Singular or Supplemental ; Bennett Reimer ; II. The Nature and Values of Music ; 7. Learning to Live Music: Musical Education as the Cultivation of a Relationship between Self and Sound ; Randall Pabich ; 8. The Grain of the Music: Does Music Education 'Mean' Something in Japan? ; Tadahiko Imada ; 9. Musical Education: From Identity to Becoming ; Michael Szekely ; 10. Teaching practices in Persian Art Music ; Erum Naqvi ; 11. Understanding Music's Therapeutic Efficacy: Implications for Music Education ; Diane Thram ; III. The Aims of Education ; 12. The Impossible Profession ; Christopher Higgins ; 13. Education in Latin American Music Schools: A Philosophical Perspective ; Luis Alfonso Estrada ; 14. Must Music Education Have an Aim? ; V. A. Howard ; 15. Cultivating Virtuous Character: The Chinese Traditional Perspective of Music Education ; Yuhwen Wang ; 16. Ethical Dimensions of School-Based Music Education ; Thomas A. Regelski ; IV. Philosophical Inquiry Directed to Curricular and Instructional Concerns ; 17. Engaging Student Ownership of Musical Ideas ; Harold Fiske ; 18. Understanding Music as the Philosophical Focus of Music Education ; Keith Swanwick ; 19. Musical Heuristics: Contributions to the Understanding of Musical Creative Processes ; Ricardo Mandolini ; 20. Nurturing the Songcatchers: Philosophical Issues in Creativity and Music Education ; John Kratus ; 21. Avoiding the Dangers of Postmodern Nihilist Curricula in Music Education ; Robert Walker ; V. Challenges to Philosophical Practice in Music Education ; 22. Good for What, Good for Whom?: Decolonizing Music Education Philosophies ; Deborah Bradley ; 23. Place, Music Education, and the Practice and Pegagogy of Philosophy ; Sandra Stauffer ; 24. On Informalities in Music Education ; Estelle Jorgensen ; 25. Music Education for <"All My Relations>" ; Charlene Morton ; VI. Afterword ; 26. But is it philosophy? ; Wayne Bowman and Ana Lucia Frega ; Index

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Trade Review...useful for students, or specialists exploring outside their disciplines * Danny Lee, www.dannyreviews.com *Table of ContentsChapter 1: Introduction Chapter 2: Sound elements: pitch and timbre 2.1 Introduction 2.2 Musical Sound Systems 2.3 Linguistic Sound Systems 2.4 Sound Category Learning as a Key Link 2.5 Conclusion Appendices Chapter 3: Rhythm 3.1 Introduction 3.2 Rhythm in Music 3.3 Rhythm in Speech 3.4 Interlude: Rhythm in Poetry and Song 3.5 Non-Periodic Aspects of Rhythm as A Key Link 3.6 Conclusion Appendices Chapter 4: Melody 4.1 Introduction 4.2 Melody in Music: Comparisons to Speech 4.3 Speech Melody: Links to Music 4.4 Interlude: Musical and Linguistic Melody in Song 4.5 Melodic Statistics and Melodic Contour as Key Links 4.6 Conclusion Appendix Chapter 5: Syntax 5.1 Introduction 5.2 The Structural Richness of Musical Syntax 5.3 Formal Differences and Similarities between Musical and Linguistic Syntax 5.4 Neural Resources for Syntactic Integration as a Key Link 5.5 Conclusion Chapter 6: Meaning 6.1 Introduction 6.2 A Brief Taxonomy of Musical Meaning 6.3 Linguistic Meaning In Relation To Music 6.4 Interlude: Linguistic and Musical Meaning in Song 6.5 The Expression and Appraisal of Emotion As A Key Link 6.6 Conclusion Chapter 7: Evolution 7.1 Introduction 7.2 Language and Natural Selection 7.3 Music and Natural Selection 7.4 Music and Evolution: Neither Adaptation nor Frill 7.5 Beat-Based Rhythm Processing As a Key Research Area 7.6 Conclusion Appendix Afterword References

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Book SynopsisPacked with essential information to assist you in obtaining a university music position and developing a successful career, this book is an essential read for all aspiring to or already in a higher education music post.Trade ReviewThis book is your guiding star from starting with the process of looking for a college position all the way through getting hired and succeeding once hired. Dr. Hamann anticipates and answers the questions the person looking for a college position may not even know to ask until it is too late...like during the interview with the dean! * Rob Cutietta, Dean, USC Thornton School of Music, University of Southern California *On Staff provides clear, concise, and comprehensive information for individuals seeking collegiate music faculty positions. Valuable insights on locating openings, application materials, interviewing, negotiating contracts, and successfully starting a new job are provided. It is a must have text for doctoral students, graduate student advisors, and early career professionals! * William I. Bauer, University of Florida *Table of ContentsPreface ; Chapter 1: Position Announcement Descriptions ; Chapter 2: Preparing Your Application Materials: Applying for the Job ; Chapter 3: Applying for the Job: The Process ; Chapter 4: Preparing for the Campus Interview ; Chapter 5: The Interview ; Chapter 6: The Offer and the Negotiation ; Chapter 7: Your First Days On Campus and Beyond ; Index

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Book SynopsisLandscape of the Now takes readers on a deep journey into the underlying processes and structures of movement improvisation. Based on interviews with Steve Paxton, Simone Forti, Nancy Stark Smith, and others, this book offers the rare opportunity to find some clarity in what is often a complex and confusing creative experience.Trade ReviewDe Spain is a master storyteller. More than that, he is a philosopher who uses his exceptional analytical skills to get to the heart of what defines postmodern improvisation as improvisation. This quest - a personal passion for De Spain - energizes the book. * David Gere, co-editor, Taken By Surprise: A Dance Improvisation Reader *Improvisation is the alchemy of giving form to the present moment. Contained within are essentially master classes in addressing some of the varied mysteries and issues that can emerge from the practice of improvisation. De Spain's book shines a bright light on how these eight groundbreaking artists wrap words around their processes of inquiry and their experiences of the embodied mind in motion. * Eric Handman, Assistant Professor of Dance, University of Utah *I began to read and realized I had started my next dance. De Spain's invitation to your own practice is waiting. De Spain, with his curiosity and engagement, has brought eight master artists to our studio doors. * Bebe Miller, Artistic Director, Bebe Miller Company *Table of ContentsIntroduction ; What and Who ; Section One: Issues ; Agendas ; Tracking ; Verbal/Nonverbal Awareness ; The Audience/Improviser Relationship ; Intentionality ; What is Good? ; The Transpersonal ; Section Two: Resources ; Body ; Movement ; The Senses ; Space ; Time ; Artistic Form ; Images and the Imagination ; Cognitive Skills ; Emotion ; Memory ; Structures ; Attention ; Conclusion ; Appendix ; Suggested Reading ; Index

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Book SynopsisForeword by Pete Seeger Introduction: Music, Memory, and History 1. Freedom After 'While: Life and Labor in the Jim Crow South 2. Raggedy, Raggedy Are We: Sharecropping and Survival 3. The Planter and the Sharecropper: The Southern Tenant Farmers Union 4. There Is Mean Things Happening in This Land: Terror in Arkansas 5. Join the Union Tonight: Interracial Organizing in Missouri 6. Getting Gone to the Promised Land: California 7. I'm So Glad to be Here Again: The Return of John HandcoxTrade Review“In Sharecropper’s Troubadour, Michael Honey has deftly recovered the remarkable story of John Handcox. Honey provides a powerful and compelling account that takes Handcox’s personal and family story and intertwines it with the STFU’s fight against the racism and economic exploitation of southern sharecropping. … By using oral history, Honey allows the rich and deep nuances of the personal perspective that makes history so compelling to rise to the fore. … Sharecropper’s Troubadour is an outstanding work.” (Scott Holzer, Missouri Historical Review, Vol. 110 (4), July, 2016)Table of ContentsForeword by Pete Seeger Introduction: Music, Memory, and History 1. Freedom After 'While: Life and Labor in the Jim Crow South 2. Raggedy, Raggedy Are We: Sharecropping and Survival 3. The Planter and the Sharecropper: The Southern Tenant Farmers Union 4. There Is Mean Things Happening in This Land: Terror in Arkansas 5. Join the Union Tonight: Interracial Organizing in Missouri 6. Getting Gone to the Promised Land: California 7. I'm So Glad to be Here Again: The Return of John Handcox

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Book SynopsisMusic and the Making of the Middle Class explores the making of middle-class culture by analyzing and comparing the ethos and organization of Leipzig's Gewandhaus and Birmingham's Triennial Festival. It employs a multidisciplinary approach to identify the social processes which formed the cultural configurations and meanings of art.Table of ContentsIntroduction Chapter One: Introducing the Towns The Rise of Cultural Diversity, ca1750-1820 From Early Beginnings to Consolidation: The late 18th century to 1847 Post-Mendelssohn to Fin-de-Siècle Transformations and Approaches to War: Fin-de-Siècle to 1914 Conclusion Bibliography

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Book SynopsisInterdisciplinary essays on music psychology that integrate scientific, humanistic, and artistic ways of knowing in transformative ways.Researchers using scientific methods and approaches to advance our understanding of music and musicality have not yet grappled with some of the perils that humanistic fields concentrating on music have long articulated. In this edited volume, established and emerging researchers—neuroscientists and cognitive scientists, musicians, historical musicologists, and ethnomusicologists—build bridges between humanistic and scientific approaches to music studies, particularly music psychology. Deftly edited by Elizabeth H. Margulis, Psyche Loui, and Deirdre Loughridge, The Science-Music Borderlands embodies how sustained interaction among disciplines can lead to a richer understanding of musical life.The essays in this volume provide the scientific study of music with its first major reckoning, exploring the intellectua

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Book SynopsisThe second volume of a commonsense, self-contained introduction to the mathematics and physics of music, focusing on the digital and computational domain; essential reading for musicians, music engineers, and anyone interested in the intersection of art and science.Volume 2 of Musimathics continues the story of music engineering begun in Volume 1, focusing on the digital and computational domain. Loy goes deeper into the mathematics of music and sound, beginning with digital audio, sampling, and binary numbers, as well as complex numbers and how they simplify representation of musical signals. Chapters cover the Fourier transform, convolution, filtering, resonance, the wave equation, acoustical systems, sound synthesis, the short-time Fourier transform, and the wavelet transform. These subjects provide the theoretical underpinnings of today''s music technology. The examples given are all practical problems in music and audio. Additional material can be found at http://www.musimathics.com.

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Book SynopsisBegins with a discussion of Zappa's role as a satirist and a discussion of his musical style, and then proceeds to an examination of his albums. This book deals with his treatment of topics, such as the falsified notion of love in popular culture, the influence of money on popular music, and the concept of freedom in a systematised society.Trade ReviewIn examining the songs of American composer Frank Zappa, Lowe offers introductory essays that examine Zappa's unique place in American music; his compositions in relation to other forms of popular music, most notably progressive rock; and his special brand of caustic social criticism in the tradition of satirists like Jonathan Swift and Lenny Bruce. The author then examines Zappa's songs by looking at his albums in four groups/chapters: The Mothers of Invention; Hot Rats, the Last Two Mothers Albums, Flo & Eddie, and The 'Jazz-Rock' Albums; The Duke-Brock/Progressive Rock Bands, Lather (Lather), and the Terry Bozzio Albums; and Politics: 1979-88. One of the strengths of Lowe's treatment is his contextualization of pop-culture references in the lyrics, explications that result in a clearer reading of Zappa's texts. Also useful are the discography of Zappa recordings and a critical bibliographic essay on the major contributions on the life and works of Frank Zappa. Students of popular or American music will appreciate this title. Recommended. Lower-/upper-division undergraduates; general readers. * Choice *The book is organized chronologically and divided by the artistic periods, beginning with The Mothers Of Invention (Zappa's first influential group) and ending with the Terry Bozzio albums an era identified by the presence of Zappa's greatest percussionist. Each of Zappa's albums is analyzed within these larger divisions, often scrutinized for entities as detailed as specific phrases, both musical and verbal. Sections on satire and politics bookend the sequential chapters, creating an excellent in-and-out to the chronological sections. To be sure, Lowe knows his Zappa, and he writes with an obvious affection for the subject, the artist, and the man. Frank Zappa is already important and respected part of music history. His reputation, influence, and contributions will continue to be more widely recognized, and ^IThe Words and Music of Frank Zappa^R is a publication sure to foster that growth. * Maximum Ink *Ever wonder about the significance of the kazoo in ^IFreak Out!'^Rs Hungry Freaks, Daddy? Kelly Fisher Lowe will tell you his theory. In examining Frank Zappa, the author does everything short of having his subject turn to the side and cough, addressing album after album and song after song in Da Vinci Code detail. Sure, the readings are occasionally questionable, but this is exactly what makes the book--and Zappa himself--so interesting. * chart *As part of a series on the work of singer-songwriters, this volume studies the music of Frank Zappa, looking at his songs as well as how he was a satirist. Lowe offers a reading of his rock and classical music from the 1960s to the 1980s, explores how Zappa was a satirist through his critique of pop culture, and analyzes his albums with the Mothers of Invention, as well as his jazz-rock and solo music, and political statements in the music on ^IJoe's Garage^R. * Reference & Research Book News *Author Kelly Lowe has left no aspect of Zappa's work unexamined, from his role as a satirist of the highest order, to his place within the genre of progressive rock and his importance as one of the foremost critics of American culture and society….[a] surprisingly clear perspective of his personal views is also provided, shedding light on his treatment of such topics as the falsified notion of love in popular culture, the compromising influence of money on popular music, and the concept of freedom in a systematized society. * Free Bird Times *[T]he first book to move beyond the details of Zappa's biography toward a focused treatment of his rock and pop songs. Author Kelly Lowe has left no aspect of Zappa's work unexamined, from his role as a satarist, to his place within the genre of progressive rock and his importance as one of the foremost critics of American culture and society. This title also features a bibliographic essay that discusses the current state of Zappa scholarship. * Library Media Collection *Table of ContentsSeries Foreword Acknowledgments Introduction Frank Zappa and the Art of Satire You Call That Music? Listening to Frank Zappa The Mothers of Invention Hot Rats, the Last Two Mothers Albums, Flo & Eddie, and the "Jazz-Rock" Albums The Duke-Brock/Progressive Rock Bands, Läther, and the Terry Bozzio Albums Politics: 1979-1988 Conclusions Critical Bibliography Bibliography and Works Cited Discography Index

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