Music Books

Book SynopsisThis biography details Lady Gaga's life from all angles, documenting her family background; the events before and during her meteoric rise to success as a songwriter, singer, and performance artist; her deft use of social media; and her political commentary.Table of ContentsSeries Foreword Introduction Timeline: Events in the Life of Lady Gaga Chapter 1 A High-Energy Performer Chapter 2 Personal Background Chapter 3 "I've Got the Sickest Ambition" Chapter 4 Meteoric Rise Chapter 5 Awards Ceremonies—Gaga for the Win! Chapter 6 Fashion: Turn to the Left Chapter 7 Online with the Little Monsters Chapter 8 Changing the World, One Sequin at a Time Chapter 9 Plans for the Future Appendix: Recordings, Videos, and Tours Bibliography Index

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Book SynopsisEdward Campbell is Lecturer in Music at the University of Aberdeen, UK.Trade ReviewEdward Campbell shows how philosopher Gilles Deleuze, when contemplating music, can steer musicians productively away from their verbal comfort zones. Centring on the contact between Deleuze and Pierre Boulez, Dr Campbell explores and explains some particularly challenging ways of thinking about philosophical and musical modernity. Music after Deleuze proves to be both fascinating and open-ended, and it confirms that the on-going engagement between philosophy and music (non-Western or popular as much as Western and classical) continues to provoke and to intrigue. -- Arnold Whittall, Professor Emeritus of Music Theory & Analysis, King’s College London, UKRanging from music close to Deleuze’s own interests to musics much further away, this concise and useful introduction will be of much benefit, as much to Deleuzians interested in what music might reveal about Deleuze as to musicians keen to discover what Deleuze might have to tell them about music. -- Martin Iddon, Professor of Music and Aesthetics, University of Leeds, UKEdward Campbell’s Music after Deleuze is much more than a primer or introduction. Instead of laboriously dissecting the philosopher’s work or providing complex theoretical commentary, Campbell explains key Deleuzian concepts in clear, accessible language and uses them to think about music in fundamentally new ways. The book covers a great diversity of musical styles and genres, from popular and jazz through the canonic classical repertoire to non-Western and avant-garde, and in each of these areas, Campbell proves an engaging, perceptive and authoritative guide. Offering fresh and illuminating insights at every turn, Music after Deleuze issues a challenge to received wisdom and conventional thinking and presents a way for music studies to revitalise itself. -- Björn Heile, Senior Lecturer in Music, University of Glasgow, UKWith admirable lucidity, Music after Deleuze demonstrates precisely why the ideas of Gilles Deleuze have mattered – and still matter – to many innovative musicians of today, and at the same time how they enable radical rethinking of the familiar musics and musical practices we take for granted. Tracing the diagonal pathways that connect Deleuze with both his precursors in philosophy (Bergson and Husserl) and the leading composer-theorists of the twentieth century (Schoenberg, Messiaen and, above all, Boulez), Edward Campbell shows how music provided the catalyst for a number of his key concepts. In so doing, he opens the way not just for musicians into Deleuze but also for Deleuzians into the music that has shaped, and been shaped by, his groundbreaking philosophy. -- Charles Wilson, Lecturer in Music, Cardiff University, UKMusic After Deleuze is an important and exciting contribution both to Deleuze Studies and the contemporary philosophy of music, addressing a broad range of topics from a Deleuzian standpoint including difference and repetition, improvisation, and the musical work and its semiotics. With erudition and insight, Campbell nimbly describes for readers the many implications of Deleuze's philosophy for the phenomenon of music in general (from Gamelan to Scottish sacred psalms) with special emphasis placed on the modernism of the Schoenberg School and Boulez. -- Nick Nesbitt, Professor of French and Italian, Princeton University, USATable of ContentsAcknowledgements Introduction 1. Music, Difference and Repetition 2. Producing New Music: Rhizomes, Assemblages and Refrains 3. Rethinking Musical Pitch: The Smooth and the Striated 4. Thinking Musical Time 5. A Deleuzian Semiotics of Music Conclusion Notes Bibliography Index

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Book SynopsisWhile the history of musical instruments is nearly as old as civilisation itself, the science of acoustics is quite recent. By understanding the physical basis of how instruments are used to make music, one hopes ultimately to be able to give physical criteria to distinguish a fine instrument from a mediocre one. At that point science may be able to come to the aid of art in improving the design and performance of musical instruments. As yet, many of the subtleties in musical sounds of which instrument makers and musicians are aware remain beyond the reach of modern acoustic measurements. This book describes the results of such acoustical investigations - fascinating intellectual and practical exercises. Addressed to readers with a reasonable grasp of physics who are not put off by a little mathematics, this book discusses most of the traditional instruments currently in use in WTrade Review"Essentially everything you have ever wanted to know about the physics of musical instruments" PHYSICS TODAY "a rigor, graphical detail, and verbal description." AUDIOTable of ContentsPart I: Vibrating Systems. Free and Forced Vibrations of Simple Systems. Continuous Systems in One Dimension: Strings and Bars. Two-Dimensional Systems: Membranes, Plates, and Shells. Coupled Vibrating Systems. Nonlinear Systems.- Part II: Sound Waves. Sound Waves in Air. Sound Radiation. Pipes, Horns, and Cavities.- Part III: String Instruments. Guitars and Lutes. Bowed String Instruments. Harps, Harpsicords, Clavicords, and Dulcimers. The Piano.- Part IV: Wind Instruments. Sound generation by Reed and Lip Vibrations. Lip-driven Brass Instruments. Woodwind Reed Instruments. Flutes and Flue Organ Pipes. Pipe Organs.- Part V: Percussion Instruments. Drums. Mallet Percussion Instruments. Cymbals, Gongs, Plates, and Steel Drums. Bells.- Part VI: Materials. Materials for Musical Instruments.- Name Index.- Subject Index.

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Book SynopsisStudents today have grown up in the age of digital technology. As a result, they process information in radically different ways than preceding generations. They like their information fast and consider visual images as important as textual content. In Tonal Counterpoint for the 21st-Century Musician, Teresa Davidian finally provides students a textbook that is quick, direct, and visuala direct reflection of the age in which they live. This book is easy to understand, comprehensive, and distinctly modern in its approach to the study of counterpoint. Written in a style that is clear, simple, and informal writing style, Davidian artfully mixes the history of counterpoint with an outline of its structure, placing musical examples from J. S. Bach side by side with those from The Beatles to illustrate the universality and currency of counterpoint in music analysis and composition.Designed as a single-semester introduction, Tonal Counterpoint brings the study of counterpoint into the preseTrade ReviewStudents today, having grown up in the age of digital technology, like their information fast and consider visual images as important as textual content. In this single-semester introduction, Davidian provides students with a textbook that is a direct reflection of the age in which they live. Throughout, the author explains how the techniques of 18th-century counterpoint still readily apply to how music is composed today. * Teaching Music *Table of ContentsPreface Introduction 1: Melody General Characteristics Melodic Organization Putting It All Together Beyond the Rules Exercises 2: First Species — 1:1 General Characteristics Putting It All Together Conclusion Exercises 3: Second Species — 2:1 General Characteristics How to Construct 2:1 Conclusion Exercises 4: Third Species — 3:1 and 4:1 Three Notes Against One (3:1) Four Notes Against One (4:1) Rhythmic Interplay between the Lines Beyond Third Species Exercises 5: Analyzing and Composing a Simple Piece in Two Parts General Characteristics of Musical Form Analyzing Form Binary Form Composing a Binary-Form Piece Beyond Form and Analysis Exercises 6: Double Counterpoint General Remarks and Principles How to Construct Double Counterpoint Exercises 7: Two-part Canon General Remarks and Principles Common Canons How to Write a Two-Part Canon Canon Transformations Still More Canons Conclusion Exercises 8: J. S. Bach’s Two-part Invention Analyzing Inventions Section 1 Section 2 Concluding Measures Overall Construction Composing Inventions Exercises 9: Counterpoint in Three and Four Parts Back to the Species General Characteristics The Difference between Harmony and Counterpoint How to Construct Species Counterpoint in Three Parts How to Construct Species Counterpoint in Four Parts Beyond Four-Part Counterpoint Exercises 10: Fugue Bach and the Fugue Section 1: Exposition Section 2: Development Final Portion220 Overall Construction Composing Fugues Exercises Bibliography Index

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Book SynopsisFor more than a century, original music has been composed for the cinema. From the early days when live music accompanied silent films to the present in which a composer can draw upon a full orchestra or a lone synthesizer to embody a composition, music has been an integral element of most films. By the late 1930s, movie studios had established music departments, and some of the greatest names in film music emerged during Hollywood's Golden Age, including Alfred Newman, Max Steiner, Dimitri Tiomkin, and Bernard Herrmann. Over the decades, other creators of screen music offered additional memorable scores, and some composerssuch as Henry Mancini, Randy Newman, and John Williamshave become household names. The Encyclopedia of Film Composers features entries on more than 250 movie composers from around the world. It not only provides facts about these artists but also explains what makes each composer notable and discusses his or her music in detail. Each entry includesBiographical materiTrade ReviewHischak offers a unique combination of opinion and painstaking research. The author asserts that film composers deserve further recognition for their influence and contributions. His objective is to fill a gap, covering hundreds of lesser-known composers. Included are 252 individuals who either created a significant number of film scores or who mainly composed in other genres but also had notable film score success. Each entry includes a biography; a discussion of the subject's work that includes Hischak's perspective on, for example, which piece was most memorable; feature film credits, including Academy Award, British Academy of Film and Television Arts, and the Golden Globe Award nominations and wins; the director; and country where the movie was produced. It's critical to read the book's introduction to understand that if an artist created the score with three or more composers, for example, it was not included on the list. Closing the volume are comprehensive name and title indexes, necessary for a book with so much detail. Verdict: Hischak's offering presents a wide scope of composers, and anyone who loves film and has previous knowledge of music and/or film will be delighted by its content. * Library Journal *This hefty volume focuses solely on the creators of movie music. From the early silent films to today's blockbusters, accompanying music often draws as much attention as the films themselves and sometimes outlives the pictures in both popular culture and film history. Herein are more than 250 alphabetically arranged entries on composers from all over the world, covering the entire spectrum of cinema history. Entries are generally a few pages in length and contain biographical information, chronological career highlights, and an analysis of the musical style of the composer, and they end with a comprehensive list of film scores. This list is also valuable for indicating the director(s) and country of production for each film as well as any awards won by the composer or nominations for awards. Alternative or English titles are given for foreign films, if any. Although a smattering of composers here will be recognizable to the general user - Henry Mancini, Marvin Hamlisch, and Randy Newman, perhaps - most will likely be unknown. For example, who was responsible for the memorable music in The Wizard of Oz, Psycho, Gone with the Wind, and Lawrence of Arabia? This tome provides the detailed answers: Herbert Stohart, Bernand Herrmann, Max Steiner, and Maurice Jarre, respectively. A user can quickly see what other film scores these composers are responsible for and examine the arc of their careers. Other features include some black-and-white pictures and both a name and title index for quickly locating a particular film or person. . . .The Encyclopedia of FIlm Composers is recommended as an interesting addition to the reference collection of academic and public libraries and anywhere film is being studied. * Booklist *This sizeable volume is another well-executed encyclopedia compiled by Hischak, author of many notable works, such as American Literature on Stage and Screen and Broadway Plays and Musicals. Often overlooked, film composers are a crucial part of cinema even during the era of silent films. Only a handful are well known, however, with name recognition usually occurring only when a film produces a hit song (as with Goldfinger or Born Free). Hischak pays both the famous and little-known homage by including over 250 composers from the US and abroad. Entries provide poignant bibliographical details and point out important chronological and contextual information along with musical influences. An added bonus is an analysis of each composer's musical style and work outside film. Each listing focuses on an individual who is the sole composer (or one of a pair) of a film score. The author highlights strong associations between major film directors and composers, including only full-length films or documentaries released in major theaters. A complete list of a composer's film credits follows each entry, and a title-name index and bibliography complete the volume. Hischak has produced a fine reference work for all interested in film composers and their music. Summing Up: Highly recommended. Undergraduates and above; general readers; professionals/practitioners. * CHOICE *Paying homage to those often-forgotten composers whose music serves as the backdrop of film, this encyclopedia focuses on 252 composers who have contributed significantly to movie music. Some entries feature artists who composed songs, but this is predominantly a collection of composers of film scores. Major film composers are covered, but this work attempts to give attention to Hollywood and foreign film composers often left out of other treatments on the subject. Entries provide biographical information, descriptions of the composer’s career and musical style, and a complete list of film score credits. Only films in which the individual is listed as the primary composer or one of two composers are listed. For the common reader, the encyclopedia provides a few surprises such as an entry on Charlie Chaplin, who scored some of his own films decades after their release. Familiar names in jazz appear as entries as well. Featured in this work is more than a century of composers who have provided original music for silent films to contemporary movies. * American Reference Books Annual *Having seen many of the encyclopedias and dictionaries of film music and their composers over the past several years, I must say that this stands out for its volume and detail. The film title and name indices themselves are priceless; I highly recommend this tome as an essential addition to any music and movie print reference collection. * s *The Encyclopedia of Film Composers remains a success for both its author and its readers. Hischak succeeds in his stated purpose of drawing much needed attention to the work of film composers, and the reader is left with a highly readable reference text, teeming with insight into the composition of many major and minor film scores. * Film Matters *Table of ContentsAcknowledgments Introduction Format for Entries Abbreviations Film Composers Bibliography Title Index Name Index About the Author

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