Music Books

Book SynopsisFirst full-length study of the composer George Enescu [1881-1955].The Romanian composer George Enescu (1881-1955] is one of the neglected giants of the twentieth century. Prodigiously gifted, he became best known in America as a conductor (where he was considered as a successor to Toscanini in New York) and in Europe as one of the greatest violinists of the century. But he was first and foremost a composer; and, tragically, his mature works - works of extraordinary emotional depth and intricate beauty - remain almost unknown outside Romania. This, the first full-length study of Enescu and his music to be written in the West, tells the story of his life and development as a composer. All of Enescu's published compositions, and many unpublished works, are discussed, and there is a detailed list of Enescu's compositions and a list of all his known recordings as conductor, violinist and pianist. The book is intended for the non-specialist reader as well as the musicologist. NOEL MALCOLM, the historian, philosopher and journalist, is the leading authority on Enescu.Trade ReviewNoel Malcolm paints a moving portrait of a remarkable man, drawing us into the circles in which he moved. * STRINGENDO *

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Book SynopsisThis volume illustrates how performers from a variety of disciplines - including sport, dance and music - can use mindfulness to achieve peak performance and improve personal well-being. An international group of leading scholars presents cutting-edge research, demonstrating the efficacy of mindfulness across cultures.Trade Review'Mindfulness and Performance is an extremely comprehensive volume, which summarizes the theoretical foundations, and scientific research to date regarding how mindfulness training enhances performance. It is a must read for professionals interested in sharing mindfulness and supporting athletes, musicians, and others in finding flow in sports and in life.' Amy Saltzman, author of Still Quiet Place for Athletes: Transformational Mindfulness Skills for Finding Flow in Sports and in LifeTable of ContentsPart I. Introduction to Mindfulness: History and Theoretical Understanding: 1. Mindfulness scholarship and interventions: a review Itai Ivtzan and Rona Hart; 2. Mindfulness, emotion regulation, and performance Zella E. Moore; 3. Self-compassion, distress tolerance, and mindfulness in performance Amy L. Baltzell; 4. Flow and mindfulness in performance Susan Jackson; 5. Peak performance: Langerian mindfulness and flow Sayyed Mohsen Fatemi, Elizabeth Ward and Ellen J. Langer; 6. Langerian mindfulness and liminal performing spaces Sayyed Mohsen Fatemi; Part II. Formal Mindfulness Interventions in Sport: 7. Scientific advancements of mindfulness- and acceptance-based models in sport psychology: a decade in time, a seismic shift in philosophy and practice Frank L. Gardner; 8. Mindful sport performance enhancement (MPSE): development and application Keith A. Kaufman, Carol R. Glass and Tim R. Pineau; 9. Mindfulness training in elite athletes: mPEAK with BMX cyclists Lori Haase, Göran Kenttä, Steven Hickman, Amy L. Baltzell and Martin Paulus; Part III. Mindfulness: Theory to Practice in Sport and Exercise: 10. Mindfulness and the Olympic athlete – a personal journey Peter Haberl; 11. Mindfulness training program for Chinese athletes and its effectiveness Gangyan Si, Cheuk-Hang Lo and Chunqing Zhang; 12. The mindful AFL player: engagement, mobile apps, and well-being Jo Mitchell and Craig Hassed; 13. Mindfulness and exercise Rebecca Sherlock-Shangraw and Vanessa Loverme Akhtar; 14. Mindfulness, eating, body, and performance Jessyca Arthur-Cameselle; Part IV. Mindfulness and the Performing Arts: 15. Langerian mindfulness and optimal performance Amy L. Baltzell and Trevor A. Cote; 16. Mindfulness and dancers Gene M. Moyle; 17. Attention, centering, and being mindful: medical specialties to the performing arts Patsy Tremayne and Ashlee Morgan; 18. Mindfulness in music Tim Patston; Part V. Mindfulness for Coaches, Practitioners, and Mentors: 19. Interpersonal mindfulness for athletic coaches and other performance professionals Joe Mannion and Mark Andersen; 20. Utilizing mindfulness strategies in mentoring and coaching socially vulnerable youth John McCarthy and Laura Hayden; 21. Awareness, self-awareness, and mindfulness: the application of theory to practice Burt Giges and Gerald Reid; Part VI. Future Directions: 22. The future of mindfulness and performance across disciplines Amy L. Baltzell and Josh Summers.

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Book SynopsisThis book is intended for museum administrators, curators, and conservators, private collectors, as well as musical instrument makers, repairmen, technicians, and musicians. It is the first book to combine museum-based conservation techniques with practical instructions on the maintenance, repair, adjustment, and tuning of virtually every type of historical musical instrument.Trade Review'As usual with Pollens's writings, this [book] is impeccably researched and thorough … [It] provides a reliable guide to various materials and techniques, from moulding to soldering and dealing with chemical treatments and solvents. It has the potential to improve and develop all techniques, and help us to understand and handle materials and methods with greater confidence. Few of us will ever have to tackle the problem of bronze disease on a bugle, but it's nice to know I now have access to that information, not far away from the immediately helpful entry on 'cleaning: soaps and detergents' … I am very happy and grateful to be able to add [this book] to my reference shelf …' John Dilworth, The Strad'The Manual of Musical Instrument Conservation is a clearly written and practical guide to a complex subject, with an abundance of useful photos illustrating the techniques described. Anyone involved in preserving a historic musical instrument will undoubtedly want to keep this book in a handy location on their bookshelf, in the same way Pollens must have done for his 'shop notebook' during his tenure at the Metropolitan Museum.' Robert Adelson, NotesTable of ContentsIntroduction; Entries A-Z: Acoustics; Benzotriazole; Bleach; Boxwood; Brass, bronze, and nickel silver alloys; Brass and nickel silver cleaning; Brass instrument conservation; Bronze disease; Calendar; Cents conversion; Chemical analysis; Cleaning: soaps and detergents; Clavichord maintenance; Compo or pastiglia; Conservation reports; Dendrochronology; Dictionary of common and obsolete chemical terms; Disinfestation; Drill bits; Ebony and ebonizing; Electroplating and electro-cleaning; Epoxy removal; Ethics; Flutes; Fortepiano maintenance; French polishing; Frets, tied and fixed; Gilding; Glues, pastes, and other adhesives; Grain painting and marbling; Grit size comparison chart; Guitar stringing; Gut strings; Handling, storage, and transporting musical instruments; Harp maintenance and stringing; Harpsichord maintenance; Helmholtz resonator; Historical metrology; Humidity control; Hurdy gurdy stringing; Illumination level; Inscriptions, faded; Intervals; Iron and steel; Ivory; Japanning; Keyboard instrument conservation; Labels; Lacquer; Lakes; Lead and lead alloys; Leather; Lute stringing; Measurement; Measurement system conversion; Mersenne's Law; Metallurgy; Metalworking; Mold making; Mother-of-pearl and abalone; Nickel silver cleaning; Oddy test; Organ restoration; Overspun strings; Paper, pencil, and ink; Parchment, vellum, and slunk; Patination; Pegs; Piano action regulation (modern grand); Pitch; Proportion; Recording; Relative humidity; Retouching; Rosin; Safety equipment; Scaling; Sealing wax; Sharpening tools; Silver cleaning; Soldering; Solvents and solvent cleaning; Specific gravity; Staining wood; Stain removal; Stradivari's varnish; Stringed keyboard restoration; Tap drill sizes; Tapers; Temperature; Tempering steel; Textile cleaning; Tinning; Tortoiseshell, horn, and whalebone; Tuning and temperament; Vapor-phase inhibitor paper; Varnish; Viola da Gamba strings; Violin adjustment; Violin, baroque fittings and strings; Violin sizes; Violin and viola strings, modern; Vulcanite and ebonite; Wax cleaning emulsion; Wire gauge systems for early keyboard instruments; Wheat paste; Wood; Woodwind instrument conservation; Woodworking.

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Book SynopsisThoughtful musicians seeking ways to deepen their understanding of how tonal music works will be drawn to this study focused on Haydn and Mozart, two masters from the Viennese Classical period. Schenkerian tools and an innovative approach to harmony are synthesised in penetrating analyses, and alternative analytical approaches are critiqued.Trade Review"In this highly specialized and uniquely reasoned book, Damschroder (Univ. of Minnesota) attempts to establish a logic for Haydn and Mozart's harmonic language." -W.E. Grim, ChoiceTable of ContentsPreface; Part I. Methodological Orientation: 1. Harmonic practice in the late eighteenth century: twelve excerpts from string quartets by Haydn and Mozart; 2. Anatomy of the I–II#–V two-part exposition: twelve keyboard sonatas by Haydn; 3. Composition in a minor key: six arias in G minor from operas by Mozart; 4. The happy ending: three sonata-rondos in D major from piano concertos by Haydn and Mozart; Part II. Masterpieces: 5. Haydn: Symphony No. 45 in F# Minor ('Farewell'), movement 2: in response to James Webster; 6. Haydn: String Quartet in G Minor (op. 20, no. 3), movement 3: in response to Robert O. Gjerdingen; 7. Mozart: String Quintet in C Major (K. 515), movement 1: in response to Kofi Agawu and Michael Spitzer; 8. Mozart: Don Giovanni (K. 527), Act I, Scene 13: Donna Anna's Recitative and Aria: in response to Carl Schachter; 9. Mozart: Symphony in G Minor (K. 550), movement 3, Trio: in response to Leonard B. Meyer; 10. Haydn: Symphony No. 96 in D Major ('Miracle'), movement 1: in response to Warren Darcy, James Hepokoski and Lauri Suurpää; Select bibliography; Index of works by Haydn and by Mozart; Index of names and concepts.

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Book SynopsisIn the eighteenth century the universal harmony of God's creation and the perfection of the unity (1:1) were philosophically, morally and devotionally significant. Ruth Tatlow employs theoretical evidence and practical demonstrations to explain how and why Bach used numbers in his published compositions.Trade Review'[This book] takes in all Bach's major collections and more, including the two Passions, three Oratorios and the B minor Mass. In sheer extent and richness of background, and number of works examined, Tatlow's book is a most original and impressive achievement that will need to be taken into account in future discussions of these fascinating compositions.' David Ledbetter, Early Music'For anyone who wishes to explore the logical pathways of Bach's genius, Tatlow's analysis gets to the heart of the aesthetic, theological and Pythagorean presuppositions underlying the Bachian concepts of 'Vollkommenheit', perfection through calculation; and 'Harmonie' … the harmony of proportion, here a mirror of divine order.' Gian Mario Benzing, translated from Corriere della Sera (La Lettura)'… Tatlow's approach to the subject matter is unique, and the vigorousness with which her methodology is applied has uncovered numerous new and unexpected facts. Bach scholarship cannot ignore her voice.' Yo Tomita, Music and Letters… Bach's Numbers clears the way for some promising new directions in Bach scholarship. Tatlow's work should be valued not only for what it suggests for future study, however, but for what it provides in its own right: a bold historical rendering of Bach's compositional process that forces us to view some of the composer's greatest works in a new light, and with deepened appreciation.' Robert L. Wells, Music AnalysisTable of ContentsPart I. Foundations: 1. Bach's numbers; 2. Symmetry, proportion and parallels; 3. Unity, proportions and universal harmony in Bach's world; 4. Bars, compositional planning and proportional parallelism; Part II. Demonstrations: 5. Three collections for strings; 6. Four in two collections for keyboard; 7. Two further collections for keyboard; 8. Two small late collections; 9. Two large late collections; 10. Collections of concertos; 11. Collections of organ works; 12. Great passions and cantatas; 13. Festive cut-and-paste projects: masses and oratorios; 14. Lost blueprints; Appendix 1. Chronological index of musical doctrine.

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Book SynopsisA collection of essays from leading scholars and practitioners in the burgeoning field of film music studies. The book provides a uniquely comprehensive overview of how music functions in film soundtracks from a variety of historical periods, genres and film industries, including those of the USA, UK, France, Italy, India and Japan.Trade Review'Going beyond new historical research on early film music, genre studies, and film music analysis, this diverse collection of current essays is ambitious. … Summing Up: Highly recommended. Upper-division undergraduates through faculty.' M. Goldsmith, CHOICE'… a fine addition to the film music literature. … Particularly successful is the combination of general overviews (historical, technological, theoretical, methodological) with case-study chapters that exemplify a range of approaches to examining soundtracks. This book could readily be offered to undergraduate and postgraduate students as a 'toolkit' to inspire and guide their own studies, and while the balance is towards musicological study, the relatively accessible tone and varied methodologies additionally make the book worthy of attention for those from other disciplines. The editors are to be commended for assembling a collection that represents much of the variety of modern film music scholarship.' Jonathan Godsall, Popular MusicTable of ContentsIntroduction Mervyn Cooke and Fiona Ford; Part I. Making Film Music: 1. Evolving practices for film music and sound, 1925–35 James Buhler and Hannah Lewis; 2. 'Pictures that talk and sing': sound history and technology David Cooper; 3. The composer and the studio: Korngold and Warner Bros. Ben Winters; 4. Can't buy me love? Economic imperatives and artistic achievements in the British pop music film Stephen Glynn; 5. 'A film's first audience': the composer's role in film and television George Fenton in conversation with Mervyn Cooke; Part II. Approaching Film Music: 6. Film music theory Guido Heldt; 7. Studying film scores: working in archives and with living composers Kate Daubney; 8. Returning to Casablanca Peter Franklin; 9. Parental guidance advised? Mash-ups and mating penguins in Happy Feet Fiona Ford; 10. Materializing film music Miguel Mera; Part III. Genre and Idiom: 11. Film noir and music David Butler; 12. Another other history of jazz in the movies Krin Gabbard; 13. Horror and science fiction Stan Link; 14. The Western Robynn J. Stilwell; 15. The music of screen musicals Caryl Flinn; 16. 'Britannia - The Musical': scores, songs and soundtracks in British animation Paul Wells; Part IV. Music in World Cinemas: 17. Leone, Morricone and the Italian way to revisionist westerns Sergio Miceli; 18. Music, noise and silence in the late cinema of Jean-Luc Godard Danae Stefanou; 19. Hans Werner Henze and The Lost Honour of Katharina Blum Annette Davison; 20. Tōru Takemitsu's collaborations with Masahiro Shinoda: the music for Pale Flower, Samurai Spy and Ballad of Orin Tim Koozin; 21. Welcome to Kollywood: Tamil film music and popular culture in South India Mekala Padmanabhan.

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Book SynopsisPresenting a fresh interpretation of Mozart's Requiem, Simon P. Keefe redresses a longstanding scholarly imbalance whereby narrow consideration of the text of this famously incomplete work has taken precedence over consideration of context in the widest sense. Keefe details the reception of the Requiem legend in general writings, fiction, theatre and film, as well as discussing criticism, scholarship and performance. Evaluation of Mozart's work on the Requiem turns attention to the autograph score, the document in which myths and musical realities collide. Franz Xaver SÃssmayr's completion (1791â2) is also re-appraised and the ideological underpinnings of modern completions assessed. Overall, the book affirms that Mozart's Requiem, fascinating for interacting musical, biographical, circumstantial and psychological reasons, cannot be fully appreciated by studying only Mozart's activities. Broad-ranging hermeneutic approaches to the work, moreover, supersede traditionally limited discursTrade Review'It is astounding that Keefe opens up new ground in large areas … A far-reaching book … All in all, a first-class monograph, outstandingly produced and printed, which will be read cover to cover as well as used for reference.' Manfred Hermann Schmid, Mozart-Jahrbuch 2013Table of ContentsIntroduction: Mozart's Requiem in context; 1. The Requiem legend in the nineteenth and twentieth centuries; 2. Criticism and scholarship from 1800 to the present day; 3. The Requiem in performance; 4. Mozart's work on the Requiem: sounds and strategies; 5. After Mozart: the Requiem completion, 1791–2; 6. Modern completions of the Requiem; Epilogue: a Requiem for the future.

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Book SynopsisThis unique publication offers fresh perspectives on key manuscript sources of medieval song. In ten chapters, leading experts each treat a single manuscript in detail, offering new findings, essential summaries of each manuscript's contents and historiography, and detailed, accessible analyses of the songs' music and texts.Table of ContentsIntroduction Helen Deeming and Elizabeth Eva Leach; 1. New light on the earliest medieval songbook Sam Barrett; 2. The careful cantor and the Carmina Cantabrigiensia Jeremy Llewellyn; 3. Across divides: Aquitaine's new song and London, British Library, Additional 36881 Rachel May Golden; 4. Wine, women, and song? Reconsidering the Carmina Burana Gundela Bobeth, translated by Henry Hope; 5. An English monastic miscellany: the Reading manuscript of Sumer is icumen in Helen Deeming; 6. Preserving and recycling: functional multiplicity and shifting priorities in the compilation and continued use of London, British Library, Egerton 274 Helen Deeming; 7. Minnesänger, music, miniatures: the Codex Manesse Henry Hope; 8. Writing, performance and devotion in the thirteenth-century motet: the 'La Clayette' manuscript Sean Curran; 9. A courtly compilation: the Douce Chansonnier Elizabeth Eva Leach; 10. Machaut's first single-author compilation Elizabeth Eva Leach; 11. Songs, scattered and gathered Helen Deeming and Elizabeth Eva Leach.

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Book SynopsisUses recent thought in continental philosophy and postmodern theology to interpret hidden and contradictory 'god-ideas' in texts of modernism such as Henry James's The Golden Bowl , Marcel Proust's In Search of Lost Time , James Joyce's Portrait of the Artist As a Young Man , and Arnold Schoenberg's opera Moses und Aron .Trade Review'The quite amazing stretch of this beautifully written book reaches out effortlessly to the far shores of negative theology and its attendant philosophies. Hegel, Levinas, Derrida, and Kristeva mingle with Proust, Joyce, and HenryJames,until we plunge into Schoenberg and the complexities of Moses und Aron. Erickson knows his philosophical, literary, andmusical stuff - and is neverdull about any of it.' - Mary Ann Caws, DistinguishedProfessor of English, French, and Comparative Literature,The Graduate Center, The City University of New York; Author of Glorious Eccentrics: Modernist Women Painting and Writing (Palgrave Macmillan, 2006) 'This book is very impressive in many respects, offering a comprehensive overview of postmodern theology, detailed discussions of the modern novelby authors such as Henry James and Marcel Proust, and twentieth-century music, focusing onthe work of Arnold Schoenberg. Each chapter is well informed, and demonstrates mastery of available criticism.' - William D. Melaney, Chair, Dept. of English and Comparative Literature, American University in Cairo 'Erickson makes deep and broad connections between the high modernists (most fully late James, Proust, Arnold Schoenberg) and postmodern theological speculation according to which disjunction and rupture are inherent in their veryquest for an ultimate coherence and unity. His book is ambitious, very wellwritten, and brilliant from start to finish.' - David Gordon, Emeritus Professor of English, The Graduate Center, The City University of New YorkTable of ContentsLiterature After the Death of God Reading God/God Writing: The Irrational and Difficult Name The Golden Bowl, Atheology, and Nothing À La Recherche and Proust's Unstable Metaphors of Divinity Proust's Theology of Musical Aesthetics Godless Silences: Modernist Poetry, Musical Atonality, and the Challenge of Coherence Schoenberg's Impossible God: Moses und Aron The Other Side of God: Reading in the Dark

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Book SynopsisAsserting that hip hop culture has become another locus of postmodernity, Osumare explores the intricacies of this phenomenon from the beginning of the Twenty-First century, tracing the aesthetic and socio-political path of the currency of hip hop across the globe.Trade Review"Now in the time where corporations have extracted the economic DNA of American hip-hop to fuel their bottom line with the lowest common denominator, Halifu Osumare's reach into the global importance of the genre is a much needed cultural reclamation. With the power of rap music as a new world language, hip-hop's style and substance is an explosive supplement to the new millennium that is currently lacking knowledge on world cultural and social history, as well as geography. The Africanist Aesthetic in Global Hip-Hop gives us a way to plough through these new global dynamics." - Chuck D, Public Enemy "It may seem as though hip-hop has suddenly gone global, but Halifu Osumare s The Africanist Aesthetic in Global Hip-Hop is a timely and important reminder that hip-hop has always lived in a world larger than the boundaries we impose upon it." - Mark Anthony Neal, Associate Professor of Black Popular Culture, and co-editor, That s the Joint!: The Hip-Hop Studies Reader "Halifu Osumare's work - a power move in and of itself - compels us to acknowledge the power of technology and capitalism to co-opt and transform a culture-specific phenomenon into a global assault - for better or worse. It is required reading for those of us interested in the social, political, and cultural shifts that shake and quake our worlds. Highly recommended." - Brenda Dixon Gottschild, author of The Black Dancing Body, Waltzing in the Dark, and Digging The Africanist Presence in American Culture"Osumare provides compelling evidence of a global diaspora of hip-hop. Layered yet conversational text assumes more than passing familiarity with cultural theorists whom Osumare discusses alongside rap artists... Highly recommended." - CHOICE"[A] reminder that the global is at the heart of hip-hop culture, which from the start has borrowed, appropriated, and sampled from cultures around the world." - Sujatha Fernandes, Queens College, City University of New YorkTable of ContentsPhat Beats, Dope Rhymes, and Def Moves: The Africanist Aesthetic Meets the Hip Hop Globe Beat Streets in the Global Hood: Hip Hop's Connective Marginalities Props to the Local Boyz: Hip Hop Culture in Hawaii 'It's All About the Benjamins' Postmodernism and Hip Hop's Appropriation

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Book SynopsisSynopsis coming soon.......

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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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