{"title":"Theory of music and musicology Books","description":"","products":[{"product_id":"the-elements-of-music-melody-rhythm-and-harmony-9781904263722","title":"The Elements of Music: Melody, Rhythm and Harmony","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eWhat is the secret code behind so many musical compositions? How do you substitute chords to create greater musical complexity? Why is music so good at playing with people's emotions? In this compact book, composer and pianist Jason Martineau presents the elements of music in clear and comprehensible terms.  Packed with superb diagrams and a wealth of fascinating hard-to-come-by musical tips, this is a great primer, and an invaluable resource for novice and professional alike. WOODEN BOOKS are small but packed with information. \"Fascinating\" FINANCIAL TIMES. \"Beautiful\" LONDON REVIEW OF BOOKS. \"Rich and Artful\" THE LANCET. \"Genuinely mind-expanding\" FORTEAN TIMES. \"Excellent\" NEW SCIENTIST. \"Stunning\" NEW YORK TIMES. Small books, big ideas.","brand":"Wooden Books","offers":[{"title":"Default Title","offer_id":47850620387671,"sku":"9781904263722","price":8.18,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781904263722.jpg?v=1710616757"},{"product_id":"acoustics-the-art-of-sound-9781907155437","title":"Acoustics: The Art of Sound","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eWhat is the difference between an echo and a reverberation? How do you calculate the best note to whistle in a toilet?Where do you best place microphones for that perfect recording? In this fascinating little book, musician Steve Marshall explores the subject of acoustics. From decibels to dolphins, stereo to surround, this book will appeal to singers, musicians, architects, biologists, and anyone who ever wanted to know more about the wonderful world of sound.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eWooden Books are: \"Fascinating\" FINANCIAL TIMES. \"Beautiful\" LONDON REVIEW OF BOOKS. \"Rich and Artful\" THE LANCET. \"Genuinely mind-expanding\" FORTEAN TIMES. \"Excellent\" NEW SCIENTIST. \"Stunning\" NEW YORK TIMES. Small books, big ideas.","brand":"Wooden Books","offers":[{"title":"Default Title","offer_id":48242750423383,"sku":"9781907155437","price":8.18,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781907155437.jpg?v=1716233336"},{"product_id":"the-oxford-handbook-of-music-performance-volume-1-9780190056285","title":"The Oxford Handbook of Music Performance Volume 1","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThe two-volume Oxford Handbook of Music Performance provides the most comprehensive and authoritative resource for musicians, educators and scholars currently available. It is aimed primarily for practicing musicians, particularly those who are preparing for a professional career as performers and are interested in practical implications of psychological and scientific research for their own music performance development; educators with a specific interestor expertise in music psychology, who will wish to apply the concepts and techniques surveyed in their own teaching; undergraduate and postgraduate students who understand the potential of music psychology for informing music education; and researchers in the area of music performance who consider it importantfor the results of their research to be practically useful for musicians and music educators.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIntroduction: Gary E. McPherson   Section 1: Development and Learning - Section Editor Gary E. McPherson 1. The origins of musical expertise: Alexander P. Burgoyne, David Z. Hambrick \u0026amp; Lauren Julius Harris  2. Musical potential, giftedness and talent development: Gary E. McPherson, Jennifer Blackwell \u0026amp; Sue Hallam  3. Readiness for learning to perform: Jennifer Blackwell (\u0026amp; Gary E. McPherson  4. Talent development in music: Daniel Müllensiefen; Aaron Kozbelt; Paula M. Olszewski-Kubilius; Rena Subotnik; Frank Worrell; \u0026amp; Franzis Preckel  5. Self-directed learning strategies: Self-directed learning strategies: Kelly A. Parkes  6. High impact teaching mindframes: Gary E. McPherson \u0026amp; John Hattie   Section 2: Proficiencies - Section Editor Peter Miksza 7. Practice: Peter Miksza  8. Playing by ear: Warren Haston \u0026amp; Gary E. McPherson  9. Sight-reading: Katie Zhukov \u0026amp; Gary E. McPherson   10. Improvisation: Raymond MacDonald  11. Memorization: Jane Ginsborg  12. Conducting: Steven Morrison \u0026amp; Brian A. Silvey  13. Musical expression:  Emery Schubert  14. Body movement: Jane Davidson   Section 3: Performance Practices - Section Editor Jane Davidson 15. Performance practices for Baroque and Classical repertoire: Dorottya Fabian  16. Performance practices for Romantic and Modern repertoire: Neal Peres Da Costa ( 17. New music: Performance institutions and practices: Ian Pace   18. Emotion and performance practices: Stephanie Rocke, Jane Davidson \u0026amp; Frederic Kiernan  19. Musical creativity in performance: Dylan van der Schyff  \u0026amp; Andrea Schiavio  20. Performing in the studio: Mark Slater  21. Diversity, inclusion and empowerment: Tawnya Smith \u0026amp; Karin Hendricks   Section 4: Psychology - Section Editor Paul Evans 22. Self-regulated learning music microanalysis: Gary E. McPherson  23. Self-determination theory: Paul Evans \u0026amp; Richard Ryan  24. Personality and individual differences: Emese Hruska \u0026amp; Arielle Bonneville-Roussy  25. Buoyancy, resilience, and adaptability: Andrew Martin \u0026amp; Paul Evans  26. Identity and the performing musician: Jane Oakland \u0026amp; Raymond MacDonald  27. Synesthesia and music performance: Solange Glasser   Index","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732529131863,"sku":"9780190056285","price":154.74,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780190056285.jpg?v=1719997289"},{"product_id":"composing-with-constraints-100-practical-exercises-in-music-composition-9780190057244","title":"Composing with Constraints 100 Practical","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eComposing with Constraints: 100 Practical Exercises in Music Composition provides an innovative approach to the instruction of the craft of music composition based on tailored exercises to help students develop their creativity. When composition is condensed to a series of logical steps, it can then be taught and learned more efficiently. With this approach in mind, Jorge Variego offers a variety of practical exercises to help student composers and instructors to create tangible work plans with high expectations and successful outcomes.Each chapter starts with a brief note on terminology and general recommendations for the instructor. The first five chapters offer a variety of exercises that range from analysis and style imitation to the use of probabilities. The chapter about pre-compositional approaches offers original techniques that a student composer can implement in order to start a new work. Based on lateral thinking, the last section of the book fosters creative connections with other disciplines such as math, visual arts, and architectural acoustics.The one hundred exercises contain a unique set of guidelines and constraints that place students in a specific compositional framework. These compositional boundaries encourage students to produce creative work within a given structure. Using the methodologies in this book, students will be able to create their own outlines for their compositions, making intelligent and educated compositional choices that balance reasoning with intuition.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eComposing with Constraints is a serious primer for composers- an invaluable tool that can help them navigate their journey of personal musical development. In establishing artistic constraints through intriguing and imaginative exercises, Jorge Variego nurtures the seeds of creativity, enabling composers to sharpen and refine the focus that they need to succeed as artists. * JoAnn Falletta, Music Director, Buffalo Philharmonic *\u003cbr\u003eComposing with Constraints is a great book for composers and theorists and I highly recommend it for both composition courses at undergraduate and graduate courses as well as individual studies. What a joy to read! * David Cope, University of California, Santa Cruz *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIntroduction How to use the book Recommendations for the instructor  Chapter I - Melody (exercises 1 - 20) Preliminary notes Melody 1 - focal point Melody 2 - using your own scale Melody 3 - using your own scale and a subset  Melody 4 - using your own scale with a substitute pitch Melody 5 - a scale in a given order Melody 6 - a scale in a given order with ordered rhythm Melody 7 - concatenating triads Melody 8 - concatenating triads of any type  Melody 9 - segments of equal duration Melody 10 - segments of unequal duration Melody 11 - the melody of an image  Melody 12 - integer notation  Melody 13 - integer notation collections and subsets  Melody 14 - integer notation collections and transition subsets Melody 15 - simple probabilities  Melody 16 - a twelve-tone row  Melody 17 - a twelve-tone row in palindrome  Melody 18 - intervallic content  Melody 19 - leitmotifs  Melody 20 - eliminations   Chapter II - Harmony (exercises 21 - 40) Preliminary notes Harmony 21 - composing transitions Harmony 22 - using segments, melody becomes harmony  Harmony 23 - axis of symmetry Harmony 24 - using the harmonic series  Harmony 25 - using the harmonic series with a pedal tone Harmony 26 - just triads Harmony 27 - using integer notation  Harmony 28 - diatonic?  Harmony 29 - a twelve-tone row  Harmony 30 - alla circle progression  Harmony 31 - triads that move in thirds  Harmony 32 - triads that move in thirds and progressions within a progression Harmony 33 - polychords, triads over triads Harmony 34 - polytonality Harmony 35 - pedal tones Harmony 36 - ideas using parallel modes  Harmony 37 - clusters  Harmony 38 - sequences and patterns Harmony 39 - implied harmonies  Harmony 40 - contrafacts  Chapter III - Rhythm (exercises 41 - 60) Preliminary notes Rhythm 41 - transformations using simple math Rhythm 42 - using segments Rhythm 43 - using segments per measure Rhythm 44 - non-retrogradable rhythms  Rhythm 45 - patterns within patterns  Rhythm 46 - extracting the rhythm of a text  Rhythm 47 - why meter?  Rhythm 48 - short, long, long, short - using Morse code  Rhythm 49 - ostinato Rhythm 50 - playing with hemiolas  Rhythm 51 - hemiolas and melodic construction Rhythm 52 - polymeter  Rhythm 53 - metric modulations  Rhythm 54 - using rhythmic motifs Rhythm 55 - motivic displacement  Rhythm 56 - isorhythmic motets, talea and color  Rhythm 57 - repeat signs, loops and internal spiraling Rhythm 58 - composing with unequal rests and pauses Rhythm 59 - eliminations, everything coming from the same tune  Rhythm 60 - perceivable and non-perceivable pulse   Chapter IV - Texture (exercises 61 - 80) Preliminary notes Texture 61 - analyzing Chopin Texture 62 - homorrythmic  Texture 63 - leitmotifs  Texture 64 - all the same but different  Texture 65 - phasing Texture 66 - analyzing Debussy, plaining Texture 67 - Liszt, simple harmonies, complex texture  Texture 68 - ostinatos Texture 69 - letting the performer make decisions Texture 70 - aleatoric counterpoint Texture 71 - micropoliphony Texture 72 - counterpoint, appropriating from Fux's species Texture 73 - counterpoint \" to your music Pre-composition 97 - quotations as triggers  Pre-composition 98 - drawing sketches  Pre-composition 99 - oblique strategies by Brian Eno and Peter Schmidt  Pre-composition 100 - the computer as assistant  Appendix  A) Grading rubric B) Sample curriculums for group composition classes or individual lessons C) Select anthology of scales and musical examples D)  Table of instrument ranges and transpositions","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732529492311,"sku":"9780190057244","price":20.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780190057244.jpg?v=1719997290"},{"product_id":"electronic-music-school-a-contemporary-approach-to-teaching-musical-creativity-9780190076641","title":"Electronic Music School A Contemporary Approach","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThis book offers a new practical blueprint for teachers wanting to teach music technology to secondary age students. Authors and veteran music educators Will Kuhn and Ethan Hein give readers all the practical tools they need to open their own electronic music programs.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eFeaturing a creative workshop model that goes beyond our traditional music education pedagogy and curriculum, Kuhn \u0026amp; Ethan Hein shape new trends for music teachers to support their own students as successful electronic music makers in multiple settings. Whether learning in PK-12 settings, in school, at home or in the community, Electronic Music School is a must read guide for all worldwide. * Elise Sobol, Director of Music Education, NYU Steinhardt Department of Music and Performing Arts Professions *\u003cbr\u003eIn today's world, the presence of technology in teaching there has never been more essential tool for connecting, creating, and capturing student work. The integration of technology into the music classroom is no longer a fringe endeavor by a small group of tech geeks - the coming of age of technology in the music classroom has arrived. What Kuhn \u0026amp; Hein have put together in this publication is magnificent - an essential guide to not only how to build a technology-rich learning environment for music - what they call an Electronic Music School - but a well-crafted guide to how to teach in this new environment, why this type of learning is relevant, and practical strategies for continuing to engage students for years to come. Any music educator interested in incorporating more music technology into their instruction should add this book to their professional library immediately. * Jim Frankel, Director, MusicFirst *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePreface: The Music Class at the End of the World Acknowledgements To the Reader  Part One: What You Need to Start Your Own Electronic Music School 1. Towards a Creative Music Curriculum  2. An Art Class for Music 3. Understanding What a School Really Wants 4. Tech You'll Need For Your Program 5. Ableton Live And Push  Part Two: Creative Electronic Music Projects for the Masses 6. Designing Creative Music Projects for All Types of Students 7. Teaching Recording and Sampling with Audio Projects 8. Teaching Songwriting with MIDI Projects 9. Teaching Creativity with Outside-the-Box Projects 10. Common Issues For Students In Music Lab Lessons 11. Assessing Music Lab Projects 12. Futureproofing, Extending and Moving Beyond Music Lab Projects  Part Three: Community Music Culture and Extracurriculars 13. Live Performing and Afterschool Groups 14. Understanding Student Led Groups 15. Virtual Electronic Music School 16. A Rising Tide  Index","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732531392855,"sku":"9780190076641","price":999.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"the-history-of-jazz-9780190087210","title":"The History of Jazz","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eAn updated new edition of Ted Gioia''s universally acclaimed history of jazz, with a wealth of new insight on this music''s past, present, and future.Ted Gioia''s The History of Jazz has been universally hailed as the most comprehensive and accessible history of the genre of all time. Acclaimed by jazz critics and fans alike, this magnificent work is now available in an up-to-date third edition that covers the latest developments in the jazz world and revisits virtually every aspect of the music. Gioia''s story of jazz brilliantly portrays the most legendary jazz players, the breakthrough styles, and the scenes in which they evolved. From Louis Armstrong and Duke Ellington at the Cotton Club, Miles Davis''s legendary 1955 performance at the Newport Jazz Festival, and Ornette Coleman''s experiments with atonality to current innovators such as Kamasi Washington and Esperanza Spalding, Gioia takes readers on a sweeping journey through the history of jazz. As he traces the music through the swamp lands of the Mississippi Delta, the red light district of New Orleans, the rent parties of Harlem, the speakeasies of Chicago, and other key locales of jazz history, Gioia also makes the social contexts in which the music was born come alive. This new edition finally brings the often overlooked women who shaped the genre into the spotlight and traces the recent developments that have led to an upswing of jazz in contemporary mainstream culture. As it chronicles jazz from its beginnings and most iconic figures to its latest dialogues with popular music, the developments of the digital age, and new commercial successes, Gioia''s History of Jazz reasserts its status as the most authoritative survey of this fascinating music.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eGioia's History of Jazz became an instant classic when it was first published in 1997. This third edition is approximately 20 percent longer than the first. It has been updated and revised, and includes new text. * N.J. Quinlan, CHOICE Connect, Vol. 59 No. 8 *\u003cbr\u003ePossibly the best survey to date. * Ann Douglas, New York Times *\u003cbr\u003eIf you are looking for an introduction to jazz, this is it. If you know and love jazz well, this is your vade mecum. Me, I expect to be reading around in it for the rest of my life...[It is] the definitive work: encyclopedic, discriminating, provocative, perceptive and eminently readable. With its publication, it can no longer be said that the literature of jazz falls far short of the music itself. * Jonathan Yardley, Washington Post *\u003cbr\u003eMagnificent book * Steve Voce, Jazz Journal *\u003cbr\u003eGioia's history stands a good chance of becoming the standard guide for general readers and academics. * Greg Tate, The Village Voice *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eChapter 1: The Prehistory of Jazz Chapter 2: New Orleans Jazz Chapter 3: The Jazz Age Chapter 4: Harlem Chapter 5: The Swing Era Chapter 6: Modern Jazz Chapter 7: The Fragmentation of Jazz Styles Chapter 8: Freedom and Fusion Chapter 9: Traditionalists and Post-Modernists Chapter 10: Jazz without Boundaries Chapter 11: Jazz Resurgent  Notes Further Reading Recommended Listening Acknowledgements","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732532605271,"sku":"9780190087210","price":21.14,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780190087210.jpg?v=1719997308"},{"product_id":"music-in-the-galant-style-9780190095819","title":"Music in the Galant Style","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eMusic in the Galant Style is an authoritative and readily understandable study of the core compositional style of the eighteenth century. Gjerdingen adopts a unique approach, based on a massive but little-known corpus of pedagogical workbooks used by the most influential teachers of the century, the Italian partimenti. He has brought this vital repository of compositional methods into confrontation with a set of schemata distilled from an enormous body of eighteenth-century music, much of it known only to specialists, formative of the galant style.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eA path-breaking work in musical analysis. Professor Gjerdingen opens the doors into the compositional studios of the 18th century, showing us how characteristic idioms within the galant style that formed a lingua franca among musicians across Europe can be modeled-and easily replicated * by a small number of recurring voice-leading 'schema.' Richly illustrated with diverse musical examples and eye-catching graphics, this remarkable and original study will prove invaluable to all analysts and historians of 18th century music.\"-Thomas Christensen, Professor of Music, University of Chicago *\u003cbr\u003eGjerdingen's study promises to reframe nearly all the work that scholars have lavished on compositional practice in the eighteenth century by answering a question that no one seems to have asked before now - how were eighteenth-century composers (Italian-born and Italian-trained composers above all) able to produce such massive quantities of music in such a broad spectrum of genres, and to do so with both facility and taste? * Thomas Bauman, Professor of Musicology, Northwestern University *\u003cbr\u003eAfter reading this text, I came away believing that I had learned much that was new, that I had significantly refined my hearing of galant style, and that I had developed a greater appreciation of music that is generally unfamiliar but deserving of greater performance. One can hardly ask more from any book! * William E. Caplin, Professor of Music Theory, McGill University *\u003cbr\u003eA path-breaking work in musical analysis. Professor Gjerdingen opens the doors into the compositional studios of the 18th century, showing us how characteristic idioms within the galant style that formed a lingua franca among musicians across Europe can be modeled-and easily replicated * by a small number of recurring voice-leading 'schema.' Richly illustrated with diverse musical examples and eye-catching graphics, this remarkable and original study will prove invaluable to all analysts and historians of 18th century music.\"-Thomas Christensen, Professor of Music, University of Chicago *\u003cbr\u003eGjerdingen's study promises to reframe nearly all the work that scholars have lavished on compositional practice in the eighteenth century by answering a question that no one seems to have asked before now - how were eighteenth-century composers (Italian-born and Italian-trained composers above all) able to produce such massive quantities of music in such a broad spectrum of genres, and to do so with both facility and taste? * Thomas Bauman, Professor of Musicology, Northwestern University *\u003cbr\u003eAfter reading this text, I came away believing that I had learned much that was new, that I had significantly refined my hearing of galant style, and that I had developed a greater appreciation of music that is generally unfamiliar but deserving of greater performance. One can hardly ask more from any book! * William E. Caplin, Professor of Music Theory, McGill University *\u003cbr\u003eMusic in the galant style must count, both in 18th-century music studies and in music theory, as one of the most significant publications of recent decades. * Early Music *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e1: Introduction 2: The Romanesca 3: The Prinner 4: The Fonte 5: A Minuet by Giovanni Battista Somis 6: The Do-Re-Mi 7: The Monte 8: A Theme and Variations by Carl Ditters von Dittersdorf 9: The Meyer 10: A Theme and Variations by Joseph Haydn 11: Clausulae 12: An Andante by Christoph Willibald Gluck 13: The Quiescenza 14: The Ponte 15: A Grave Sostenuto by Baldassare Galuppi 16: The Fenaroli 17: An Allegro by Carl Ditters von Dittersdorf 18: The Sol-Fa-Mi 19: An Andante by Johann Christian Bach 20: The Indugio 21: A Cantabile by Simon Leduc 22: A Larghetto by Leonardo Leo 23: An Andantino by Baldassare Galuppi 24: An Andantino Affettuoso by Niccolo Jommelli 25: The Child Mozart 26: An Allegro by Wolfgang Amadeus Mozart 27: II Filo: A Poco Adagio by Joseph Haydn 28: A Model Adagio by Johann Joachim Quantz 29: A Model Allegro by Francesco Galeazzi 30: Summary and Cadenza Appendix A: Schema Prototypes Appendix B: Partimenti Notes Index of Music Sources General Index","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732533588311,"sku":"9780190095819","price":999.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"nothing-but-noise-timbre-and-musical-meaning-at-the-edge-9780190495107","title":"Nothing but Noise Timbre and Musical Meaning at","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eNothing but Noise: Timbre and Musical Meaning at the Edge explores how timbre shapes musical affect and meaning. Integrating perspectives from musicology with the cognitive sciences, author Zachary Wallmark advances a novel model of timbre interpretation that takes into account the bodily, sensorimotor dynamics of sound production and perception\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eEvery musicologist should read this book, and it is required reading for those dealing with the cognition of music. Essential. * CHOICE *\u003cbr\u003eIn this book Zachary Wallmark confronts head on an aspect of musical practice that is at once elusive and essential: the enduring mystery of timbre. In Wallmark's hands, however, this mystery does not so much endure as become an entry point for exploring the bases of musical expression. Through a splendid blend of empirical research and humanistic inquiry, set out in lucid and approachable prose, he explains how timbre matters as well as why it matters. This is a foundational study that should be read by anyone who has wondered about why music matters, and by everyone who cares about how music shapes our social interactions. * Lawrence Zbikowski, Addie Clark Harding Professor of Music and the Humanities at the University of Chicago *\u003cbr\u003eWith this book, Zachary Wallmark has made an ambitious contribution to the famously elusive study of musical timbre...Wallmark succeeds admirably in avoiding the shortcomings of both the scientific desire to study sound in isolation from the messiness of human subjectivity and the humanistic reduction of musical experience to the arbitrary play of cultural difference. His book is perhaps best viewed as an attempt not so much to bridge the 'two cultures' as to harmonize their best qualities. * Thomas Patteson, Journal of the American Musicological Society  *\u003cbr\u003e[Zachary Wallmark's] recent book Nothing but Noise Timbre and Musical Meaning at the Edge represents a rich and ambitious project aimed at defining a systematic analytical framework for the study of timbre and its meanings...by bringing together the deceptively opposing viewpoints of the humanities and of what are commonly and loosely referred to as the \"exact\" sciences. Wallmark offers both a comprehensive view of the timbre processing chain and a reflection leading to ethical implications that suggest a renewed attention to the role endowed by the timbral parameter. * Matthieu Galliker, Revue musicale OICRM *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIntroduction The Meaning of Timbre  I. Fundamental Chapter 1: Body and Emotion in the Sonic Act  Chapter 2: Conceptualizing Timbre: From Material to Metaphor II. Spectrum Chapter 3: The Most Powerful Human Sound Ever Created: Theorizing the Saxophonic Scream in Free Jazz  Chapter 4: Sound and Embodiment in the Japanese Shakuhachi  Chapter 5: Vector of Brutality: Madness, Violence, and Contagion in Heavy Metal Reception III. Resonance Chapter 6: The Aural Face  Notes Bibliography Index","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732537848151,"sku":"9780190495107","price":29.92,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780190495107.jpg?v=1719997332"},{"product_id":"child-composers-in-the-old-conservatories-how-orphans-became-elite-musicians-9780190653590","title":"Child Composers in the Old Conservatories How","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eTelling the compelling story of the seventeenth century Naples orphans who emerged from the city's conservatori as masters of the European musical world, Child Composers in the Old Conservatory explores their training in the partimento tradition, and advocates for its revival in modern music education.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePreface  1. Introduction  Part I - Children in Need 2. Little Boys on Their Own 3. Masters Take Up the Challenge 4. Child Labor 5. Institutionalized Apprenticeship 6. Social Class  Part II - Technologies of Traning 7. Schemas and Exemplars 8. Solfeggi and the Acquisition of Style 9. Partimenti and the Power of Improvisation 10. Counterpoint and Collocation 11. Intavolature and the Techniques of Instruments. 12. Dispositions and the Mastery of Complexity  Part III - Trial by Contest 13. Little Masters, Real Masters, and Masterpieces 14. The Contest Piece as a Probe of Memory 15. Affordance and the Musical Habitus 16. Predicting Creativity Within a Tradition 17. A Sickly Young Woman Speaks Elegant Harmony  Part IV - Transforming Commonplaces 18. The Oval and Cross 19. A Framework for Elaboration  20. The Beaux-Arts Framework 21. A Beaux-Arts Framework for Music 22. Learning Old Music in an Age of Digital Reproduction  Appendix A: For Further Study Appendix B: Movimenti, Schemas, and Exemplars Index of Names","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732541583703,"sku":"9780190653590","price":33.24,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780190653590.jpg?v=1719997347"},{"product_id":"reminded-by-the-instruments-david-tudors-music-9780190686765","title":"Reminded by the Instruments David Tudors Music","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eReminded by the Instruments offers an in-depth look at the work of post-war avant-garde pianist and composer David Tudor. Examining not only Tudor's pioneering work as a composer-performer but also his homemade modular instruments that radically altered electronic music, author You Nakai illuminates our understanding of the means of sound production in experimental music.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eIt is not unusual to have scholarly books written about the output of one composer, but it is rare to find one of such length written with such passion and with such complete and extensive information ... . One is presented with a creative thinker who is not just a pianist\/organist, not just a composer, but also an electronics genius and an experimenter with sounds that had not previously been used in the context of classical music ... this book will convince the reader that Tudor's life was rich indeed. * D. L. Patterson, CHOICE *\u003cbr\u003eNakai comes across in this book as earnest, humble, and eager to learn. His attention to detail is unflagging. In several lengthy passages, he meticulously goes through Tudor's old clippings from hobbyist magazines and matches them to electronic instruments that Tudor constructed. * Geeta Dayal, Experimental Music *\u003cbr\u003eThere is no doubt this will be the authoritative text on David Tudor than any future publication on the subject will be held up against. It performs a great service in humanising his legacy, and by extension, that of the other great avant artists of the 20th century. * Leah Kardos, The Wire *\u003cbr\u003eA groundbreaking book that not only provides unique insight into the work of one of America's most influential if enigmatic electronic pioneers, but shifts the very paradigm of musical analysis in the aftermath of the transistor. * Nicolas Collins, Professor, Department of Sound, The School of the Art Institute of Chicago *\u003cbr\u003eYou Nakai's book is a remarkable achievement that illuminates the breadth and depth of David Tudor's life and work as a composer-performer. Based on extensive analytical research and interviews with Tudor's surviving creative associates, it charts his evolution from organist and virtuoso pianist to his innovative live-electronic music, ending with his final explorations of soundand space. Engagingly written and eminently readable, this extraordinary study offers fresh insights into Tudor's reclusive personal life and elusive creative complexities. * Gordon Mumma, composer, Professor Emeritus, University of California *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eInput: The Other Side Chapter 1: Piano Chapter 2: Amplified Piano Chapter 3: Sound Systems Chapter 4: Bandoneon! Chapter 5: Pepsi Pavilion Chapter 6: Island Eye Island Ear Chapter 7: Natural Objects Chapter 8: (Likeness to) Voices Chapter 9: Reflections Chapter 10: Neural Syntheses Output: Maps \u0026amp; Fragments  Acknowledgments Appendix A: Notable Realizations Appendix B: Rainforest Amplifiers Appendix C: Redrawn Matrix Maps Bibliography Index","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732542697815,"sku":"9780190686765","price":999.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"turn-on-tune-in-drift-off-ambient-musics-psychedelic-past-9780190699314","title":"Turn On Tune In Drift Off Ambient Musics","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eTurn On, Tune In, Drift Off explores the history and socioaesthetics of ambient music as a popular genre with roots in the psychedelic counterculture. It examines landmark psychedelic, new age, electronic dance, and ambient records, as well as related media discourses, that plotted the conventions of ambient music.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eWith flair and acumen, Victor Szabo delves deep into the aesthetics, phenomenology, and politics of ambient music. The result is a comprehensive and fascinating study of a musical genre that's been hailed as ignorable yet interesting. * Rita Felski, author of Hooked: Art and Attachment *\u003cbr\u003eAmbient as a genre is often seen as an invention of Brian Eno, starting with his 1975 album 'Discreet Music,'...Eno's incredibly important role in this genre, an influence that continues to this day. * Ben Taffijn, Nieuwe Noten *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePreface  Introduction: Highs for Highbrows? How We Got from Head Music to Ambient Music  Chapter 1: Inside Environments's Psychedelic \"Psychological Sound\"  Chapter 2: Pacifica Radio's Music from the Hearts of Space and the Spacious Sound of California's New Age  Chapter 3: Brian Eno's Ambivalent Ambiences  Chapter 4: Ambient EDM, or Dance Music That Isn't Dance Music!  Coda  Bibliography  Selected Discography  Index","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732543091031,"sku":"9780190699314","price":19.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780190699314.jpg?v=1719997356"},{"product_id":"freedom-girls-voicing-femininity-in-1960s-british-pop-9780190879907","title":"Freedom Girls Voicing Femininity in 1960s British","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eA thoughtful, nuanced, and beautifully written study of British girlhood and music through the upheavals of the 1960s. This book offers a terrific range of case studies including Lulu, Marianne Faithfull, Millie Small, and PP Arnold, to consider girl singers and their fans as bearers of social change in Swinging London. With attention to the materials and metaphorical functions of the voice, Apolloni restores authority to the girls and young women who were raising their voices and remaking the world. * Jacqueline Warwick, Dalhousie University, and author of Girl Groups, Girl Culture: Popular Music and Identity in the 1960s     *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIntroduction Vocal Manners for Moderns Part I: Ordinary, Extraordinary Voices Chapter 1: Chart Chicks and Gear Girls: The Limits of Mod Femininity Chapter 2: A girl in a million, just like a million\": Sandie Shaw and Ordinary Girlhood Chapter 3: Sounding Like Liverpool: Region, Memory, and Cilla Black's Accent Part II:  Chapter 4: England meets Jamaica's Lollipop Girl: Millie Small, Voice, and Migration Chapter 5: Race, Self-Invention, and Dusty Springfield's Voice Part III: Voice, Age, and Sex Chapter 6: The Last Remaining Virgin in London: Lulu, Whiteness, and Youth Chapter 7: Sex, Freedom, and Marianne Faithfull's Voice at the Twilight of the Sixties Chapter 8: Remembering Rock and Roll with P.P. Arnold Epilogue Index","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732547055959,"sku":"9780190879907","price":999.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"listening-to-war-sound-music-trauma-and-survival-in-wartime-iraq-9780190887834","title":"Listening to War Sound Music Trauma and Survival","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eA landmark work within the study of conflict, sound studies, and ethnomusicology, Listening to War offers a broad theorization of sound, violence, music, listening and place, while also providing a discrete window into the lives of individual Iraqis and Americans struggling to orient themselves within the fog of war.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eTo say that Listening to War is ground-breaking, penetrating, and vitally important doesn't begin to convey the affective and intellectual impact of engaging with this work. More than challenging music and sound apprehension and scholarship, the book offers painful, visceral access to the ways in which ears suffer, bodies suffer, places suffer in wartime. There is no escape into abstraction or aestheticization here. It's shattering, from the very beginning... * Norie Neumark, University of Melbourne, Journal of Sonic Studies *\u003cbr\u003eThis book is profound and urgently important. It is literally a study of war, not its outcomes. Daughtry expands ethnomusicologists' most basic assumptions, stepping sideways from music to the moment when sound creates and obliterates the self. He parses the inhabited, diachronic moment of sonic violence in a way I wouldn't have thought critically possible. Listening to War is stunningly smart, informed, and original. Virtually every sentence made me pause. Daughtry shows how ethnomusicology can-and should-address the most pressing issues of our time. * Deborah Wong, University of California, Riverside *\u003cbr\u003eAlthough the sounds of war are often recounted in art and scholarship, Listening to War is the first book I know of that helps us to really understand them. J. Martin Daughtry uses the anthropology of sound and hearing to offer a profound investigation of the experience of being close to violence-both of people physically proximate to violence and people unable to extricate themselves from it, either during wartime or afterward. This is a rare scholarly book: gripping, haunting, troubling and deeply edifying. I could not put it down. * Jonathan Sterne, author of MP3: The Meaning of a Format *\u003cbr\u003eMore than any other ethnomusicologist over the last decade, J. Martin Daughtry has challenged and deeply reconfigured my understanding of sound, and that's not trivial considering that I taught a course called \"Sound\" for many years. In this book he performs an extraordinary trick: he has taken the web of sonic violence that surrounds all in a theatre of war and he has extended the intimate and visceral experience of its power and its horror to his readers. Daughtry has immersed us in the most important work of sound studies in many years. * Gage Averill, Dean of the Faculty of Arts, University of British Columbia *\u003cbr\u003eI have not read a more thorough case study of military conflict and sound, one that is so scrupulously documented, with its own implications and methodologies so fully explored. If, in fact, this study is exhaustive, what is the next step in research? The monograph gestures toward some answers. For example, the discussion of acoustic territories (p. 189 and elsewhere) is a further reminder of the interconnectedness of mind, body, and the physical environment, and fortifies the argument that the study of sonic experience provides the most promising platform for the further development of studies in cognitive theory. Apart from its own awe-inspiring comprehensiveness, the book provides a foundation for continued exploration of such emergent fields as cognitive ecology, extended mind theory, and the relationship between gesture and cognition. * American Musicological Society   *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eDedication Note on Transliteration Introduction: Composing Thoughts on Sound and Violence  -In Lieu of an Epigraph: Sound-centered Memories of Operation Iraqi Freedom     -The Belliphonic     -Intellectual Predecessors     -A Necessary Detour     -Approaches and Challenges  Fragment #1: The Presence of Mind to Save an Ear: Ali's Story  Section I: Sonic Matériel Chapter 1: Belliphonic Sounds and Indoctrinated Ears: The Elements of Wartime Audition     -Charting the Belliphonic  -Listening, Structure, and Positionality     -Vehicular Sounds     -Communications     -Civilian Sounds     -Weapons       Chapter 2: Mapping Zones of Wartime (In)audition     -The Zone of the Audible Inaudible     -The Narrational Zone     -The Tactical Zone     -The Trauma Zone     -A Complicating Factor: Iraqi Civilian Auditors     -Another Complicating Factor: Sound and Psychological Trauma     -Conclusion  Fragment #2: Stealth and Improvisation in the Desert: Jason's Story  Fragment #3: Loudly Searching in the Resonant Darkness: The Anatomy of a Nighttime House Raid  Section II: Structures of Listening, Sounding, and Emplacement Introduction to section II Chapter 3: Auditory Regimes     -Ideals of Military Audition     -National Audition     -Oblique Indoctrination of Belliphonic Ears     -Situational Awareness     -The Inclusive Auditory Regime of Iraqi Civilians     -Auditory Literacy, Competence, Virtuosity     -Incommensurability   Chapter 4: Sonic Campaigns     -Sound (and Violence)     -Violence (and Sound)     -The Omnidirectionality of Sound and Violence     -Sonic Campaigns   Chapter 5: Acoustic Territories     -Emplacement, Displacement, Transplacement     -Sound and Territoriality     -The Virtual Acoustic Territory of Recorded Sound     -The Radiant Acoustic Territories of Wartime     -The Resonant Acoustic Territories of Baghdad     -The Resonant Acoustic Territory of the body     -Life at the Intersection of Regime, Campaign and Territory      Fragment #4: Fatal Mishearing  Section III: Music, Mediation, and Survival Chapter 6: Mobile Music in the Military     -Introducing the Wartime iPod     -A Century of Recorded Music on the Battlefield     -iPods in the Iraq War  -Amping Up, Staying Focused, Cooling Down: Technologies of Self-regulation in Combat  -Moving Bodies, Loosening Tongues, Adjusting Crosshairs: Technologies for Manipulating Others in Combat  -Concluding Thoughts  Fragment #5: From \"Hell's Bells\" to \"Silent Night\": A Conversation about Music in the Military  Fragment #6: Keeping the Music Turned Down Low: Shymaa's Story   Chapter 7: A Time of Troubles for Iraqi Music     -Iraq's Musical Legacy     -Post-invasion Challenges     -Political Violence     -Sectarian Violence     -U.S. Forces Targeting Music      -The Attenuated Acoustic Territory of Iraqi Musical Practice  Conclusion: The Amplitude of Violence     Fragment #7: Listening as Poiesis: Tareq's Story Acknowledgments  Glossary Works Cited Index","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732547481943,"sku":"9780190887834","price":23.49,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780190887834.jpg?v=1719997371"},{"product_id":"performing-time-synchrony-and-temporal-flow-in-music-and-dance-9780192896254","title":"Performing Time Synchrony and Temporal Flow in","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003ePerforming Time explores our experience of time in dance and music, from the perspectives of both performers and audience, and informed by the most recent research in dance science, musicology, neuroscience, and psychology.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e0: Wöllner \u0026amp; London: Introduction to Performing Time 1 Foundations: The Flow of Time in Music and Dance 1: Bettina Bläsing: Time experiences in dance 2: Mariusz Kozak: Varieties of musical temporality 3: Keith Doelling, Sophie Herbst, Luc Arnal \u0026amp; Virginie van Wassenhove: Psychological and neuroscientific foundations of rhythms and timing 4: Sylvie Droit-Volet \u0026amp; Natalia Martinelli: The psychological underpinnings of feelings of the passage of time 2 Duration, Tempo and Pacing in Performance and Perception 5: Justin London: What is musical tempo? 6: Renee Conroy: Telling time: Dancers, dancemakers, and audience members 7: Molly Henry \u0026amp; Sonja Kotz: Preferred tempo and its relation to personal sense of time and temporal flow 8: Coline Joufflineau: Time through the magnifying glass of slowness: a case study in Myriam Gourfink's choreography 9: Alexander Jensenius: Standing still together: Reflections on a one-year-long exploration of human micromotion 10: David Hammerschmidt: Spontaneous motor tempo: A window into the inner sense of time 11: Mari Romarheim Haugen: An embodied perspective on rhythm in music-dance genres 3 Synchrony: Keeping Together in Time 12: Guy Madison: Moving together in music and dance - features of entrainment and sensorimotor synchronisation 13: Werner Goebl \u0026amp; Laura Bishop: Joint shaping of musical time: How togetherness emerges in music ensemble performance 14: Julien Laroche, Tommi Himberg \u0026amp; Asaf Bachrach: Making time together: An exploration of participatory time-making through collective dance improvisation 15: Birgitta Burger \u0026amp; Petri Toiviainen: Time and synchronisation in dance movement 16: Simone Dalla Bella: Unravelling individual differences in synchronizing to the beat of music 17: Anne Danielsen: Shaping the beat bin in computer-based grooves 18: Matthew H. Woolhouse: The 'synchrony effect' in dance: how rhythmic scaffolding and vision facilitate social cohesion 4 Performance Time Experienced: Attention, Expectation and Groove 19: Clemens Wöllner: Changes in psychological time when attending to different temporal structures in music 20: Pieter-Jan Maes \u0026amp; Marc Leman: Expressive timing in music and dance interactions: a dynamic perspective 21: Psyche Loui: Temporal aspects of musical expectancy and creativity in improvisation: A review of recent neuroscientific studies and an updated model 22: Anna Pakes: Experiences of time in boring dance 23: Jason Noble, Tanor Bonin, Roger Dean \u0026amp; Stephen McAdams: Evaluating the psychological reality of alternate temporalities in contemporary music: Empirical case studies of Gérard Grisey's Vortex Temporum 24: Kristina Knowles \u0026amp; Richard Ashley: Measuring experienced time while listening to music 25: Jan Stupacher, Michael Hove \u0026amp; Peter Vuust: The experience of musical groove: body movement, pleasure, and social bonding 5 Conclusions: Capturing Time in Performance and Science 26: Marc Wittmann: Embodied time: what the psychology and neuroscience of time can learn from the performing arts 27: Russell Hartenberger: Learning to feel the time: Reflections of a percussionist 28: Henry Daniel, Justin London: Performing and feeling time in contemporary dance 29: Kent Nagano, Clemens Wöllner: Music is a unique artform because of the temporal aspect 30: Stewart Copeland \u0026amp; Daniel Levitin: Timing, tempo and rhythm: Evidence from the laboratory and the concert stage","brand":"Oxford University Press","offers":[{"title":"Default Title","offer_id":48732613607767,"sku":"9780192896254","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780192896254.jpg?v=1719997654"},{"product_id":"seeking-connections-9780197511282","title":"Seeking Connections","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eMusic connects the lives of students, teachers, and school communities in many ways. Music is also integrally related to other art forms, history, culture, and other subjects commonly taught in schools. These relationships deserve critical attention, particularly as educators seek to reorient their curricula and pedagogy toward the pressing aims of social justice. Seeking Connections encourages interdisciplinarity as a capacity to be exercised-an orientation or habit of mind that teachers and students can develop. This capacity depends upon viewing music as permeable, recognizing that music influences related ways of knowing, just as related ways of knowing influence music. This book invites teachers to create educational experiences that engage students in exploring an expansive relationship with music. With imaginative examples drawn from diverse musical genres, visual art, poetry, and historical cases, Seeking Connections provides thoughtful principles, models, and instructional str\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eBuilding upon decades of work on interdisciplinarity in the music curriculum, Janet Revell Barrett invites music educators to consider ways music learning can be more interconnected to other disciplines, contemporary society, and studentsâ lives. She masterfully accomplishes this through compelling arguments, unique cases from the field, detailed pedagogical models, reflective questioning, and thought-provoking stories. Music educators will find this book to be most informative and inspiring. * Carlos R. Abril, Professor of Music Education, Frost School of Music, University of Miami *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePreface Orienting questions  Chapter 1: Adopting an interdisciplinary perspective  Chapter 2: Interdisciplinarity from the inside out  Chapter 3: Multidimensionality as a springboard for connections: The Facets Model  Chapter 4: The musics of our time  Chapter 5:  The foundations of an interdisciplinary pedagogy Chapter 6: Triptych play  Chapter 7: Bridges of inspiration: Synergy between music and art  Chapter 8: Connecting contexts: Music and history  Chapter 9: Assessing the strength of connections  Chapter 10: The music curriculum in an interdisciplinary landscape  References","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732642083159,"sku":"9780197511282","price":18.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780197511282.jpg?v=1719997771"},{"product_id":"instrument-of-the-state-a-century-of-music-in-louisianas-angola-prison-american-musicspheres-series-9780197517512","title":"Instrument of the State A Century of Music in","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eForewords by Calvin Lewis, Myron Hodges, and Wayne Kramer List of Figures  Note to the reader Introduction The Book as a Multi-Movement Musical Piece Uncovering Histories The Musicality of Prison A Brief Overview of Louisiana Behind Bars  1. Astonishment 2. Association 3. Politics 4. Surfaces 5. Inflection 6. Recapitulation  Notes Bibliography Index","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732642804055,"sku":"9780197517512","price":28.45,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780197517512.jpg?v=1719997773"},{"product_id":"music-teacher-as-music-producer-9780197519462","title":"Music Teacher as Music Producer","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eNever has there been such an exciting time to be a music teacher. Band, choir, and orchestra are ubiquitous in schools and have come to be known as the primary mode that students experience music at the secondary level. Similarly, elementary school classrooms feature approaches by Orff, Kodaly, Dalcroze, and Music Learning Theory, among a host of others. But, what is next? In this enlightening guide, author Clint A. Randles provides music educators with the practical tools to turn their classrooms into student production studios. Addressing everything from a new conceptualization of the physical classroom space to the cables and other audio equipment no music educator should be without, Randles puts creativity, technology, recording arts, songwriting, music production, and live performance at the center of music classrooms.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eChapter 1. Introduction: A Different Kind of Music Classroom, A Different Kind of Teacher  Chapter 2. The Room(s): Where the Magic Happens  Chapter 3. How Technology Can Help You  Chapter 4. Instruments: Tools for Creative Expression  Chapter 5. Setting the Stage for Success: Literally and Figuratively  Chapter 6. Gear Considerations \u0026amp; Acoustics  Chapter 7. Diversifying Performance  Chapter 8. Classroom as Recording Studio  Chapter 9. Making Technology Work for You  Chapter 10. A Whole New World of Musical Products  Chapter 11. The End is the Beginning  Index Bibliography","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732643590487,"sku":"9780197519462","price":999.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"rock-and-rhapsodies-the-music-of-queen-9780197526743","title":"Rock and Rhapsodies The Music of Queen","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eWhat, exactly, gave Queen's songs their magical and distinct musical identity? Rock and Rhapsodies answers this question through a fascinating musicological study of the band's output.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eBraae weaves music analysis, critical theory, and production techniques to investigate the band and their work from an impressively large range of angles. Not only is this book for those of us who think Queen is the greatest band to ever grace the world stage, but the ideas and methods herein are also incredibly useful to scholars interested in popular music analysis more generally. * Justin Williams, Senior Lecturer in Music, University of Bristol *\u003cbr\u003eWhile Queen's output may now be historical, Braae draws upon and synthesizes a wide range of current theoretical positions, extending outside music itself, in order to encapsulate it. In asking many apposite questions, the book is excellent in seeing behind individual songs, towards what makes them tick as a body of work. It is also engagingly written, a model both for understanding Queen and for addressing any band's idiolect. * Allan F. Moore, Emeritus Professor in Music, University of Surrey *\u003cbr\u003eBraae's book is a brilliant analytical journey of how Queen created their unique and identifiable sound. It is an insightful, original and much-needed text that explores not just the notes, but also the historical, performative and production contexts that shaped their music. * Jadey O'Regan, Lecturer in Contemporary Music, Sydney Conservatorium of Music, University of Sydney *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eNotes on Musical Examples Acknowledgements List of Tables and Figures  1. Introduction The Book The Study of Queen Issues of Style  2. Queen's Idiolect: A Primer Harmonic Structure and Gestures Textural Foundations and the Sound-Box Arrangement and Performance Gestures Sounds Like Queen, and other Conclusions  3. Artistic Craft and Crafted Artistry: Queen's Structural Archetypes Introduction and Definitions Conventional Forms Variations on Conventional Forms Episodic Songs Artistic Craft and Crafted Artistry  4. Temporal Processes in Queen's Large-Scale Songs Time and Popular Song Phrase and Intra-Sectional Linearity Sectional Temporality Closure Queen's Temporal Processes and Exceptions  5. Brian May and Roger Taylor Analyzing the Voice The Voices of Brian May and Roger Taylor May, Taylor, and Rock Authenticity  6. Freddie Mercury The Voices  Structural Dynamics  Stylistic Incongruities, Queer and Camp Voices, and the \"Real\" Freddie  Mercury, Rock Authenticity, and Interpretation  Coda   7. Hard Rock, Glam Rock and Progressive Rock in the 1970s  Commentary and Conceptual Considerations  Queen's \"Dominant Voice\": The Hard Rock Connection  The Glam Rock Connection: Exaggeration, Irony, and Play  Progressive Rock, and Interplay   8. The Musical World(s) of Queen A \"Unique\" Sonic Fingerprint and Pastiche in the 1970s  Queen's Sonic Patterns and Stylistic Connections  The Musical World(s) of Queen   9. A Day at the Races and the Gestural Unity of Queen  Queen in 1976 and the Ideal of Evolution  The Notion of Gestural Unity: Idiolect Revisited  A Day at the Races  The Gestural Unity of Queen   10. Was It All Worth It? Queen in the 1980s  A Decade of Changing Fortunes  From \"Save Me\" to \"Staying Power\"  The Rock Ballads Revisited  Hard Rock by Numbers  Was It All Worth It?   11. Queen's Jubilee: The Late Style of Innuendo  Introduction  \"Innuendo\"  \"The Show Must Go On\"  A Late Style of Queen   12. Legacy  Post-1991  Replacing Freddie  \"No One But You\"  We Will Rock You  The Influence of Queen  The End of the Story   Bibliography  Appendix A","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732644114775,"sku":"9780197526743","price":24.49,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780197526743.jpg?v=1719997778"},{"product_id":"indigenous-audibilities-9780197532492","title":"Indigenous Audibilities","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eIn the middle of the twentieth century, transnational networks sparked a range of cultural projects focused on collecting Indigenous music and folklore in the Americas. Indigenous Audibilities follows the social relations that created these collections in four interconnected case studies linking the U.S., Mexico, Nicaragua, and Chile. Indigenous collections were embedded in political projects that negotiated issues of cultural diplomacy, national canons, and heritage. The case studies recuperate the traces of marginalized voices in archives, paying special attention to women and Indigenous people. Despite the dominant agendas of national and international institutions, the diverse actors and the multi-directional influences often led to unexpected outcomes. Author Amanda Minks brings together vivid storytelling and theories of collection, voice, and recording to challenge the transparency of archives as a historical source. The book presents a social-historical method of listening, rea\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eAcknowledgments List of Figures  A Note on Terminology and Abbreviations Introduction 1. Between the Ear and the Letter: Oral History and U.S. Borderlands 2. Radio, Recording, and Inter-American Indigenismo in Mexico 3. Folklore, Region, and Revolution in Nicaragua 4. Indigenous Collections and Integrative Arts in Chile Epilogue References Index","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732645622103,"sku":"9780197532492","price":18.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780197532492.jpg?v=1719997783"},{"product_id":"queer-ear-9780197536773","title":"Queer Ear","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThrough provisional, idiosyncratic, and non-normative listening practices, Queer Ear: Remaking Music Theory counters music theory''s continuing tendencies towards rationality, unity, unilinearity, teleology, and logical certainty. In this volume, editor Gavin S.K. Lee brings together a diverse group of music theorists who issue queer challenges to both music theory and musicology and show that queerness is integral to music-theoretical practice. These investigations of the queer ear and queer soundings, while drawing upon a broad range of approaches, are united by the repurposing of hard music-theoretical apparatuses, as well as soft apparatuses like narratology and cultural theory, for queer ends. Such repurposings contribute to the search for general principles--or a theory--of queering that counters mainstream music theory''s proclivities, instead encouraging everyone to experiment with queer ways of listening.Through the lenses of queer temporality, queer narratology, and queer music analysis, the essays examine a wide variety of artists and composers, including Sun Ra, Cowell, Czernowin, Henze, Schubert, and Schumann; theories ranging from Schenker to queer shame, disability studies, and posthumanism; and authors such as Edward Cone and Edward Prime-Stevenson. Together, they rethink the field''s major tenets, examine hidden histories, and view listening practices from the perspective of non-normative subjectivities. Ultimately, Queer Ear works to queer the field of music theory while paying heed to the ways in which music theory intersects with diverse, embodied LGBTQ lives.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eThe first monograph on queer music theory, and a much-needed contribution to the field. The essays in Queer Ear challenge us to recognize the importance of gender, sexuality, and race in analysis, while breaking down the traditional divide between music theory and musicology. * Patricia Hall, Professor of Music, University of Michigan *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIntroduction: Queer Ear Gavin S.k. Lee  1 Queer and Critical Race Theory, Figuring Out Music Theory Gavin S.K. Lee, Philip Ewell, and Robert Hatten  Queer Music Analysis 2 Music Analysis; Queer Academy James Currie  3 Queering Schubert's \"Der Atlas\": Reflections on Positionality and Close Reading David Bretherton  4 The Expression of Queerness in Hans Werner Henze's Music Federica Marsico  5 Multiplicities, Truth, Ethics: a queering analysis of Chaya Czernowin's Anea Crystal Judith Lochhead  Queer Temporality 6 Sun Ra's Fletcher Henderson Chris Stover  7 The Chronographic Fallacy of Unilinear Music Theory, Or, Un(Re)productive Temporality in Dichterliebe Gavin S.K. Lee  8 Queering Musical Chrononormativity: Percussion Works of the West Coast Group Bill Solomon  Queer Narratology 9 Queer Sexuality and Musical Narrative Fred Everett Maus  10 \"Legendary In-Reading\": Musical Meaning, Analysis, and Biography in Edward Prime-Stevenson's Music Criticism and Sexology Kristin Franseen  11 Animating Musical Agency Vivian Luong  Index","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732646080855,"sku":"9780197536773","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780197536773.jpg?v=1719997785"},{"product_id":"the-oxford-handbook-of-algorithmic-music-9780197554364","title":"The Oxford Handbook of Algorithmic Music","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eFeaturing chapters by emerging and established scholars as well as by leading practitioners in the field, this Handbook both describes the state of algorithmic composition and also set the agenda for critical research on and analysis of algorithmic music.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eit is undoubtedly an important didactic resource for students of algorithmic composition, including beginners, who want to get a wide and up-to-date overview of the various applications of algorithms in music scenarios. * Alessandro Anatrini, Musicae Scientiae *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eSection 1: Grounding algorithmic music 1. Musical Algorithms as Tools, Languages and Partners: A Perspective Alex McLean, Roger T. Dean  2. Algorithmic Music and the Philosophy of Time  Julian Rohrhuber  3. Action and Perception: Embodying Algorithms and the Extended Mind Palle Dahlstedt  4. Origins of Algorithmic Thinking in Music  Nick Collins  5. Algorithmic Thinking and Central Javanese Gamelan Charles Matthews  Perspectives on Practice A 6. Thoughts on Composing with Algorithms  Laurie Spiegel  7. Mexico and India: Diversifying and Expanding the Live Coding Community Alexandra Cardenas  8. Deautomatization of Breakfast Perceptions Renate Wieser  9. Why Do We Want Our Computers to Improvise? George Lewis  Section 2: What can algorithms in music do? 10. Compositions Created with Constraint Programming Torsten Anders  11. Linking Sonic Aesthetics With Mathematical Theories Andy Milne  12. Machine Learning and Listening in Composition and Performance Rebecca Fiebrink and Baptiste Caramiaux  13. Biologically-Inspired and Agent-Based Algorithms for Music Alice Eldridge and Oliver Bown  14. Performing with Patterns of Time Thor Magnusson, University of Sussex, Alex McLean, FoAM Kernow  15. Computational Creativity and Live Algorithms Geraint Wiggins and Jamie Forth  16. Tensions and Techniques in Live Coding Performance Charlie Roberts and Graham Wakefield  Perspectives on Practice B 17. When Algorithms Meet Machines Sarah Angliss  18. Notes on Pattern Synthesis Mark Fell  19. Performing algorithms Kristin Erickson  Section 3: Purposes of algorithms for the music maker 20. Network music and the algorithmic ensemble David Ogborn  21. Sonification != music Carla Scaletti  22. Color is the Keyboard: Transcoding from Visual to Sonic Margaret Schedel  23. Designing Interfaces for Musical Algorithms Jamie Bullock, Integra Lab, Birmingham Conservatoire  24. Ecooperatic Music Game Theory David Kanaga  25. Algorithmic Spatialisation Jan C Schacher    Perspectives on Practice C 26. Form, Chaos and the Nuance of Beauty Mileece I'Anson  27. Beyond Me Kaffe Matthews  28. Mathematical Theory in Music Practice Jan Beran  29. Thoughts on Algorithmic Practice Warren Burt  Section 4: Algorithmic Culture 30. The Audience Reception of Algorithmic Music Mary Simoni  31. Technology, Creativity and The Social in Algorithmic Music Christopher Haworth  32. Algorithms and Computation in Music Education Andrew Brown  33. (Micro) Politics of Algorithmic Music: Towards a Tactical Media Archaeology Geoff Cox and Morten Riis  34. Algorithmic Music for Mass Consumption and Universal Production Yuli Levtov  Perspectives on Practice D 35. Algorithmic Trajectories Alex McLean and Roger Dean","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732649619799,"sku":"9780197554364","price":40.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780197554364.jpg?v=1719997797"},{"product_id":"music-in-profile-9780197565407","title":"Music in Profile","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eUnderpinned by author John Rink''s internationally acclaimed scholarship and experience as a musician, this book addresses fascinating topics in the field of musical performance studies concerning the history, analysis and psychology of music, as well as artistic research. It offers manifold practical insights into musical performance, ranging from detailed technical features to overall shape. The volume has four main parts, focusing on performance and performance studies, historical performance, analysis and performance, and artistic research. Case studies of romantic piano pieces appear throughout, including Liszt''s ''Vallée d''Obermann'', Brahms''s Fantasien Op. 116, and select preludes and concertos by Rachmaninoff and Chopin. The book also includes discussions of recordings by such artists as Alfred Brendel, Artur Rubinstein and Nikita Magaloff along with some outstanding performances in the International Fryderyk Chopin Piano Competition in 2015.Rink explores issues surrounding \u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eWritten in characteristically lucid and incisive prose this book is both a seminal and a culminating contribution to the field that Rink helped to define, and will be essential reading for anyone interested in musical performance. * Eric F. Clarke, Emeritus Professor of Music, University of Oxford *\u003cbr\u003eBuilding on and developing key writings published in a wide range of sources, this book provides an overview of Rink's thinking that will be equally indispensable for academics interested in performance and for performers seeking to understand and develop their creative agency. * Nicholas Cook, Emeritus Professor of Music, University of Cambridge *\u003cbr\u003eA twelve-step scrutiny of music performance studies, John Rink's Music in Profile offers the reader an astute, insightful and subtly personalised perspective on the discipline. Approaching the subject as both scholar and musical practitioner, the author maps a conception of performers' strategies, analysis, and self-reflection. * Lina Navickaitė-Martinelli, Professor and Senior Researcher, Lithuanian Academy of Music and Theatre. *\u003cbr\u003eThis book brings together three decades of John Rink's work rethinking and recasting scholarship on musical performance. His musicality, scholarship, and deep affection for Romantic piano music come through on every page. * Edward Klorman, Associate Professor, Schulich School of Music, McGill University *\u003cbr\u003eThis collection of essays surveys the thinking of a pioneering figure in performance research, distinguished by methodological adventurousness, and steeped in love for the Romantic keyboard repertoire. * Natasha Loges, Professor at Hochschule für Musik Freiburg *\u003cbr\u003eJohn Rink explores how performance and scholarship-so unalike in their nature, culture and procedures-can communicate, interact, sometimes even merge. Judiciously and humanely, he enriches the reader's sense of how variously they may make music together. * Daniel Leech-Wilkinson, Emeritus Professor of Music, King's College London *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eList of figures List of music examples List of tables Acknowledgements Credits Note to readers Preface Part 1  On performance and performance studies Chapter 1 The state of play in musical performance studies Chapter 2 Impersonating the music in performance Chapter 3 The work of the performer Part 2  On historical performance Chapter 4 Moments of truth: performing musicology Chapter 5 Translating musical meaning: the performer as narrator Chapter 6 Authentic Chopin Part 3  On analysis and performance Chapter 7 From analysis to 'performer's analysis' Chapter 8 Playing in time Chapter 9 Analysing motif and gesture in performance Chapter 10 The (f)utility of performance analysis Part 4  On artistic research Chapter 11 Judging Chopin: an evaluation of musical experience Chapter 12 Between practice and theory: performance studies and\/as artistic research Notes References Index","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732650963287,"sku":"9780197565407","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780197565407.jpg?v=1719997804"},{"product_id":"inside-mahlers-second-symphony-9780197575642","title":"Inside Mahlers Second Symphony","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThis guide introduces concertgoers, serious listeners, and music students to Gustav Mahler''s Second Symphony, one of the composer''s most popular and most powerful works. It examines the symphony from several perspectives: Mahler''s struggle to create what he called the New Symphony; his innovative approaches to traditional musical form; how he addressed the daunting challenges of writing music on a monumental scale; and how he dealt with the ineluctable force of Beethoven''s symphonic precedent, especially that of the Ninth Symphony.The central focus of Inside Mahler''s Second Symphony is on the music itself: how it works, how it works its magic on the listener, how it translates the earnest existential concerns that motivate the symphony into powerful and highly expressive music. Beyond this, the book ushers the Listener''s Guide into the digital age with 185 dedicated audio examples. They are brief, accessible, and arranged to flow from one to another to simulate how the symphony m\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eReaders can prepare for an enlightened appreciation of the whole symphony in performance. * M. Dineen, CHOICE *\u003cbr\u003eThis book offers an intriguing, engaging and provocative account of a monumental masterpiece. At one and the same time, Bernstein has written a closely argued guide to the work, helpful to the first-time listener, and also a sophisticated and often unconventional interpretation that can inspire the scholar and connoisseur to reflect not only on Mahler, but on how music creates and conveys meaning and helps to fashion beliefs, faith and values. This is a novel and valuable contribution to our understanding of an icon within the symphonic repertoire. * Leon Botstein, President, Bard College; Music Director, American Symphony Orchestra *\u003cbr\u003eIt is as if the author were looking over Mahler's shoulder while he composed his extraordinary second symphony. I have never read such an illuminating, so detailed, yet always accessible analysis of this universal masterwork on life, suffering, death, and resurrection. Bernstein is able to convey his profound love for the piece majestically, revealing the true meaning of the music while sharing its composer's most intimate creative process. He is indeed the ultimate guide who, with the use of many audio examples online, invites everyone on a fascinating journey, to climb Mahler's formidable mountain and see the primeval light at the summit. * Stéphane Denève, Music Director, St. Louis Symphony Orchestra and Brussels Philharmonic *\u003cbr\u003eBernstein proves an authoritative and engaging guide through Mahler's epic work. His book will be of great value to any listener or performer seeking a deeper appreciation of this keystone of the symphonic repertory. * Walter Frisch, Gumm\/von Tilzer Professsor of Music, Columbia University *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eList of Figures and Tables   List of Music Examples         List of Audio Examples         Acknowledgements   Preface          The Recording       How to Use this Book     Part One: Preliminaries  Chapter 1 Setting the Stage for the Second Symphony     Part Two: The Five Movements  Chapter 2 First Movement: The Opening and a Two-part Exposition   Chapter 3 First Movement: Development and Recapitulation    Chapter 4 The Second Movement      Chapter 5 A Song Serves as a Study for the Third Movement   Chapter 6 The Third Movement: Scherzo and Trio   Chapter 7 The Fourth Movement: \"Urlicht\"     Chapter 8 How to Complete the Symphony       Chapter 9 The Last Movement, Part 1: References to Judgment and the Airing of Themes   Chapter 10 The Last Movement, Part 2: Judgment in Action, Musical Development, and Some Continuing Enigmas   Chapter 11 The Last Movement, Part 3: Collapse, Climactic Resolution, a Stunning Reversal, and Celebration     Appendices  Appendix 1 The Formal Template for the First Movement: Sonata Form   Appendix 2 Second-Movement Forms  Appendix 3 The Origins, Character, and Form of the Scherzo   Appendix 4 Complete Performances of Each Movement      Glossary    Bibliography      Index","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732653191511,"sku":"9780197575642","price":23.49,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780197575642.jpg?v=1719997810"},{"product_id":"tonality-9780197577103","title":"Tonality","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThis encyclopaedic book proposes a sweeping reformulation of the basic concepts of Western music theory, revealing simple structures underlying a wide range of practices from the Renaissance to contemporary pop. Its core innovation is a collection of simple geometrical models describing the implicit knowledge governing a broad range of music-making, much as the theory of grammar describes principles that tacitly guide our speaking and writing. Each of its central chapters re-examines a basic music-theoretical concept such as voice leading, repetition, nonharmonic tones, the origins of tonal harmony, the grammar of tonal harmony, modulation, and melody. These are flanked by two largely analytical chapters on rock harmony and Beethoven. Wide-ranging in scope, and with almost 700 musical examples from the Middle Ages to the present day, Tonality: An Owner''s Manual weaves philosophy, mathematics, statistics, and computational analysis into a new and truly twenty-first century theory of mu\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eTonality: An Owner's Manual is Dmitri Tymoczko's dazzling answer to the controversial quest for a transhistorical definition of tonality. By disentangling what composers do from what theorists say, Tymoczko presents a fascinating exposition of common compositional principles that animate Western music from Renaissance polyphony to jazz, rock, and contemporary triadic idioms. * Suzannah Clark, Morton B. Knafel Professor of Music and Director of the Mahindra Humanities Center, Harvard University *\u003cbr\u003eDmitri Tymoczko is an original musical thinker who combines mathematical skills and good musicianship in search of universal principles of pitch organization. Tonality: An Owner's Manual continues this quest in proposing a geometrical, hierarchical voice-leading theory that has applications across diverse musical styles. It is written with admirable clarity. * Fred Lerdahl, Fritz Reiner Professor Emeritus of Musical Composition, Columbia University *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePreface and Acknowledgements  1. Implicit musical knowledge 1. Gesualdo's trick 2. The quadruple hierarchy 3. Philosophy 4. Statistics 5. Schema 6. Outline  Prelude: transposition along a collection 2. Rock logic 1. A melodic principle 2. A harmonic principle 3. A first chord-loop family 4. Two more families 5. Shepard-tone passacaglias 6. Minor triads and other trichords 7. A fourth family 8. Other modalities 9. Function and retrofunction 10. Continuity or reinvention?  Prelude: the Tinctoris transform 3. Line and configuration 1. The imperfect system 2. Voice exchanges 3. Other intervals 4. The circle of diatonic triads 5. Voice exchanges and multiple chord types 6. Four-voice triadic counterpoint 7. Counterpoint within the chord 8. Seventh chords 9. Harmony and counterpoint  Prelude: sequence and function 4. Repetition 1. Repetition reimagined 2. Repeating contrapuntal patterns 3. The geometry of two-voice sequences 4. Three voices and the circle of triads 5. Three voices arranged 2+1  6. Four voices 7. Contrary-motion sequences 8. Melodic sequences and near sequences 9. Near sequences 10. Sequences as reductional targets  Prelude: three varieties of analytical reduction 5. Nonharmonic tones 1. The first practice and the SNAP system 2. Schoenberg's critique 3. Monteverdi's \"Ohimè\" 4. The standardized second practice 5. A loophole 6. After nonharmonicity  Prelude: functional and scale-degree analysis 6. The origins of functional harmony 1. The logical structure of protofunctionality 2. Similarities and differences 3. Origin and meaning 4. Harmony and polyphony 5. The Pope Marcellus Kyrie 6. A broader perspective 7. \"I Cannot Follow\"  Prelude: could the Martians understand our music? 7. Functional progressions 1. A theory of harmonic cycles 2. A more principled view 3. Rameau and Bach 4. Functional melody, functional harmony 5. Fauxbourdon and linear idioms 6. Sequences 7. Bach the dualist  Prelude: chromatic or diatonic? 8. Modulation 1. Two models of key distance 2. Enharmonicism and loops in scale space 3. Minor keys 4. Modulatory schemas 5. Up and down the ladder 6. Modal homogenization and scalar voice leading 7. Generalized set theory  Prelude: hearing and hearing-as 9. Melodic strategies 1. Strategy and reduction 2. Two models of the phrase 3. Chopin and the Prime Directive 4. An expanded vocabulary of melodic templates 5. Simple harmonic hierarchy 6. The four-part phrase 7. Grouping, melody, harmony 8. Beyond the phrase: hierarchy at the level of the piece  Prelude: why Beethoven? 10. Beethoven theorist 1. Meet the Ludwig 2. From schema to flow 3. The Tempest 4. The Fifth Symphony 5. The \"Pastorale\" sonata, op. 28 6. Schubert's Quartettsatz 7. The prelude to Lohengrin  11. Conclusion  12. Appendix 1: Fundamentals  13. Appendix 2: Deriving the spiral diagrams  14. Appendix 3: From sequence to transformation  15. Appendix 4: Music theory and corpus analysis  Terms and Abbreviations  Bibliography","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732653289815,"sku":"9780197577103","price":30.43,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780197577103.jpg?v=1719997810"},{"product_id":"choral-repertoire-9780197622407","title":"Choral Repertoire","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThe second edition of Choral Repertoire is a comprehensive reference book about choral music in Western culture from Gregorian chant to compositions of the early twenty-first century, now expanded to include dozens of new composers with the aim of further expanding and diversifying the western choral repertoire.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eChoral Repertoire is the essential source for both quick reference and extended study of choral music. This text should be in the library of every choral conductor and aspiring student. Dennis Shrock is the quintessential choral scholar of our day. * Dr. Donald Trott, Director of Choral Activities, University of Mississippi *\u003cbr\u003eAny choral musician who thinks they don't need another book hasn't seen this new edition of Dennis Shrock's comprehensive tome covering not only 588 different important choral composers of note, but 58 additions including more women composers and composers of color. Organized by period, by country, and by composer, this invaluable resource is a must for every choral conductor, whether student or master! Dennis has done it again—researched the field and given us the most up-to-date information on the western choral canon! * Dr. Charlene Archibeque, Professor Emerita, San Jose State University *\u003cbr\u003eDennis Shrock's new edition of Choral Repertoire incorporates a wealth of meticulously researched composers in response to the expansion of the art form. This overview—as explained in his preface—is focused on western choral composers and their music. As was the case with Shrock's 1st edition, this comprehensive text is chronologically structured, geographically contextualized, and is a must-have for international choral music scholars, educators, and conductors. * Dr. Gregory Gentry, Director of Choral Studies and Lynn Whitten Choral Music Faculty Fellow, University of Colorado Boulder *\u003cbr\u003eA major contribution to the history and literature of choral music. A vital and necessary addition to the library shelves, certain to be referred to regularly. * Pasatiempo *\u003cbr\u003eChoral Repertoire is an invaluable resource book for the choral conductor, conducting student and choral singer. It should be a part of the curriculum of any music education or conductor degree program. It rightfully deserves a place among the standard music reference publications. Dennis Shrock has provided us with a must-have! * Joseph Jennings, Music Director, Chanticleer *\u003cbr\u003eDr. Dennis Shrock is indisputably one of the very top choral scholars in the United States. Add to this his expertise as a choral director and you have a superbly qualified author. Every choral director should have this compact, scholarly, practical historical survey of our field. It reads superbly, yet with ease. What a treasure! * Weston Noble, Professor Emeritus, Luther College (Decorah, Iowa) *\u003cbr\u003eThis is the most complete volume on choral music ever written. This is for all choral enthusiasts; professionals, singers, conductors, academicians, students both graduate and undergraduate, church musicians * whatever your interest, this is a book for you. It is fascinating reading, whether you are researching a specific composer or seeking ideas for repertoire. Details abound!Vance George, Freelance Conductor and Conductor Emeritus, San Francisco Symphony Chorus *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e1. The Medieval Era 2. The Renaissance Era 3. The Baroque Era 4. The Classical Era 5. The Romantic Era 6. The Modern Era Glossary Index","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732660072791,"sku":"9780197622407","price":52.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780197622407.jpg?v=1719997840"},{"product_id":"bach-against-modernity-9780197669495","title":"Bach against Modernity","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eThere is a widespread feeling among music lovers today that 'Bach is a good friend of mine,' and that if he were alive in this era, he would surely be an 'ultra-modern' person who was good at Facebook and Twitter—after all, his music appeals so much to us! I find Michael Marissen's new book discussing Bach, rather, in opposition to modernity to be a wonderful model of historically-informed analytic criticism, not only against 'modernism,' but also against the current easy-going commercialism and triumphalistic secularism that prevent us from truly deepening our understanding and enjoyment of Bach. Wholeheartedly welcome! * Masaaki Suzuki, music director of Bach Collegium Japan *\u003cbr\u003eThis is a thought-provoking, incisive, and hugely enlightening collection of essays from one of the most respected and original thinkers in Bach studies today. Marissen's razor-sharp wit and crystal-clear prose cut through some of the enduring myths of modern Bach reception to reveal different, unexpected, and sometimes uncomfortable facets of the man and his music. * Bettina Varwig, University of Cambridge *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePreface Credits  Part I - Constraints of History on Interpretation   1. Bach Against Modernity 2. Bach's Handwritten Entries in his Bible     Part II - Brief Commentaries 3. Fractal Gavottes and the Ephemeral World in Bach's Cantata 64 4. Time and Eternities in Bach's Cantata 23 5. Bach's Christmas Oratorio and a Blessed End 6. Bach and Art and Mammon  Part III - Texts 7. Historically Informed Renderings of the Librettos from Bach's Cantatas (co-author, Daniel R. Melamed)  Part IV - Jews and Judaism 8. On the Jews and their So-Called Lies in the Fourth Gospel and Bach's St. John Passion 9. Bach and Sons in the Jewish Salon Culture of 19th-Century Berlin  Part V - Theological Character of Secular Instrumental Music 10. Bach's Sacred Brandenburg Concertos 11. The Serious Nature of the Quodlibet in Bach's Goldberg Variations  Works Cited Index of Bach's Works Index of Names and Subjects","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732671607127,"sku":"9780197669495","price":999.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"musical-illusions-and-phantom-words-how-music-and-speech-unlock-mysteries-of-the-brain-9780197672280","title":"Musical Illusions and Phantom Words How Music and","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eThis book covers a wide swath of mate-rial, and it holds together well. The specificity of the early chapters feed into the large concepts of the later chapters. Deutsch has succeeded in creating a book that is accessible to the non-expert but has enough detail that even the most accomplished audiophile and neuro-acoustician will leave satisfied and enlightened. * Evelyn Way, Maxxon Corporation, Journal of the Audio Engineering Society *\u003cbr\u003eMusical Illusions and Phantom Words offers a fascinating retrospective on the history and science of auditory and musical illusions, written from the unique perspective of one of the fieldâs founding pioneers. Deutschâs volume on music and auditory illusions ranks among the classics in music cognition and perception. We believe this seminal work will continue to enrich our understanding of music cognition and sound perception for decades to come. * Parker Tichko and Psyche Loui, Perception *\u003cbr\u003eDeutsch's book is an elegant and eloquent lesson that our perception of music, like all perception, is no passive conduit. It is an endless pas de deux between expectation and experience, and the brain actively creates the things it hearsâThis book, almost perfect in its way, rises to its great theme * Jason Warren, UCL Queen Square Institute of Neurology, Brain: A Journal of Neurology *\u003cbr\u003eFrom her early pioneering work to the present day, Diana's fascinating work and observations on music have captured our imagination and inspired generations of researchers. In this remarkably accessible and deeply engaging book, she expounds upon some of her most intriguing work on the varieties of illusions that arise in music and language, and what they tell us about the mind. This is a world where distinct melodies are heard in the two ears, even though only one was presented, where musicians suddenly experience auditory hallucinations of their own music, and where speech is mysteriously transformed into song. Captivating and profound, Diana Deutsch's book will be delight not only to researchers, but to anyone who is curious about the human mind. * William Forde Thompson, author of Music, Thought and Feeling: Understanding the Psychology of Music *\u003cbr\u003eThis is a remarkable book by an unassailable grand master of sound perception and auditory illusions. The text is very clear and very lively. Finally a book on sound perception has the sounds right on the pages! Point your phone, hear the sounds, it's that easy. Not only the sounds, but explanations from the author in her own voice. I settled in and felt like I was having a conversation with her. Deutsch is a keen and careful scholar, yet manages to make the pages incredibly entertaining. When one reads this book, one realizes that Prof. Deutsch didn't \"get lucky\" when she discovered her well known illusions. There is a program, guided by deep knowledge and intuition. She shares both with us in this wonderful book.\" * Eric J. Heller, Abbott and James Lawrence Professor of Chemistry, and Professor of Physics, Harvard University, author of Why You Hear What You Hear *\u003cbr\u003eIn this delightful volume Diana Deutsch, a living legend in the field of music psychology, invites us into her laboratory. There, with the help of web-based audio files, we can listen in as she tricks our hearing into revealing some of the inner workings of the human auditory system. Dozens of these musical illusions help us to understand the complexity and marvelous sophistication of how we uncover patterns and meanings in the sounds that we hear.\" * Robert O. Gjerdingen, Professor of Music, Northwestern University, author of Music in the Galant Style *\u003cbr\u003eDiana Deutsch is a true pioneer. In this finely written and yet seriously scientific book, she tells the story of how she discovered phantasms that to our ears are as miraculous as a Fata Morgana is to our eyes. Read and wonder!\" * Stefan Klein, Professor of Critical Studies, University of the Arts, Berlin, author of The Science of Happiness *\u003cbr\u003eDr. Deutsch has been one of the world's leading researchers of the psychology of music for over four decades. This book is the culmination of her stellar career of intriguing observations gleaned from her innovative investigative techniques. Her contributions to the field are on par with Oliver Sacks, Roger Shepard, and Jean-Claude Risset. Dr. Deutsch's rigorous yet charming style makes Musical Illusions and Phantom Words equal parts illuminating and fun.\" * Michael A. Levine, composer *\u003cbr\u003eIt is a great pleasure to have Diana Deutsch's pioneering work on auditory illusions, and her landmark explorations of the influence of language on music perception brought together in the summation of a stellar career that has profoundly influenced the field of music psychology and cognition. The underlying thread throughout the book is the extraordinary complexity of the auditory system and the wide range of individual differences among listeners.\" * Jonathan Berger, Denning Family Provostial Professor in Music, Stanford University *\u003cbr\u003eDiana Deutsch's pioneering work on auditory illusions opened up a crack through which music and speech perception could be understood in new ways. This engaging volume, laced with anecdotes and firsthand accounts, should pique anyone's curiosity about how the mind hears.\" * Elizabeth Hellmuth Margulis, Professor, Princeton University *\u003cbr\u003eThe Yanny-Laurel meme and other audio illusions actually say quite a bit about the perception of music and speech and the organization of the human brain. Diana Deutsch, the world's foremost expert on these fascinating \"perceptual anomalies,\" makes compelling arguments for a variety of issues, such as that music and speech originated from a protolanguage; that our past experience unconsciously affects what we hear; that music theory can now be put to experimental tests. She has shown that absolute pitch, once thought to be completely hereditary and extremely rare, is not at all unusual among musicians in China, where a tone language is spoken. Anyone who has been mesmerized by Necker cubes and Escher prints will find this book engrossing and entertaining-it is a mind-expanding, ear-opening tour de force.\" * Philip Yam, Science Editor and former Online Managing Editor for Scientific American Magazine *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eList of Modules (QR codes) Acknowledgments Introduction Chapter 1: Music, Speech, and Handedness Chapter 2: Some Musical Illusions are Discovered Chapter 3: The Perceptual Organization of Streams of Sound Chapter 4: Strange Loops and Circular Tones Chapter 5: The Tritone Paradox: An Influence of Speech on How Music is Perceived Chapter 6: The Mystery of Absolute Pitch: A Rare Ability That Involves both Nature and Nurture Chapter 7: Phantom Words: Our Knowledge, Beliefs and Expectations Create Illusions of Speech Chapter 8: Catchy Music and Earworms Chapter 9: Hallucinations of Music and Speech Chapter 10: The Speech-To-Song Illusion: Crossing the Borderline between Speech and Song Chapter 11: Speech and Music Intertwined: Clues to Their Origins Notes References Index","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732672262487,"sku":"9780197672280","price":19.1,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780197672280.jpg?v=1719997891"},{"product_id":"desire-in-chromatic-harmony-9780197752203","title":"Desire in Chromatic Harmony","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eIn Desire in Chromatic Harmony, Kenneth Smith reveals how composers used chromatic and dissonant chord progressions to mirror the psychological tension and complexity found in the work of psychoanalytic writers.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eIn this simultaneously psychodynamic and music-theoretical discussion of the Oedipal triangle of Tonic, Subdominant, and Dominant functions in fin-de-siècle music, Kenneth Smith offers a potent new theory of how late tonal music played its part in the development of modern concepts of psychological desire. Scintillating, challenging, and always engagingly written, this book makes a decisive contribution to our understanding of the libidinal landscape of musical modernity. * J. P. E. Harper-Scott, Professor of Music History and Theory, Royal Holloway, University of London *\u003cbr\u003eIn Desire in Chromatic Harmony, Kenneth Smith explains the unexplainable. And does so in compelling readable prose. Lying at the intersection of psychology, critical theory, philosophy, music theory, and historical musicology, Smith invites the reader into an in-depth yet unassuming contemplation of complicated music-analytical themes — through the chromaticism of Ives, Copland, Szymanowski, Strauss, Suk and Skryabin — from the 19th century right up to today. Something of a post-poststructuralist account of the philosophy of desire in music through the useful psychoanalytic notion of psychodynamics, Smith's incisive work will surely be required reading for all in the music academy, and beyond. In short, a great read. * Philip Ewell, Associate Professor, Hunter College *\u003cbr\u003eKenneth Smith's scintillating new book is the best kind of interdisciplinary work: psychoanalysis becomes not a goal of music theory here, but its drive, the engine for a real adventure in concept-making. It rewards the mind but also the ears, which cannot hear this endlessly beguiling repertoire in the same way afterwards. A rabbit-hole of a good read! * Seth Brodsky, Associate Professor of Music, University of Chicago *\u003cbr\u003eThis book is integrative, since Smith has considered the various approaches to chromatic music with an ecumenical attitude...An attractive addition is that he broadens the usual scope of these kinds of studies to consider music outside the German tradition...Up front, Smith's Desire in Chromatic Harmony brings to fruition many of the promises of the scholarly inquiry around chromatic harmony. * Michael L. Klein, Temple University, Music and Letters *","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732676850007,"sku":"9780197752203","price":999.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"the-oxford-companion-to-music-9780198662129","title":"The Oxford Companion to Music","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThe Oxford Companion to Music is one of the most famous music reference works of all time. This invaluable Companion now reappears in a completely new edition. Over a million words in length, it is the biggest, most authoritative, and most up to date single-volume music reference book available. The new edition draws on both the classic Oxford Companion to Music by Percy Scholes, first published in 1938, and the two-volume New Oxford Companion to Music, edited by Denis Arnold (1983), but is thoroughly revised and reimagined for the 21st century. Alison Latham has assembled a distinguished team of over 120 international contributors, bringing their distinctive voices to an exceptionally broad sweep of musical subjects ranging from composers, performers, conductors, individual works, instruments and notation, and forms and genres, to music scholarship and aesthetics, music education, broadcasting and publishing, all aspects of music theory, and performance practice, as well as jazz, popu\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eA well-loved friend returns ... The latest incarnation is in one volume, sports a stellar contributors' list and more than matches the authority of its immediate predecessor ... probably the best one-volume music reference book going. * Times Educational Supplement *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePreface ; Acknowledgements ; Contributors ; Abbreviations ; Oxford Companion to Music ; Index of people","brand":"Oxford University Press","offers":[{"title":"Default Title","offer_id":48732764635479,"sku":"9780198662129","price":38.24,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780198662129.jpg?v=1719998299"},{"product_id":"performing-music-research-methods-in-music-education-psychology-and-performance-science-9780198714545","title":"Performing Music Research Methods in Music","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003ePerforming Music Research is a comprehensive guide to planning, conducting, analyzing, and communicating  research in music performance. The book examines the approaches and strategies that underpin research in  music education, psychology, and performance science.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eThe book is particularly interesting from an educational perspective because of its applied focus and its structural features ... The book's structural features help to provide clarity of information and encourage independent learning, reflecting a model for good textbook writing practice. * Yanyi Lu, Educational Review *\u003cbr\u003ePerforming Music Research provides a comprehensive, accessible, and brilliantly written explanation of research technique, and an unparalleled teaching and learning resource that researchers in music education, music psychology, and performance science internationally and well into the future will all want to include in their library. * Gary E. McPherson, Ormond Chair of Music, Melbourne Conservatorium of Music, The University of Melbourne, Australia *\u003cbr\u003ePerforming Music Research takes students on a journey toward becoming a knowledgeable and productive scholar. Beginning with formulation of the research question, the text lays out a path through data collection processes and analysis techniques that embraces a diversity of methodological approaches. Guidance on scholarly presentations and publications completes the picture of the student as an emerging researcher. Drawing perspectives from across the music discipline, the authors provide relevant examples and address timely topics to effectively connect the doing of music with its systematic examination as a distinctive human phenomenon. This is an excellent guide for any student interested in the study of musical behaviors, attitudes, and practices. * Steven Morrison, Professor of Music, Music Education, Henry and Leigh Bienen School of Music, Northwestern University *\u003cbr\u003eThe authors have provided a start-to-finish manual of how to conceive, execute, analyse, and report empirical research on musical behaviour. Drawing on their extensive experience as researchers and teachers in music higher education, they have provided a resource which will be a useful refresher to experienced researchers as well as a systematic guide for novices. The authors illustrate fundamental principles of empirical research by well-chosen examples of contemporary music research, engagingly illustrating how, by following the general requirements of best research practice, musicians can gain better answers to the questions that concern them in their practice and pedagogy. It should be widely welcomed in conservatoires and university music departments as a valuable resource for researchers and teachers alike. * John Sloboda, Research Professor, Guildhall School of Music \u0026amp; Drama *\u003cbr\u003ePerforming Music Research is an essential read for anyone interested in interdisciplinary enquiry at the crossroads of music performance and music education, psychology, and performance science. In addition to providing a solid foundation for sound research, it provides a wealth of practical guidance, presented both with breadth and in depth, to guide the reader through the essential steps and common pitfalls of conducting research in music, informed by perspectives from multiple fields and supported by helpful learning resources. This book will no doubt become a central tool for training the next generation of music researchers, allowing them to navigate from one field to another and contribute to the advancement of musical knowledge and understanding. * Isabelle Cossette, Associate Professor Schulich School of Music, McGill University \/ Centre for Interdisciplinary Research in Music Media and Technology *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePreface Introduction Planning Research 1: Research questions 2: Methodological approaches 3: Research ethics Conducting Research 4: Observations 5: Documentation 6: Interviews 7: Surveys 8: Experiments Analyzing Research 9: Qualitative Analysis 10: Descriptive Statistics 11: Inferential Statistics: Foundations 12: Inferential statistics: Differences 13: Inferential statistics: Relationships Communicating Research 14: Communication and dissemination Resources Glossary Abbreviations and Symbols","brand":"Oxford University Press","offers":[{"title":"Default Title","offer_id":48732768305495,"sku":"9780198714545","price":42.27,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780198714545.jpg?v=1719998314"},{"product_id":"music-9780198726043","title":"Music","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eVery Short Introductions: Brilliant, Sharp, InspiringThe world teems with different kinds of music - traditional, folk, classical, jazz, rock, pop - and each type of music tends to come with its own way of thinking. Drawing on a wealth of accessible examples ranging from Beethoven to Chinese zither music, this Very Short Introduction considers the history of music and thinking about music, focussing on its social and cultural dimensions. Nicholas Cook balances the Western Classical traditions within the context of many other musical cultures in today''s world, tracing the way in which their development since the eighteenth century has conditioned present-day thinking and practice both within and beyond the West. He also considers the nature of music as a real-time performance practice; the role of music in contexts of social and political action; and the nature of musical thinking, including the roles played in it by instruments, notations, and creative imagination. In this new edition Cook explores the impact of digital technology on the production and consumption of music, including how it has transformed participatory music-making and the music business. He also discusses music''s position in a globalized world, from the role it played in historical processes of colonisation and decolonisation to its present-day significance as a vehicle of cross-cultural communication. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eAcknowledgements Introduction 1: Music in the moment 2: Thinking in music 3: The presence of the past 4: Music 2.0 5: Music in a global world References Further Reading Index","brand":"Oxford University Press","offers":[{"title":"Default Title","offer_id":48732771582295,"sku":"9780198726043","price":9.49,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780198726043.jpg?v=1719998329"},{"product_id":"the-oxford-handbook-of-music-psychology-9780198818830","title":"The Oxford Handbook of Music Psychology","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThe 2nd edition of the Oxford Handbook of Music Psychology updates the original landmark text, providing a comprehensive review of the latest developments in this fast growing area of research. With contributions from internationally recognised experts, it is an essential resource for students and researchers in psychology.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eThe  Oxford Handbook of Music Psychology  presents an extraordinarily comprehensive view of the many elements that constitute the psychology of music. In essence, it is a treasure trove of information and research findings about the role music plays in our lives. * Alan Swope, PsycCRITIQUES (American Psychological Association) *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePart 1: The origins and functions of music 1: Ian Cross: The nature of music and its evolution 2: Catherine J. Stevens and Tim Bryon: Universals in music processing: Entrainment, acquiring expectations and learning 3: Ian Cross and Elizabeth Tolbert: Music and meaning 4: Martin Clayton: The social and personal functions of music in cross-cultural perspective Part 2: Music perception 5: Thomas Stainsby \u0026amp; Ian Cross: The perception of pitch 6: Psyche Loui: Absolute pitch 7: Emmanuel Bigand and Bénédicte Poulin-Charronnat: Tonal cognition 8: Stephen McAdams and Bruno L. Giordano: The perception of musical timbre 9: Mari Riess Jones: Musical time 10: Mark A. Schmuckler: Tonality and contour in melodic processing 11: Bob Snyder: Memory for music Part 3: Responses to music 12: Donald A. Hodges: Bodily Responses to Music 13: Patrik N. Juslin: Emotional reactions to music 14: Alf Gabrielsson: The relationship between musical structure and perceived expression 15: David Huron: Aesthetics 16: Donald A. Hodges: The neuroaesthetics of music 17: Alika Greasley and Alexandra Lamont: Musical preferences Part 4: Music and the Brain 18: Laurel J. Trainor and Robert J. Zatorre: The neurobiology of musical expectations from perception to emotion 19: Psyche Loui: Disorders of music cognition 20: Simone Dalla Bella: Music and brain plasticity 21: Sebastian Jentschke: The relationship between music and language 22: Daniel J. Cameron and Jessica A. Grahn: The neuroscience of rhythm Part 5: Musical development 23: Richard Parncutt: Prenatal development and the phylogeny and ontogeny of musical behaviour 24: Sandra E. Trehub: Infant musicality 25: Alexandra Lamont: Music development from the early years onwards 26: E. Glenn Schellenberg: Music training and nonmusical abilities Part 6: Learning musical skills 27: Gary McPherson and Susan Hallam: Musical potential 28: Harald Jørgensen and Susan Hallam: Practicing 29: Helena Gaunt and Susan Hallam: Individuality in the learning of musical skills 30: Susan Hallam: Motivation to learn 31: Andrea Creech: The role of the family in supporting learning 32: Graham Welch and Adam Ockelford: The role of the institution and teachers in supporting learning Part 7: Musical performance 33: Eckart Altenmüller \u0026amp; Shinichi Furuya: Planning and performance 34: Andreas Lehmann and Reinhardt Kopiez: Sight reading 35: Roger Chaffin, Alexander P. Demos and Topher Logan: Performing from memory 36: Jane W. Davidson and Mary C. Broughton: Bodily Mediated Coordination, Collaboration, and Communication in Music Performance 37: Patrik N. Juslin and Erik Lindstrom: Emotion in music performance 38: Erica Bisesi and W. Luke Windsor: Expression and communication of structure in music performance: measurements and models 39: Dianna Theadora Kenny and Bronwen J. Ackermann: Optimizing physical and psychological health in performing musicians Part 8: Composition and improvisation 40: Jonathan Impett: Making a mark: The psychology of composition 41: Richard Ashley: Musical Improvisation 42: Peter R. Webster: Pathways to the Study of Music Composition by Preschool to Precollege Students Part 9: The role of music in our everyday lives 43: Alexandra Lamont, Alika Greasley and John Sloboda: Choosing to hear music: motivation, process, and effect 44: Annabel J. Cohen: Music in performance arts: Film, theatre and dance 45: Alf Gabrielsson, John Whaley and John Sloboda: Peak experiences with music 46: David J. Hargreaves, Raymond MacDonald and Dorothy Miell: Musical identities 47: Susan Hallam and Raymond MacDonald: The effects of music in community and education settings 48: Adrian C. North, David J. Hargreaves and Amanda E. Krause: Music and consumer behavior Part 10: Music Therapy 49: Shannon De l'Etoile: Processes of music therapy: Clinical and Scientific Rationales and Models 50: Corene Hurt-Thaut: Clinical Practice in music therapy 51: Barabara L. Wheeler: Research in music therapy 52: Stefan Mainka, Ralph K. W. Spintge and Michael Thaut: Music Therapy in Medical and Neurological Rehabilitation Settings Part 11: Conceptual frameworks, research methods and future directions 53: Adam Ockelford: Beyond Music Psychology 54: Michael Thaut: History and research 55: Susan Hallam, Ian Cross and Michael Thaut: Where now?","brand":"Oxford University Press","offers":[{"title":"Default Title","offer_id":48732795339095,"sku":"9780198818830","price":43.49,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780198818830.jpg?v=1719998433"},{"product_id":"world-music-a-very-short-introduction-very-short-introductions-9780198829140","title":"World Music A Very Short Introduction Very Short","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eFrom folk music to worldbeat, world music holds the power to evoke the exotic and give voice to the voiceless. This new edition shows how dramatic political changes are affecting the ways in which people produce and listen to world music, and addresses how new technologies and the internet alter the way we disseminate and listen to it.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePreface 1: In the beginning: myth and meaning in world music 2: The West and the world 3: Between myth and history 4: Music of the folk 5: Music of the nations 6: Diaspora 7: Colonial musics, post-colonial worlds, and the globalization of world music Further reading Index","brand":"Oxford University Press","offers":[{"title":"Default Title","offer_id":48732800516439,"sku":"9780198829140","price":8.54,"currency_code":"GBP","in_stock":true}]},{"product_id":"workbook-to-accompany-the-complete-musician-workbook-1-writing-and-analysis-9780199347100","title":"Workbook to Accompany The Complete Musician","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eThe best book on the market. It has a superior balance of basic and complex concepts, terms, exercises, and examples.\" - Peter Susser, Columbia University\u003cbr\u003eI love teaching out of The Complete Musician.\" - Don Traut, University of Arizona\u003cbr\u003eThe Complete Musician provides a more holistic approach to theory than other texts. This text will absolutely help students' performing abilities and how they approach and understand music.\" - Alex Nohai-Seaman, Suffolk County Community College\u003cbr\u003eThis text is comprehensive, extremely thorough, and sophisticated.\" - Jeffrey Loeffert, Oklahoma State University","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732841640279,"sku":"9780199347100","price":99.12,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780199347100.jpg?v=1719998630"},{"product_id":"music-leisure-education-historical-and-philosophical-perspectives-9780199381395","title":"Music Leisure Education Historical and","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThis book explores historical and philosophical connections between music, leisure, and education. Specifically, it considers how music learning, teaching, and participation can be reconceptualized in terms of leisure.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eREVIEW: Stephanie Pitts, Professor of Music Education, University of Sheffield, UK, Quote loaded: 24\/09\/2021.\u003cbr\u003eREVIEW: Gareth Dylan Smith, Assistant Professor of Music Education, Boston University , Quote loaded: 24\/09\/2021.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eAcknowledgements Preface PART I Chapter 1: Music, Leisure, and Education Chapter 2: Leisure and Living PART II Chapter 3: Progressive Times: Settlements, Rational Recreation, and Music Chapter 4: Progressive Times: Play, Music, and Education Chapter 5: The Fears and Promises of the 1920s and 1930s PART III Chapter 6: How Should One Live?: Leisure and Happiness (Well-being) Chapter 7: How One Should Live: Leisure and Work Chapter 8: Leisure, Music, and the Common Good Chapter 9: Music Education as Leisure Education Notes References Index","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732842099031,"sku":"9780199381395","price":32.49,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780199381395.jpg?v=1719998630"},{"product_id":"ethnomusicology-a-very-short-introduction-very-short-introductions-9780199794379","title":"Ethnomusicology A Very Short Introduction Very","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eEthnomusicology, an academic discipline founded in 1950, has been defined as the study of the music of others. This definition, at once whimsical and very nearly true, is incomplete. Many of its strongest threads have emerged because a person or a people have wanted to understand themselves, their history, and their identity.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"Rice's short book delivers a well-structured and comparatively accessible look both into the development of ethnomusicology and into important areas of research, introduces influential studies and researchers, and can well be recommended as a concise alternative to Bruno Nettl's more comprehensive The Study of Ethnomusicology.\"--Die Musikforschung\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eList of illustrations ; Chapter 1:  Defining ethnomusicology ; Chapter 2:  A bit of history ; Chapter 3:  Conducting research ; Chapter 4:  The nature of music ; Chapter 5:  Music and culture ; Chapter 6:  Individual musicians ; Chapter 7:  Writing music history ; Chapter 8:  Ethnomusicology in the modern world ; Chapter 9:  Ethnomusicologists at work ; References ; Further reading ; Suggestions for listening","brand":"Oxford University Press Inc","offers":[{"title":"Default Title","offer_id":48732889842007,"sku":"9780199794379","price":9.49,"currency_code":"GBP","in_stock":true}]},{"product_id":"the-voice-as-something-more-essays-toward-materiality-9780226647173","title":"The Voice as Something More  Essays toward","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003ePapers of the international conference \"A Voice as Something More,\" held at the University of Chicago in November 2015.","brand":"The University of Chicago Press","offers":[{"title":"Default Title","offer_id":48732914286935,"sku":"9780226647173","price":29.45,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780226647173.jpg?v=1719998930"},{"product_id":"composing-music-9780226732169","title":"Composing Music","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e","brand":"The University of Chicago Press","offers":[{"title":"Default Title","offer_id":48732917596503,"sku":"9780226732169","price":24.7,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780226732169.jpg?v=1719998943"},{"product_id":"django-generations-hearing-ethnorace-citizenship-and-jazz-manouche-in-france-9780226811000","title":"Django Generations  Hearing Ethnorace Citizenship","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e“\u003ci\u003eDjango Generations\u003c\/i\u003e offers a profound analysis of how Manouche Romanies navigate French denials of race and racism through what Siv B. Lie calls ‘ambivalent essentialism’—the set of incompatible qualities ascribed by and to this ethnicized and racialized group whose most famous ancestor is the guitarist Django Reinhardt. Drawing on deep ethnographic and historical research, Lie brilliantly develops a semiotic framework that both explicates the development and negotiation of local identities in jazz manouche and their connection to much broader processes of managing marginalization and the exigencies of capitalism.”” -- Ingrid Monson, Quincy Jones Professor of African American Music, Harvard University\u003cbr\u003e“A necessary addition for ethnomusicologists and scholars of Romani music, \u003ci\u003eDjango Generations\u003c\/i\u003e is aptly named because it gives voice to groups of Romani musicians who are forging contemporary identities in modern contexts while acknowledging past histories and cultural roots.” -- Adriana Helbig, University of Pittsburgh\u003cbr\u003e“In this book, Siv B. Lie explores the paradoxes of jazz manouche’s history and its relationship to the Manouche community without taking sides in the complex debates between musicians, institutions, and the industry. \u003ci\u003eDjango Generations\u003c\/i\u003e is a work of considerable intellectual sophistication.” -- Andy Fry, King’s College London\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eNotes on Terminology \u003cbr\u003e List of Figures   \u003cbr\u003e Introduction   \u003cbr\u003e Chapter One: Making Jazz Manouche \u003cbr\u003e Chapter Two: Cultural Activism’s Living Legacies \u003cbr\u003e Chapter Three: Generic Ontologies and the Stakes of Refusal\u003cbr\u003e Chapter Four: The Sound of Feeling \u003cbr\u003e Chapter Five: Heritage Stories \u003cbr\u003e Conclusion \u003cbr\u003e Acknowledgments \u003cbr\u003e Appendix 1: Glossary \u003cbr\u003e Appendix 2: List of Formal Interviews \u003cbr\u003e Notes                                                                                                                                      \u003cbr\u003e References   \u003cbr\u003e Index ","brand":"The University of Chicago Press","offers":[{"title":"Default Title","offer_id":48732922511703,"sku":"9780226811000","price":25.65,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780226811000.jpg?v=1719998963"},{"product_id":"sounding-latin-music-hearing-the-americas-big-issues-in-music-9780226825687","title":"Sounding Latin Music Hearing the Americas Big","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e“Original and insightful, \u003ci\u003eSounding Latin Music, Hearing the Americas\u003c\/i\u003e is carefully researched in terms of historical framework, painstakingly structured and argued, and well written. Though the author's expertise is primarily musicological, his erudition spans several fields, and allows him to cover theoretical, historical, and disciplinary terrain that most scholars would be well advised not to attempt. In short, no one else could have written this tour de force.” * Jason R. Borge, University of Texas at Austin *\u003cbr\u003e“This is a powerful, insightful, and enlightening book by a major thinker in his field with an impressive command of the literature and musical repertoire of Latin America as well as Latinos in the United States. Moreno writes consciously as an intellectual ‘migrant’ at the crossroads of music studies, Latin American studies, cultural studies, and American studies. The theoretical contributions of this book are palpable, and it is humanized by the author being so conversant in popular music for mass audiences.” * Timothy Brennan, University of Minnesota *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePreface\u003cbr\u003e Introduction\u003cbr\u003e 1 Reckoning with Letters: “Pedro Navaja” and Aural Equality\u003cbr\u003e 2 Crossing Under (and Beyond)\u003cbr\u003e 3 Shakira’s Cosmopolitanisms\u003cbr\u003e 4 Histories and Economies of Afro-Latin Jazz\u003cbr\u003e 5 Act, Event, and Tradition: Miguel Zenón and the Aurality of the Unthinkable\u003cbr\u003e Conclusion\u003cbr\u003e Acknowledgments\u003cbr\u003e Notes\u003cbr\u003e Bibliography\u003cbr\u003e Index","brand":"The University of Chicago Press","offers":[{"title":"Default Title","offer_id":48732930015575,"sku":"9780226825687","price":26.6,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780226825687.jpg?v=1719998994"},{"product_id":"the-classical-music-book-9780241301975","title":"The Classical Music Book","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003eLearn about the world''s greatest classical compositions and musical traditions in\u003ci\u003e The Classical Music Book\u003c\/i\u003e.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003ePart of the fascinating Big Ideas series, this book tackles tricky topics and themes in a simple and easy to follow format. Learn about Classic Music in this overview guide to the subject, brilliant for novices looking to find out more and experts wishing to refresh their knowledge alike! \u003ci\u003eThe Classical Music Book\u003c\/i\u003e brings a fresh and vibrant take on the topic through eye-catching graphics and diagrams to immerse yourself in. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eThis captivating book will broaden your understanding of Classical Music, with:\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e- More than 90 pieces of world-famous music \u003cbr\u003e- Packed with facts, charts, timelines and graphs to help explain core concepts\u003cbr\u003e- A visual approach to big subjects with striking illustrations and graphics throughout\u003cbr\u003e- Easy to follow text makes topics accessible for people at any level of understanding\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Classica\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eIt really is a fantastic book. * Steve Wright BBC Radio 2 *\u003cbr\u003eAn engaging and informative read. * BBC Music Magazine *\u003cbr\u003eIf you enjoy classical music and want to know more, \u003ci\u003eThe Classical Music Book\u003c\/i\u003e is for you. * People's Friend *\u003c\/i\u003e\u003c\/p\u003e","brand":"Dorling Kindersley Ltd","offers":[{"title":"Default Title","offer_id":48732990898519,"sku":"9780241301975","price":16.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780241301975.jpg?v=1719999184"},{"product_id":"this-is-your-brain-on-music-9780241987353","title":"This is Your Brain on Music","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003eFrom the author of \u003ci\u003eThe Changing Mind\u003c\/i\u003e and \u003ci\u003eThe Organized Mind\u003c\/i\u003e comes The\u003ci\u003e New York Times \u003c\/i\u003ebestseller which unravels the mystery of our perennial love affair with music\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003e*****\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003e''What do the music of Bach, Depeche Mode and John Cage fundamentally have in common?'' \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eMusic is an obsession at the heart of human nature, even more fundamental to our species than language. \u003cbr\u003e\u003cbr\u003eFrom Mozart to the Beatles, neuroscientist, psychologist and internationally-bestselling author Daniel Levitin reveals the role of music in human evolution, shows how our musical preferences begin to form even before we are born and explains why music can offer such an emotional experience.\u003cbr\u003e\u003cbr\u003eIn \u003ci\u003eThis Is Your Brain On Music \u003c\/i\u003eLevitin offers nothing less than a new way to understand music, and what it can teach us about ourselves. \u003cbr\u003e\u003cbr\u003e\u003ci\u003e*****\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e''Music seems to have an almost wilful, evasive quality, defying simple explanation, so that the more we find out, the more there is to know . . . Daniel Levitin''s book is an eloquent and poetic exploration of this paradox'' Sting\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e''You''ll never hear music in the same way again'' \u003ci\u003eClassic FM magazine\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e''Music, Levitin argues, is not a decadent modern diversion but something of fundamental importance to the history of human development'' \u003ci\u003eLiterary Review\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eFluent and readable... [Levitin] rightly insists that we are all better equipped to perform and appreciate music than we think... We are, he says, hard-wired for music. * Observer *\u003cbr\u003eConsistently interesting... Music, Levitin argues, is not a decadent modern diversion but something of fundamental importance to the history of human development * Literary Review *\u003cbr\u003eEndlessly stimulating -- Oliver Sacks\u003cbr\u003eMusic seems to have an almost willful, evasive quality, defying simple explanation, so that the more we find out, the more there is to know... Daniel Levitin's book is an eloquent and poetic exploration of this paradox -- Sting\u003cbr\u003eYou'll never hear music in the same way again * Classic FM magazine *","brand":"Penguin Books Ltd","offers":[{"title":"Default Title","offer_id":48733432578391,"sku":"9780241987353","price":10.44,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780241987353.jpg?v=1720000056"},{"product_id":"the-world-in-six-songs-9780241987810","title":"The World in Six Songs","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eDividing the sum total of human musical achievement, from Beethoven to The Beatles, Busta Rhymes to Bach, into just six fundamental forms, Levitin illuminates, through songs of friendship, joy, comfort, knowledge, religion and love, how music has been instrumental in the evolution of language, thought and culture. And how, far from being a bit of a song and dance, music is at the core of what it means to be human.\u003cbr\u003e\u003cbr\u003eA one-time record producer, now a leading neuroscientist, Levitin has composed a catchy and startlingly ambitious narrative that weaves together Darwin and Dionne Warwick, memoir and biology, anthropology and a jukebox of anecdote to create nothing less than the '' soundtrack of civilisation'' .\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eA \u003cb\u003efantastic\u003c\/b\u003e ride * New Scientist *\u003cbr\u003e\u003cb\u003eMasterful\u003c\/b\u003e ... Eminently enjoyable * Los Angeles Times *\u003cbr\u003e\u003cb\u003eExquisitely well-written\u003c\/b\u003e and easy to read, serving up a great deal of scientific information in a gentle way for those of us who are - or just think we are - a bit science-phobic * Huffington Post *\u003cbr\u003e\u003cb\u003eFascinating\u003c\/b\u003e. 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The change heralds a fundamental shift in how Balinese think about gender roles and the gender behavior taught in children''s music education. It also makes visible a national reorganization of the arts taking place within debates over issues like women''s rights and cultural preservation. Sonja Lynn Downing draws on over a decade of immersive ethnographic work to analyze the ways Balinese musical practices have influenced the processes behind these dramatic changes. As Downing shows, girls and young women assert their agency within the gamelan learning process to challenge entrenched notions of performance and gender. One dramatic result is the creation of new combinations of femininity, musicality, and Balinese identity that resist messages about gendered behavior from the Indonesian nation-state and beyond. Such experimentation expands the accepted gender aes\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"I read this book with great pleasure, interest, and excitement. Downing effectively grounds her main argument and supporting points through analysis of her rich ethnographic data. Not only am I convinced, but I felt like I was in Bali with her, meeting her consultants, hearing them speak, getting a sense of their personalities, and watching them grow and mature.\"--Christina Sunardi, author of \u003ci\u003eStunning Males and Powerful Females: Gender and Tradition in East Javanese Dance\u003c\/i\u003e\u003cbr\u003e\"Deftly painting a close-grained landscape mixing Balinese voices and perspicuous eyewitness reflection, Downing guides us through inspiring stories of girls and women making music in millennial Bali, where few had made it before. The characters and friendships feel so alive because they are changing their world from the bottom up. Their experience of our lived moment is powerfully resonant and inspires reflection on changing gender roles far beyond Bali.\"--Michael Tenzer, University of British Columbia\u003c\/div\u003e","brand":"University of Illinois Press","offers":[{"title":"Default Title","offer_id":48733440180567,"sku":"9780252084553","price":19.79,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780252084553.jpg?v=1720000086"},{"product_id":"sound-actions-conceptualizing-musical-instruments-9780262544634","title":"Sound Actions Conceptualizing Musical Instruments","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eA techno-cognitive look at how new technologies are shaping the future of musicking.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e “Musicking” encapsulates both the making of and perception of music, so it includes both active and passive forms of musical engagement. But at its core, it is a relationship between actions and sounds, between human bodies and musical instruments. Viewing musicking through this lens and drawing on music cognition and music technology, \u003ci\u003eSound Actions \u003c\/i\u003eproposes a model for understanding differences between traditional acoustic “sound makers” and new electro-acoustic “music makers.”\u003cbr\u003e \u003cbr\u003eWhat is a musical instrument? How do new technologies change how we perform and perceive music? What happens when composers build instruments, performers write code, perceivers become producers, and instruments play themselves? 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On musicology east and west\u003cbr\u003e\u003cbr\u003e Index","brand":"University of California Press","offers":[{"title":"Default Title","offer_id":48733843784023,"sku":"9780520344297","price":28.9,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780520344297.jpg?v=1720001866"}],"url":"https:\/\/bookcurl.com\/collections\/theory-of-music-and-musicology.oembed?page=50","provider":"Book Curl","version":"1.0","type":"link"}