Theory of music and musicology Books

Book SynopsisMusicians have always been migratory frontrunners, and musical encounters have always generated nodes of cultural complexity. Seachanges brings together original essays that complicate Mediterranean and Atlantic histories and foreground music in mobility studies, from Turkish songs in France to Indigenous musicians in Latin America, and more.Trade ReviewSeachanges is a beacon of brilliant light in an ocean of present migration darkness and despair, pointing the way toward new ways of making genuinely global histories of music. -- Richard Wistreich * Journal of the American Musicological Society *

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Book SynopsisTrade Review"Visualizing Music provides a rich visual overview of the discipline of music theory while offering practical suggestions for scholars."—Timothy Koozin, Moores School of Music, University of HoustonTable of ContentsPrefaceAcknowledgmentsAccessing Audiovisual MaterialsIntroductionPart 1: Preliminaries1. Leveraging the Power of the Brain2. The Role of Metaphor3. Multivariate Images4. Telling a Story5. Facilitating Comparison6. Information Layers7. Information Integration8. Making Every Part of an Image Count9. Presenting Tabular Data10. Small Multiples11. Using Color12. Additional General Principles13. Case Study: Western NotationPart 2: Musical Spaces14. Pitch Spaces15. Collections, Scales, and Modes16. The Circle of Fifths17. The Tonnetz18. Atonal Spaces19. Symmetrical Pitch Structures20. Tonal Hierarchy, Tendency, Progression21. The Overtone SeriesPart 3: Musical Time22. Basic Durations23. Unmeasured Musical Time24. Musically Measured Musical Time25. Externally Measured Musical Time (Performance Timing)26. ProportionPart 4: Pitch, Texture, Timbre, Form27. Textual Representations of Pitch28. Piano Roll Notation29. Alternate Notational Systems30. Tuning and Temperament31. Microtuning32. Timbre33. Texture34. Voice Leading35. Schematic and Procedural Representations36. Formal Models37. Pitch-Class Set Tables38. Instrument Ranges39. TranslationsPart 5: Music Analysis40. Lutosławksi's Jeux Venitiens41. Annotating Musical Scores42. Thematic Analysis43. Contour Analysis44. Tonal Plans45. Symmetry in Music Analysis46. Rhythmic Analysis47. Formal Analysis48. Hierarchy in Music49. Serialism50. Corpus Studies51. Musical Chronologies, Influences, and Styles52. AnimationPart 6: Visualization in the Professional Realm53. Conference Handouts54. Presentation Slide Shows55. Conference Posters56. Print Publication57. The Essential Visualization ToolboxEpilogueBibliographyIndex

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Book SynopsisAn examination of the history and waning culture of zar in Egypt, and the world in which Muslim women negotiate relations with spiritsZar is both a possessing spirit and a set of reconciliation rites between the spirits and their human hosts: living in a parallel yet invisible world, the capricious spirits manifest their anger by causing ailments for their hosts, which require ritual reconciliation, a private sacrificial rite practiced routinely by the afflicted devotees. Originally spread from Ethiopia to the Red Sea and the Arabian Gulf through the nineteenth-century slave trade, in Egypt zar has incorporated elements from popular Islamic Sufi practices, including devotion to Christian and Muslim saints. The ceremonies initiate devotees—the majority of whom are Muslim women—into a community centered on a cult leader, a membership that provides them with moral orientation, social support, and a sense of belonging. Practicing zar rituals, dancing to zar songs, and experiencing trance restore their well-being, which had been compromised by gender asymmetry and globalization.This new ethnographic study of zar in Egypt is based on the author’s two years of multi-sited fieldwork and firsthand knowledge as a participant, and her collection and analysis of more than three hundred zar songs, allowing her to access levels of meaning that had previously been overlooked. The result is a comprehensive and accessible exposition of the history, culture, and waning practice of zar in a modernizing world.Table of ContentsAcknowledgments Note on Transliteration and Translation 1. Introduction Anthropological Understanding of Zar and Spirit Possession Anthropological Theories of Spirit Possession From Collector to Ethnographer Doing the Ethnography of Zar in Cairo Methodological Strategies: Storytelling and Collage Description of Chapters 2. From Abyssinia to Cairo: The Zar Ritual Complex Introduction: Origin and Etymology Egyptian Zar as a Transnational Phenomenon Egyptian Conceptions of Zar Zar and Islam Spirit Afflictions and Their Symptoms Gender, Class, and Zar Participation Zar Professionals: Leaders and Musicians The Zar Ritual Placation Process Zar Music and Dance Zar Paraphernalia Conclusion 3. The Zar Trade: Belonging to Tayfat al-Zar Introduction Historiographical Studies of Women in Cairo Zar as a Guild Corporation Historical Roots of Zar and Guild Incorporation Rituals The Stories of Professional Zar Diviners The Moral of the Stories Conclusion 4. Localization of Bodies in Time: Life Cycle and Other Crises Introduction The Crises of the Teenage Years Pregnancy and Birthing Menopause: The Grand Lady The Disintegrated Plastic Flowers Conclusion 5. Localization of Bodies in Space: A Ritual Sampler The Offering of Incense The Offering of Blood: The Sacrificial Rite The Grand Lady’s Procession The Mayanga: The Cemetery of the Spirits Conclusion 6. Saints and Spirits: Transformation of Traditions Introduction About Zar Songs Zar Songs as ‘Acts of Transfer’ The Historical Context of the Abul Gheit Song Cultural Memories The Golden Pair The Military Spirit Pantheon Zar Music Bands and Their Styles of Singing The Hybridization and Transformation of Musical Styles The History of the Song “Banat al-Handasa” Conclusion Song Samples Notes Bibliography Index

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Book SynopsisAn insightful biography of the great composer, revealing Schubert’s complex and fascinating private life alongside his musical geniusTrade Review“A fascinating and invaluable addition to this burgeoning literature. . . . No one alive is better equipped to slay the various Schubert myths—and her biography is undoubtedly the most scrupulous and best-informed so far.”—Ivan Hewett, The Telegraph“[A] remarkably informative book, revealing musical and historical insights that have long been hidden.”—Laura Tunbridge, Times Literary Supplement“This is fascinating material. . . . Illuminating observations, which are numerous, are embedded in thornier material.”—Henrietta Bredin, Country Life“Such insights, such close reading and empathetic understanding of the motives of the figures involved make this an invaluable addition to Schubert biography.”—David Threasher, Gramophone“With her unique combination of archival zeal, literary brilliance, meticulous knowledge of scholarly sources, and incisive musical acumen, Lorraine Byrne Bodley has produced a masterpiece: a fascinating and nuanced biography that does full justice to this complex, towering figure.”—Michael Beckerman, Carroll and Milton Petrie Professor of Music, New York University“This is a biography for the ages. Its scholarship is oceanic, and its profoundly empathetic engagement with Schubert as man and musician is steeped in the felt life and thought of early nineteenth-century Vienna. A heroic, serenely-considered and compelling achievement.”—Harry White, professor of music, University College Dublin“Lorraine Byrne Bodley is a gifted storyteller who guides the reader through Schubert’s life with deep psychological insight. This illuminating book connects the biography and the musical works of the troubled wayfarer, creating an intriguing link between the author’s life and the protagonist of his famous Winterreise.”—Andrea Lindmayr-Brandl, director of the Schubert Research Centre, Austrian Academy of Sciences, professor of music, University of Salzburg“This book is an event: Lorraine Byrne Bodley slays any number of calcified myths, delves into European sources never explored before in this depth, and loops back and forth between works and biography in a way that illumines both. All Schubert-lovers will gain much from this revelatory magnum opus.”—Susan Youens, Emeritus Professor of Music, University of Notre Dame“This biography, written with empathy palpable on every page, draws a multifaceted portrait of both the man and the composer Schubert—a fascinating picture in which life and works are related to each other in many ways.”—Thomas Seedorf, president, International Schubert Society, NSA

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Book SynopsisThe Technique of Orchestration Workbook, Seventh Edition, accompanies the textbook of the same namethe definitive resource on the study of orchestrationproviding musical excerpts, full scores, and scoring assignments to enrich the lessons learned in the textbook. Spanning an array of periods and styles, the musical examples collected here cover scoring techniques in the following sections: Strings Woodwinds Brass Scoring of Chords Transcribing Piano Music Scoring for Woodwinds, Horns, and Strings Percussion Harp and Keyboard Instruments Scoring for Full Orchestra Additional learning tools include transposition exercises, error detection drills, and discussions on harmonics, while the workbook pages are perforated throughout for ease of use in and out of the classroom. Featuring the music of Bach, Mozart, Brahms, Beethoven, Schumann, Copland, Bartók, and many more, The Technique

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Book SynopsisHow do the temporal features of sacred music affect social life in South Asia? Due to new time constraints in commercial contexts, devotional musicians in Bengal have adapted longstanding features of musical time linked with religious practice to promote their own musical careers. The Politics of Musical Time traces a lineage of singers performing a Hindu devotional song known as kirtan in the Bengal region of India over the past century to demonstrate the shifting meanings and practices of devotional performance. Focusing on padabali kirtan, a type of devotional sung poetry that uses long-duration forms and combines song and storytelling, Eben Graves examines how expressions of religious affect and political belonging linked with the genre become strained in contemporary, shortened performance time frames. To illustrate the political economy of performance in South Asia, Graves also explores how religious performances and texts interact with issues of nationalism, gender, and economTrade ReviewScholarship has established that arts exist through complex networks with historical time; aesthetic forms have distinctive rhythmic-temporal lives; and devotional meditations are based on diurnal, mythical and other time-based imaginings. Yet, The Politics of Musical Time brings these dimensions together in a most original manner, throwing sharp analytical light on synchronic and diachronic relations between musical and social temporalities in Bengal. It does so by analyzing the materiality of sonic time as a highly nuanced expansion of relations between affect and economy, meaning and rhythm, the past and the contemporary, devotion and context, and aesthetics and everyday life. It is a unique and significant contribution to studies of South Asian religions, aesthetics, and historical and contemporary time. -- Sukanya Sarbadhikary, author of The Place of Devotion: Siting and Experiencing Divinity in Bengal-VaishnavismTable of ContentsAccessing Audiovisual MaterialsAcknowledgmentsNotes on Spelling and TransliterationNotes on Representing Musical SoundNotes on Dating SystemsIntroduction: Kīrtan's Influence Derives from TimePart I: Genealogies of Kīrtan1. Temporality and Devotional Performance in Bengal2. The Seeds of Kīrtan: Histories and Imaginaries of Devotional Song in Early Modern Bengal3. Devotional Song Arrives in the City: Histories of Patronage and Images of the Devout Musician in the Colonial Period4. Institutional Pasts and Professional Futures: Temporalities of Instruction and Performance in Contemporary West BengalPart II: The Devotional Aesthetics of Musical Expansion5. Word-Pictures: Expansions of Mood and Meaning in Kīrtan Song Texts6. Sonic Synchronies of Tāl Theory7. The Divine Play of the Tax Collector: Musical Expansion, Embodied Response, and Didactic Storytelling in a Līlā KīrtanPart III: The Shrinking Markets for Expanding Songs8. The Marketplace of Music Festivals: Modern Social Time and Musical Labor9. Media Markets: Visualization and the Abstraction of Musical Time10. Conclusion: Kīrtan OnlineGlossaryBibliographyIndex

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Book SynopsisPerforming Electronic Music Live lays out conceptual approaches, tools, and techniques for electronic music performance, from DJing, DAWs, MIDI controllers, traditional instruments, live sound design, hardware setups, custom software and hardware, to live visuals, venue acoustics, and live show promotion. Through case studies and contrasting tutorials by successful artists, Kirsten Hermes explores the many different ways in which you can create memorable experiences on stage. Featuring interviews with highly accomplished musicians and practitioners, readers can also expand on their knowledge with hands-on video tutorials for each chapter via the companion website, performingelectronicmusic.live. Performing Electronic Music Live is an essential, all-encompassing resource for professionals, students of music production courses, and researchers in the field of creative-focused performance technology. Table of ContentsChapter 1 – General Advice1. The concept2. Confidence and preparation2.1 Effective rehearsal2.2 Dealing with stage fright2.3 Stepping into the performance persona2.4 Using feedback and being prepared for rejection3. Quality of the production4. Factors that determine the setup choice4.1 The music – genre and composition4.2 The act – personality, motivation and skills4.3 Band members and skills4.4 The performance situation4.4.1 The audience4.4.2 The venue and playback system4.4.3 Risk4.4.4 Budget4.4.5 Need for portabilityTutorial and takeaway points5. ReferencesChapter 2 – DAWs and Controllers1. Non-linearity of time2. Overview of performance DAWs2.1 Ableton Live2.2 Bitwig2.3 Maschine2.4 Logic Pro X2.5 Motu Digital Performer2.6 FL studio2.7 Standalone hardware DAW equivalents3. Plugging in hardware3.1 Live arrangement3.2 One-shots and finger drumming3.3 Performing on software instruments3.4 Controlling audio effects3.5 Other external hardware4. Prepared musical material and live recording5. Collaboration6. Randomness and generative approaches7. Customising the performance interface8. Performing live in more studio-oriented DAWs9. Working with visuals10. Recording the showTutorialFrom a complex studio production to an intuitive live setLooping clipsOne-shotsFollow actionsLive effectsLive keys and vocalsVisuals11. Takeaway pointsReferencesInterview with Robert HenkeChapter 3 – MIDI and CV Performance Controllers1. CV/GATE2. The MIDI protocol2.1 MIDI messages in the MIDI 1 protocol2.2 MIDI 2.03. Types of performance controllers3.1 Buttons3.2 Continuous signals: knobs, faders, sliders3.3 Controllers that resemble traditional musical instruments.3.4 Modular controllers3.5 Motion-controlled performance hardware3.6 Turning non-musical hardware into MIDI controllers3.7 MIDI Polyphonic Expression3.8 Sequencers3.9 Clock signals and MIDI routingTutorial4. Takeaway pointsReferencesChapter 4 – DJing and Turntablism1. A short history of DJing2. Types of DJ in the present day2.1 Touring artist-DJs2.2 Resident DJs2.3 Mobile event DJs2.4 Radio DJs2.5 Online DJ-producers3. DJ techniques3.1 Mixing techniques and turntablism3.2 Virtuoso turntablism3.3 Effects and audio processing3.4 Programming4. DJ tools available today4.1 DJ software and hardware controllers4.2 CDJs4.3 Going retro: using Vinyl for DJing4.4 Headphones, monitors and microphones4.5 Streaming tracks from online platformsTutorial: three DJ setups presented by Dan MurrayPreparationDJ skills and techniquesBeatmatching on vinylGetting creative on CDJsWorking with a hybrid setupPerformance styles5. Takeaway pointsReferencesInterview with Alex M.O.R.P.HChapter 5 - Incorporating Acoustic Instruments and Vocals 1. Traditional instruments in electronic music2. Fusion genres3. Live instruments and vocals that are not on the record4. Instruments that are on the record but not on stage5. Microphones and DI boxes6. Effects and sound manipulation6.1 Vocal effects processing6.2 Vocoders and talk boxes6.3 Effects for other instrumentsTutorial – generated live vocal harmonies, violin and synth7. Takeaway pointsReferencesInterview with Matt RobertsonChapter 6 – Live Synthesis and Sound Design1. Synthesis technology1.1 Synthesis techniques1.1.1 Additive synthesis1.1.2 Subtractive synthesis1.1.3 FM synthesis1.1.4 Waveshaping synthesis1.1.5 Sampling1.1.6 Granular synthesis1.1.7 Wavetable synthesis1.1.8 Physical modelling synthesis1.2 Controls typically found on commercial synthesizers1.2.1 Oscillators1.2.2 Amplifier1.2.3 Amplitude envelope1.2.4 Filters1.2.5 Modulation1.2.6 Clock1.2.7 Effects, sequencing and arpeggiators1.2.8 Playback controls2. A rich history of artists shaping their sound through synthesis2.1 Retro-leaning synths used by current artists3. A brief history of sampling4. Using synths and samplers on stage4.1 Playing live on hardware synthesizers and samplers4.1.1 Choosing hardware synths4.1.2 Working with pre-programmed sequences4.1.3 Modular synthesizers on stage4.2 Performing live with software synthesizersTutorial5. Takeaway pointsReferencesChapter 7 – Performing without a Laptop1. Building blocks of a laptop-free setup1.1 Sound sources1.2 Control signal generators1.2.1 Clock signal generators1.3 Control signal routing tools1.4 Sound processors and effects1.5 Mixers2. All-in-one hardware tools3. Cabling and connectionsTutorial: a modular synthesizer setup (Matt Gooderson)Modular SystemsComponents of the Hardware SetupMelodyRhythmSound SourcesUtility ModulesMultipleQuantiserSample and HoldMixerAudio ModifiersComposition and Performance4. Takeaway pointsReferencesChapter 8 – Programming Custom Performance Tools1. Getting started with programming1.1 What is a program?1.2 What programming language should you learn?2. Inspiring artist examples2.1 Complete playback solutions2.2 Effects plug-ins and software instruments2.3 Expanding the functionality of hardware2.4 Automatic performance tools2.5 Letting the outside environment control the soundTutorial: introducing BBC R&D’s Audio Orchestrator, featuring Jon Francombe and Stephen DavismoonHow does Audio Orchestrator work?The Sequences pageThe Controls pageThe Audio pageThe Appearance pageThe Export page3. Patch It: modular music programming environments3.1 Max/MSP3.2 Pure Data3.3 Other node-based programming environments3.4 Node-based programming in action3.4.1 Effects processing3.4.2 Generative music3.4.3 Sampling and sequencing3.4.4 Working with external hardware3.4.5 Theatre showsTutorial: generative music in Max / MSP, featuring Francesc Moya SerraFirst steps and audio outputMetronome and timingSound triggering with the select objectUsing MIDI notes to perform on a VST synthRandom pitches in a subpatchAdding further complexityRandom note velocities and durationsModulating synthesis parametersFitting the random note pitches to a musical scalePercussionThe performance GUI4. Live coding: making EDM with algorithmsTutorial: an introduction to SuperCollider, featuring Eli FieldsteelThe interfaceGetting startedOscillator UGensCross-fading between soundsWorking with pre-recorded audio samplesWhat else is possible in SuperCollider?5. Takeaway PointsReferencesInterview with Holly HerndonChapter 9 – Building Custom Hardware Tools1. New instruments built from scratch2. The human body as musical instrument3. Adding functionality to existing instruments4. Performing music on toys and household items5. How can you get started?Tutorial: Optical Theremin inside a Game Boy Shell with Rainbow Trash (Dominique Pelletier)What you will needCasingElectronicsTesting connectionsSoldering connectionsClosing up the caseOther things you can do...6. Takeaway pointsReferencesChapter 10 – The Performance Setting1. Common live sound technology2. The soundcheck3. Live sound mixing4. Spaces4.1 Arenas and stadiums4.2 Large Festivals4.3 Nightclubs4.4 Warehouse raves4.5 Concert halls4.6 Outdoor theatres4.7 Small and intimate shows4.8 Controlled acoustic spaces4.9 Installations4.10 Remote settings and streamingTutorial: a large redundancy playback rig, featuring Steven MasseyStems for playbackUninterruptible power supplyRedundancy playback rigOutput routing via a split rackThe monitor mixThe live mix5. Takeaway pointsReferencesInterview with Laura EscudéChapter 11 – Stage Design and Visual Parameters1. Tools for creating visual interest1.1 Moving visuals1.2 Lighting1.3 Dancing and acting1.4 Fashion1.5 Stage design2. What determines the choice of visual stage parameters?2.1 Artist identity2.2 Visual parameters that convey a narrative2.3 Creating an abstract connection between what is seen and heard2.4 Amplifying performance parametersTutorial 3. Takeaway pointsReferencesChapter 12 – Planning and Promotion1. Music branding principles1.1 Artist identity1.2 Target audience2. Creating marketing materials2.1 Visual materials2.2 Biography2.3 Press release2.4 Website2.4.1 A clear representation of the artist image2.4.2 Layout and content2.4.3 Search engine optimization2.5 Social media2.6 Hardcopy marketing materials3. Networking and gig opportunitiesTutorial: music industry Dos and Don’ts presented by Woody van EydenWhere am I now?Where do I want to be?What do I need to do to get there?Who can help me?What should I do in terms of networking?4. Takeaway pointsReferencesChapter 13 – Conclusion1 What do electronic musicians do on stage?2 What constitutes a great electronic music performance?3 How do I choose the concept for my show?3.1 A compelling Performance persona3.2 Virtuosic skills3.3 Technical know-how3.4 A compelling performance setting3.5 Liveness3.6 Core values3.7 Visual interest4 What does my audience expect?5 I am quite shy but I would like to perform live. What can I do?6 I cannot play any instruments or sing. Can I still perform live?7 Should I be a solo artist or form a band?8 What kind of tools do I need to perform electronic music live?9 There are so many different options. What is the right setup for me?10 Who creates electronic performance equipment?11 Where can I try out and buy performance equipment?12 I produce music in a DAW. How can I turn this into a live show?13 Should my live show sound like my record?14 What does "live" mean? Should every sound be created in the moment, or are backing tracks acceptable?15 Is it bad to mime and pretend that I am doing something on stage when I am not?16 I have never produced any music. Where do I begin?17 How should I prepare for my show?17.1 Practice17.2 Sound check17.3 Feedback18 How can I find gig opportunities?Thank you!

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Book SynopsisTrade Review"Grounded in Hahn's long engagement with teaching in a range of settings, Arousing Sense demonstrates a deep commitment to radical pedagogy, which is apparent in the accessibility, generosity, and care of her offerings. These recipes take seriously the well-being of both teacher and student, with exercises framed in terms of their ease, adaptability, and potency for generative, transformational experience." --Composition Studies "A wonderful collection of recipes for workshopping sensory experience, to be realized sometimes by individuals, often through group interaction. The recipes will be useful to leaders in any arts area; in teaching of writing, not just creative writing but also composition; in working with any group where an exploratory, collaborative, fun atmosphere is desirable; as well as in the specific ethnographic application that Hahn emphasizes."--Fred Everett Maus, coeditor of Oxford Handbook of Music and QueernessTable of ContentsCoverTitleCopyrightMenuList of IllustrationsAcknowledgmentsAuthor's Note1. Impulses2. Making Sense3. How to Use This Book—A Quick ReviewOrienting Ritualthe reticent composerClay in SpaceShifting Point of ViewBonding in Parallel, a Writing CollaborationScent of TimeStory ExchangePareidolia CrawlSound, MovingRepeat That!Broad Strokes, Then DetailsSensory FocusingTraces, PresenceTraces, TouchTraces, SurfaceReaching OutNow!BandingRolling TimeCircles, a Sound and Movement ExplorationInner Voice-OversBody PartsForming TimeThrough the PortalCuriosWearablesMe +Mending, a Recipe for OneDictionary RitualSell itHybrid-o-phonesThe Art of FollowingThe Art of Following—Movement, Sound, PresenceThe Art of Following—TactileRecipe as FormOne WordBoundaries and LimitationsSound and MemoryListen, as a Bird in FlightRecipe for KimikoFreewritingThe Size of Your Misconceptions by Edlyn TerrazasExcavating Time by Lorelei Wagner and Tomie HahnLemon Memories by Abdullah Alshehri“Now!” Recipe Responses17 Years as a Beat Cop by Michael SchriderBeyond Realism by Amelia FarquharsonOn Being an Eternal Scout by Katherine Tyrol8 Cordial ClosureReferencesIndexBack cover

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Book SynopsisMorley Calvert’s Suite from the Monteregian Hills is cherished by brass players globally and performed hundreds of times annually, making Calvert perhaps the most performed Canadian composer outside the country. And Harmony Abound is a fascinating picture of Calvert’s contribution to musical composition, education, and cultural fabric.Trade Review“The breadth of information in And Harmony Abound provides a pathway for potential ongoing research for years to come. Long overdue, it encompasses the life and work of an important composer. Keith Kinder underscores the contributions Morley Calvert has made to instrumental and choral communities in Canada.” Glen Gillis, University of Saskatchewan

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Book SynopsisPresents a thorough history of Slint, and the Louisville scene that surrounded the band, leading up to and focusing on the creation of their masterpiece, Spiderland. This book attempts to break through some of the mystery surrounding Spiderland and the band that made it.Trade Review"A growing Alexandria of rock criticism - Los Angeles Times, 2008 Ideal for the rock geek who thinks liner notes just aren't enough - Rolling Stone One of the coolest publishing imprints on the planet - Bookslut"Table of ContentsIntroduction; Part 1 - The Early Years; Part 2 - Slint, pre-Spiderland; Part 3 - Recording Spiderland; Part 4 - Track by Track Epilogue.

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Book SynopsisTrade Review[Audio Culture, Revised Edition] is often so stimulating that you're swept along and back into the music itself - and for those with a hunch that a whole world of sound exists beyond the concert hall, here's your entry point. * The Wire *[Audio Culture] is an indispensable primer full of the theories behind noise, Free-jazz, minimalism, 20th century composition, ambient, avant-garde and all the other crazy shit your square-ass friends can't believe you actually like. With writing and interviews from all the players in question (quoting Stockhausen is five points in hipster bingo), this book deconstructs all the essential ideas: Cage's themes, Eno's strategies, Zorn's games and Merzbow's undying love of porno. * CMJ New Music Monthly (of the first edition) *Audio Culture is the best introduction to the long historical fades and theoretical jumpcuts of what millions in the 21st C. now listen to as music: overwhelming noise and disturbed silences, unfettered Improv and indeterminate obstacles, the performance of recording, electricity, eclectics, mistakes and just the thought of music. * Douglas Kahn, author of Noise, Water, Meat: A History of Sound in the Arts, and Director of Technocultural Studies at the University of California, Davis (of the first edition) *The contributors include composers from the worlds of avant-garde classical music, pop, and jazz--e.g. John Cage, Karlheinz Stockhausen, and Pauline Oliveros--as well as cultural historians like Marshall McLuhan and Jacques Barzun and literary experimentalists such as William Burroughs....Students of contemporary music will find this compendium useful. * Library Journal (of the first edition) *Audio Culture is a book to provoke thought ... This is an excellent selection of texts. * Radical Philosophy (of the first edition) *It's a hideous fate to wish on an anthology as fine as Audio Culture, but if anyone's planning a college course on modern music, they couldn't find a better set text ... All in all, a wonderful book ... The glossary, bibliography and discography are exemplary, guaranteeing Audio Culture is going to be used rather than merely dipped or cribbed. Though you can bet that'll be happening to it as well. * The Wire (of the first edition) *Audio Culture's assemblage of key writings, texts, and manifestos spanning over a century tells that story better than just about anything else in print, while discovering new tributaries in the process. * Frieze (of the first edition) *This is a book that should be read in its totality - it's truly absorbing stuff. * Jazzwise (of the first edition) *Ever wondered how modern music in all its mesmerizing diversity really works? If so, then this is the book for you ... An endlessly fascinating read, a major reference resource, and great value for the money. * Classic FM Magazine (of the first edition) *Eminently readable ... Experimental music enthusiasts and the pipe-and-elbow patch crowd should find plenty in here to peak their interest ... Audio Culture doesn't limit itself to traditional ways of looking at music, just as it doesn't limit its rogue's gallery of contributors ... Topics such as minimalist compositions and noise-based music are finally given some long-overdue critical attention. * Creative Loafing (of the first edition) *Audio Culture: Readings in Modern Music is a cannily collected anthology of seminal music writing, your one-stop shopping destination for ear-opening essays on the nature and recent history of music. The obligatory pioneers and almost-pop icons are all there ... Audio Culture coeditors Christoph Cox and Daniel Warner range boldly and widely, embracing noise, soundscape listening, minimalism, glitch, plunderphonics, and collective music making ... Audio Culture passes the test of a good music book: It's easy to read, insightful, and inspiring. * The Stranger (of the first edition) *Growing steadily alongside a music-writing canon loaded with the likes of Greil Marcus and Lester Bangs, the body of work sampled in Audio Culture wanders far afield from rock and ponders questions that are less than concerned with ideals of human expression. In this sphere of influence, John Cage is Elvis Presley, Brian Eno's cerebral musings trump Lou Reed's tangy antagonism, sonics mean more than lyrics, and movements have yet to be surveyed entirely through a year view ... The best book of its kind, Audio Culture compiles essays and excerpts from artists, critics, and academics given to staring down music with no eyes to return the gaze ... From there, Audio Culture spreads to survey various facets of music and its production, and interpretation. The table of contents reads like a greatest-hits collection: Cage, Eno, Ornette Coleman, Steve Reich, David Toop, Kodwo Eshun, Simon Reynolds ... Audio Culture dangles intellectual threads fit to tie lifers and open-eared wonderers alike. * The Onion (of the first edition) *To be honest, no one looking at the collection of 57 well-chosen essays written by some of the biggest names in music and reprinted from books and publications well-noted for their contribution to music theory will be able to resist reading and buying the book. In fact, there is just so much that makes this book valuable that it is difficult to name them all. Both the content and the structure of Audio Culture add to its strength ... The end result is a complete and cohesive treatment of modern music. Anyone who has edited a collection knows that such an outcome is not an easy one to attain, but it is certainly achieved here ... With growing interest in sound on web-based environments and the ease with which to produce it, Cox and Warner's Audio Culture stands as a must-read for both aspiring artists and music theorists alike. * Leonardo (of the first edition) *Writings on the new music are frequently hidden away in hard-to-find, ephemeral publications, so a collection like this is welcome just by the fact that it brings all these items together ... A collection like this encourages us to realize how really vibrant and successful new music has been and continues to be - both because of and in spite of its ‘marginality' - and how fortunate we are to live in a time of its ascendancy. Cox and Warner have included well-organized discographies and bibliographies, and provide brief introductions to the individual entries, giving some background to each author's work and ideas. Audio Culture will certainly be a useful teaching tool in the field of cultural studies, aesthetics and musicology; and fans and devotees of new music will find a lot here to mull over as well. * Signal to Noise (of the first edition) *In Audio Culture, editors Christoph Cox and Daniel Warner bring to readers an educated, timely and much needed critical perspective of our contemporary musical experience through the writings of some of the most important musical thinkers, including Jacques Attali, John Cage, Umberto Eco, Brian Eno, Karlheinz Stockhausen, Edgar Varese, just to name a few. Audio Culture offers a collection of essays that filter a range of experimental musical practices in an unusually refreshing way. Maybe not since Gregory Whitehead's reader Wireless Imagination (1994) which recorded the ‘silent' history of audio, has literature on this subject sufficiently captured the attention of both the sound enthusiasts and academics at the same time ... The result is an elegant anthology that compiles the manifestos of ‘old masters' such as Italian Futurist Luigi Russolo and statements by Edgard Varese and John Cage while also spotlighting an interview on integration of technology into artistic production by Christian Marclay... It is to the credit of the book that it keeps up with the most interesting key texts and ideas in the field and does not make a huge demand on our Windows-culture-inflicted patience. The book is ambitious enough to cater to a broader audience and manages to respond to the numerous demands made upon it....makes the writings very accessible to readers who are not familiar with the author or topic under discussion. Texts and ideas come from a variety of sources ... Audio Culture succinctly captures the last fifty years that has been the most fascinating times for avant-garde experimentation, performances and sonic landscapes, By treating the existing rhizomic dots and lines between myriads of practices in a progressive fashion, it gives the last decade ... its attention and maybe its future vocabulary. * Rhizome.org (of the first edition) *...offers a collection of essays that filter a range of experimental musical practices in an unusually refreshing way....an intriguing selection of articles from a range of significant radio-sonic heroes as well as important thinkers and philosophers...an elegant anthology...ambitious... Audio Culture guides the readers an intellectual journey from the year 1877 when the first recording fundamentally transformed sound, towards almost better understanding our present culture of omnipresent ipod-users, polyphonic cell-phone ringers and Bjork's Medula, helping both the experts and enthusiasts to new ways of thinking, tracing, developing and presenting audio culture. * rhizome.org (Weekly Digest), 2/05 *Cox's and Warner's book is a wonderfully accessible anthology of essential readings for anyone-academics and enthusiasts alike-interested in the histories of experimental music and sound art. * Debra Singer, Executive Director, The Kitchen (of the first edition) *Cox and Warner's book is warmly recommended. It's highly unlikely that readers will have original copies of all the books and articles featured therein, so the simple fact that the editors have gone to the trouble of bringing them together in one volume is to be praised to the skies....Audio Culture is well worth the price of admission for the writings of Russolo, Cowell, Cage, Schafer, McLuhan, Reynolds, Eno and Cutler, to name but a few. * Paristransatlantic.com January 2005 - Blurb from reviewer *This updated collection remains the essential Baedeker for a woolly cultural landscape in which sound has proven itself to be so much more than just “music”. The historic range, aesthetic breadth, and diversity of contributors give the volume singular value in the growing field of sound studies. * Nicolas Collins, Professor, Department of Sound, The School of the Art Institute of Chicago, USA *Audio Culture is an indispensable resource not only in understanding the contexts and underpinnings of so much music - be it contemporary classical, jazz and improv, electronic music, hip hop and beyond, but also in showing how ideas around music and sound are part of a much wider cultural conversation. The book is brilliantly researched, well structured and includes fascinating reads and insights. * Anne Hilde Neset, Writer, Broadcaster and Director, Kunstnernes Hus, Norway *Table of ContentsAcknowledgments Introduction Part One: Theories I. Music and Its Others: Noise, Sound, Silence Introduction 1. Jacques Attali, “Noise and Politics” 2. Luigi Russolo, “The Art of Noises: Futurist Manifesto” 3. Edgard Varèse, “The Liberation of Sound” 4. Henry Cowell, “The Joys of Noise” 5. John Cage, “The Future of Music: Credo” 6. R. Murray Schafer, “The Music of the Environment” 7. Anne Carson, “The Gender of Sound” 8. Drew Daniel, “Queer Sound” 9. Kevin Quashie, “The Quiet of Blackness: Miles Davis and John Coltrane” II. Modes of Listening Introduction 10. Marshall McLuhan, “Visual and Acoustic Space” 11. Pierre Schaeffer, “Acousmatics” 12. Francisco Lopez, “Profound Listening and Environmental Sound Matter” 13. Brian Eno, “Ambient Music” 14. Pauline Oliveros, “Auralizing the Sonosphere” 15. Maryanne Amacher, “Perceptual Geography: Third Ear Music and Structure Borne Sound” 16. Evelyn Glennie, “Hearing Essay” 17. Iain Chambers, “The Aural Walk” 18. Annahid Kassabian, “Ubiquitous Listening” 19. Lawrence Abu Hamdan, “Forensic Listening” 20. Ultra-red, “Organizing the Silence” III. Music in the Age of Electronic Reproduction Introduction 21. Glenn Gould, “The Prospects of Recording” 22. Brian Eno, “The Studio as Compositional Tool” 23. John Oswald, “Bettered by the Borrower: The Ethics of Musical Debt” 24. Chris Cutler, “Plunderphonia” 25. Kodwo Eshun, “Operating System for the Redesign of Sonic Reality” 26. Kenneth Goldsmith, “Six File-Sharing Epiphanies” 27. Tara Rodgers, “Cultivating Activist Lives in Sound” Part Two: Practices IV. The Open Work Introduction 28. Umberto Eco, “Poetics of the Open Work” 29. John Cage, “Composition as Process: Indeterminacy” 30. Christoph Cox, “Every Sound You Can Imagine: On Graphic Scores” 31. Earle Brown, “Transformations and Developments of a Radical Aesthetic” 32. John Zorn, “The Game Pieces” 33. Anthony Braxton, “Introduction to Catalog of Works” 34. Lawrence “Butch” Morris, “Notes on Conduction” V. Experimental Musics Introduction 35. Michael Nyman, “Towards (a Definition of) Experimental Music” 36. John Cage, “Introduction to Themes & Variations” 37. Brian Eno, “Generating and Organizing Variety in the Arts” 38. Cornelius Cardew, Scratch Music Draft Constitution 39. David Toop, “The Generation Game: Experimental Music and Digital Culture” 40. Jennifer Walshe on “The New Discipline” 41. Yan Jun, “Re-Invent: Experimental Music in China” VI. Improvised Musics Introduction 42. Ornette Coleman, “Change of the Century” 43. Wadada Leo Smith, “Notes (8 Pieces): Creative Music” 44. Derek Bailey, “Free Improvisation” 45. Frederic Rzewski, “Little Bangs: A Nihilist Theory of Improvisation” 46. George E. Lewis, “Improvised Music After 1950: Afrological and Eurological Perspectives” 47. Vijay Iyer, “Improvisation: Terms and Conditions” 48. Mattin, “Going Fragile” 49. Trio Sowari et al., “27 Questions For a Start … And Some Answers to Begin With” VII. Minimalisms Introduction 50. Kyle Gann, “Thankless Attempts at a Definition of Minimalism” 51. Wim Mertens, “Basic Concepts of Minimal Music” 52. Steve Reich, “Music as a Gradual Process” 53. La Monte Young and Marian Zazeela, “Conversation with Richard Kostelanetz” 54. Tony Conrad, “LYssophobia: On Four Violins” 55. Susan McClary, “Rap, Minimalism and Structures of Time in Late Twentieth-Century Culture” 56. Philip Sherburne, “Draw a Straight Line and Follow It: Minimalism in Contemporary Electronic Dance Music” VIII. DJ Culture Introduction 57. László Moholy-Nagy, “Production–Reproduction: Potentialities of the Phonograph” 58. Situationist International, “Détournement as Negation and Prelude” 59. William S. Burroughs, “The Invisible Generation” 60. Paul D. Miller, “Algorithms: Erasures and the Art of Memory” 61. David Toop, “Replicant: On Dub” 62. Simon Reynolds, “Post-Rock” 63. Marina Rosenfeld, “A Few Notes on Production and Playback” IX. Electronic Music and Electronica Introduction 64. Jacques Barzun, “Introductory Remarks to a Program of Works Produced at the Columbia-Princeton Electronic Music Center” 65. Karlheinz Stockhausen, “Electronic and Instrumental Music” 66. Karlheinz Stockhausen et al., “Stockhausen vs. the Technocrats” 67. Eliane Radigue, “The Mysterious Power of the Infinitesimal” 68. Kim Cascone, “The Aesthetics of Failure: ‘Post-Digital’ Tendencies in Contemporary Computer Music” 69. Holly Herndon, “Laptop Intimacy and Platform Politics” Bibliography Chronology Discography Glossary Index of Quotations Index

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Book SynopsisProvides perspective on how Belle & Sebastian transformed themselves, over the space of a decade, from an underground, slightly shambolic cult secret into a polished, highly entertaining, mainstream pop group. This work includes interviews with band members, producers, management, and a range of fans.Trade ReviewPlagenhoef knows his subject matter inside and out and has gone the extra mile to research and contextualize the work- a necessary task, since the band refused to be interviewed for the project...it's nice to see a modern classic get some due recognition. * Under the Radar Magazine *

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Book SynopsisPerception and Cognition of Music: The Sorbonne Lectures presents revised and updated materials delivered in four distinguished lectures at the Université Paris-Sorbonne and the Université de Montréal, originally published in French.The book bridges the fields of music psychology, music theory, and music analysis by way of a consideration of several aspects of music listening through the lens of cognitive psychology. Auditory grouping processes play a role in organizing the continuous incoming sensory information into events, streams of events, and segments of streams that form musical units. Perceived properties of events and streams depend on how the incoming information is organized. Special attention is given to timbre as an understudied musical parameter, which can be a strong structuring force and form-bearing element in music through orchestration practice. The development of systems of abstract knowledge built on different musical parameters within a given culture focuses on the cognitive processing of pitch systems and structures and their role in the mental representation of hierarchical event structures in listeners'' minds. Finally, given that music is a temporal art par excellence, the temporality of music listening is explored through a collaborative project involving a composer, psychologists, and musicologists around the conception and creation of a musical work and the perception and affective response it engenders in a live-concert experiment. Each chapter concludes with elements for reflection to expand the necessary transdisciplinary approach that music scholarship needs.

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Book SynopsisDescribes the development of chimaycha, a Quechua-language music genre, over the last fifty years, in order to show how changes in performance track and drive evolving conceptions of Andean indigeneity over the same period.

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Book SynopsisJazz Theory Workbook accompanies the second edition of the successful Jazz TheoryâFrom Basic to Advanced Study textbook designed for undergraduate and graduate students studying jazz. The overall pedagogy bridges theory and practice, combining theory, aural skills, keyboard skills, and improvisation into a comprehensive whole. While the Companion Website for the textbook features aural and play-along exercises, along with some written exercises and the answer key, this workbook contains brand-new written exercises, as well as as well as four appendices: (1) Rhythmic Exercises, (2) Common-Practice Harmony at the Keyboard, (3) Jazz Harmony at the Keyboard, and (4) Patterns for Jazz Improvisaton. Jazz Theory Workbook works in tandem with its associated textbook in the same format as the 27-chapter book, yet is also designed to be used on its own, providing students and readers with quick access to all relevant exercises without the needTrade Review“Dariusz is an amazing jazz pianist. His knowledge, both linearly and harmonically, is derived from a huge world of listening and performing experiences, and has made him a brilliant teacher. This book exemplifies, in detail, the process necessary to achieving this high level of musicianship.”—Gene Bertoncini, guitarist and educator“This text is an extremely valuable resource for both the self-guided student and for use in university and college jazz programs. There is a wealth of information here for everyone, from the beginner to the seasoned jazz improvisor, composer, and arranger. I highly recommend it to all looking to further their knowledge and abilities as performers, writers, and teachers.”—Brian Dickinson, Professor, Humber College“Jazz Theory: From Basic to Advanced Study is remarkably comprehensive, well-organized, and accessible, calibrated for use by individuals or in the classroom. It provides a wealth of carefully presented theoretical material, amplified by practical play-along audio tracks and ear-training exercises.”—Keith Waters, Professor of Music Theory, University of Colorado Boulder“Dariusz is an amazing jazz pianist. His knowledge, both linearly and harmonically, is derived from a huge world of listening and performing experiences, and has made him a brilliant teacher. This book exemplifies, in detail, the process necessary to achieving this high level of musicianship.”—Gene Bertoncini, guitarist and educator“This text is an extremely valuable resource for both the self-guided student and for use in university and college jazz programs. There is a wealth of information here for everyone, from the beginner to the seasoned jazz improvisor, composer, and arranger. I highly recommend it to all looking to further their knowledge and abilities as performers, writers, and teachers.”—Brian Dickinson, Professor, Humber College“Jazz Theory—From Basic to Advanced Study is remarkably comprehensive, well-organized, and accessible, calibrated for use by individuals or in the classroom. It provides a wealth of carefully presented theoretical material, amplified by practical play-along audio tracks and ear-training exercises.”—Keith Waters, Professor of Music Theory, University of Colorado BoulderTable of ContentsPART I: BASICS / 1. Music Fundamentals / 2. Jazz Rhythms / 3. Harmonic Function / 4. Four-Part Chords / 5. Five-Part Chords / 6. The II–V–I Progression / 7. Modes / 8. Chord–Scale Theory / 9. The Blues / 10. Improvisation / PART II: INTERMEDIATE / 11. Voicing Formations / 12. Keyboard and Jazz Chorale Textures / 13. Idiomatic Jazz Progressions / 14. Bebop / 15. Bebop Blues / 16. The Confirmation Changes / 17. The Rhythm Changes / 18. Pentatonics, Hexatonics, Octatonics / 19. The Tristano Style of Improvisation / PART III: ADVANCED / 20. Analyzing Jazz Lead Sheets / 21. Phrase Models / 22. Song Forms / 23. Reharmonization Techniques / 24. Post-Tonal Jazz – Atonality / 25. Set Classes in Jazz / 26. Twelve-Tone Techniques / 27. Stylistic Crossovers – Developing a New Jazz Repertory / Appendix A: Rhythmic Exercises / Appendix B: Common-Practice Harmony at the Keyboard / Appendix C: Jazz Harmony at the Keyboard / Appendix D: Patterns for Jazz Improvisation

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Book SynopsisFarzaneh Hemmasi draws on ethnographic fieldwork in Los Angeles and musical and textual analysis to examine how the pop music, music videos, and television made by Iranian expatriates express modes of Iranianness not possible in Iran.Trade Review“In this important book Farzaneh Hemmasi offers a novel reading of Iranian exilic pop music, raising insightful conceptual questions about the notion and significance of pop culture and diasporic imagination. By taking pop music seriously, she opens up a space for conversations about transnational networks of artistic production, the construction of nationhood and nationalism, and the politics of identity.” -- Behrooz Ghamari-Tabrizi, author of * Foucault in Iran: Islamic Revolution after the Enlightenment *“Tehrangeles Dreaming deftly analyzes what circulates and translates around and across this most complex and refractive of diasporic spaces. It is a subtle book, a model of how to weave popular music and dance into a field still largely dominated by film and literature. And a real pleasure to read. That shesh-o-hasht groove can be felt on every page.” -- Martin Stokes, author of * The Republic of Love: Cultural Intimacy in Turkish Popular Music *“Farzaneh Hemmasi’s book is a deft and insightful analysis of Tehrangeles, viewed as a geography, a music scene, a pop industry, a transnational cultural production field, and a post-revolutionary diasporic cultural formation…. Conceptually rich, theoretically nuanced, with its lucid demonstrations of the mobilization of affect, Hemmasi’s Tehrangeles Dreaming makes a valuable contribution to a wide range of scholarship.” -- Mehdi Semati * Cultural Studies *“Tehrangeles Dreaming offers a compellingly argued and accessibly written ethnography of exile, cultural production, and the politics of identity in the Iranian context. It no doubt will be useful for those in ethnomusicology, anthropology, cultural studies, and Middle East Studies...” -- Amy Malek * International Journal of Middle East Studies *“[Tehrangeles Dreaming] is an invaluable contribution to the study of Iranian popular culture.... Hemmasi is a truly powerful narrator in her ethnographic work and she provides a profoundly deep and pointed analysis....” -- Siavash Rokni * Lateral *“[Tehrangeles Dreaming] is particularly interesting when it discusses the impact of Tehrangeles pop on Iranians within, in political, social and moral terms.... The writing is engaging, filled with stories about fieldwork and encounters.” -- Laetitia Nanquette * Abstracta Iranica *“Tehrangeles Dreaming makes significant contributions to the scholarship on both American musical multiculturalism and the music of the Islamic world. . . . Farzaneh Hemmesi is to be commended for her clear and captivating first book.” -- Anna K. Rasmussen * Journal of Anthropological Research *Table of ContentsAcknowledgments ix Introduction 1 1. The Capital of 6/8 38 2. Iranian Popular Music and History: Views from Tehrangeles 67 3. Expatriate Erotics, Homeland Moralities 98 4. Iran as a Singing Woman 122 5. A Nation in Recovery 153 Conclusion: Forty Years 186 Notes 201 References 223 Index 235

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Book SynopsisModel answers for practice papers for ABRSM's Grade 4 Theory exams

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Book SynopsisTake a visual journey through the world of music and learn the science behind it, too.Budding music fans will love discovering musical geniuses of every era, from Mozart and classical music to Bowie and pop, as well as finding out how music is created and what links it all together.The book looks at music throughout history, beginning with the first known melody from the Fertile Crescent and covering modern music phenomena, from K Pop to hip-hop. Instruments and genres from across the world are featured, with playlists of key pieces encouraging kids to look up pieces to hear for themselves. STEAM spreads delve into the psychology and math behind music, from how it affects our mood to how it can improve our minds.Covering India''s Ragas, Indonesia''s Gamelan, Japan''s city pop, and more, this book will help children discover a love of music.

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Book SynopsisHave you ever been carried away by a piece of classical music? In this funny, evocative, personal book, previously published as Music for the People: The Pleasures and Pitfalls of Classical Music', Gareth takes us on a journey of musical discovery that explains and entertains in equal measure.Have you ever been carried away by a piece of classical music? The sad song of a single violin might make us cry, but the idea of finding out more about classical music can often be intimidating. There are musical terms we don''t recognise, dead composers we can''t connect with, and a feeling that we were never given the right tools to appreciate, understand, and most importantly, enjoy classical music.So who better to cut through the misconceptions and the jargon than the star of BBC2''s Bafta award-winning series The Choir, Gareth Malone. Over the course of three series, Gareth has unearthed a passion for classical music in schoolchildren, reluctant teenage boys, and even a whole town. With his Trade Review'Why do we love Gareth? Seriously, you have to ask?'Daily Mail 'One of the most strangely beguiling presences television has ever uncovered: impish but laconic, funny and yet still resolute, reserved but shameless, camp but dignified - and clearly a bloody good choirmaster.'The Guardian About The Choir: 'As profoundly a moving piece of television as has ever been made'The Independent 'The mystery at the heart of The Choir is Malone's charisma'The Times

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Book SynopsisHow to teach Composition in the secondary classroom presents 50 creative ideas to support every aspect of composing in secondary schools.The ideas are concise, easy to implement and tackle everything from starters and plenaries, inspiration and project ideas to composition techniques, technology and assessment. This practical handbook provides fresh and inspiring ways to invigorate composition in the classroom and beyond.Trade ReviewThis book is bursting at the seams with practical, tried-and-tested classroom activities for supporting students in their composing development. The ideas are simple to read and offer enough flexibility to be adaptable to any situation. If you’re looking for support with composition teaching, this resource will be your go-to! ~ Dr Kirsty Devaney, Composer & Music Education Researcher Shapey is a veteran of the classroom, and this shines through in the text. Each of the 50 individual approaches are carefully laid out with starter activities, plenaries, learning outcomes, and, perhaps most excitingly, reference tracks… 50 inspiring ideas is much more than a collection of composition briefs. The book presents a carefully scaffolded plan for developing learners’ creative faculties, musical ear, and, through these skills, knowledge of theory and instrumentation. Shapey is placing creativity back at the heart of the music curriculum, where it belongs… Shapey’s ideas are crafted to engage and inspire students, embed intertextual discussions, and, perhaps most importantly, produce compositions which learners can be proud of, as well as ticking those omnipresent assessment objectives… This text is destined to become a well-thumbed addition to my collection, and one which my students will enjoy as much as I do. ~ Dale Wills, Music Teacher Magazine This is a great book for any music teacher, containing a wide range of inspiring ideas to get your class composing. Ideas include authentic composing briefs, practical information on using rhythm and harmony techniques and sections on how to write and develop a melody. Many of the ideas can be used or adapted for KS 2 too and will prepare children for composition at KS 3 and beyond. This book is a mine of useful information! ~ Kay Charlton, Music educator/composer

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book SynopsisA superbly insightful and moving exploration of Wagner''s last opera, by one of Britain''s leading intellectuals Wagner''s last music-drama tells the story of Parsifal, the ''pure fool, knowing through compassion'', who has been called to rescue the Kingdom of the Grail from the sins that have polluted it. The Grail is a symbol of purity in a world of lust and power, but although Parsifal is the culmination of Wagner''s life-long obsession with the religious frame of mind, the redemption sought by his characters is far from the Christian archetype. For Wagner, redemption occurs inthis life, when compassion prevails over enslavement, and purity replaces spiritual pollution. His music here ties together suffering and contrition, sin and forgiveness, downfall and redemption in an inextricable knot, healing the fractures and uniting the warring elements in human life in a way that is clear, convincing and uncanny. More than any other of his works, ParsifaTrade ReviewIn his weaving of philosophy and musicology into an explication of redemption via the vehicle of compassion, this is an unparalleled, sadly posthumously published offering. It is at once required reading and a launch pad for an infinitude of musings. It is also, it should be clearly stated, magisterial. -- Colin Clarke * Opera Now *This is Roger Scruton's final book. Parsifal was Wagner's final opera. Both works are intended to be taken as Last Words: testaments of belief at the end of a long spiritual journey... you [will] find enormous satisfaction in following the journey of one of our great philosophers making sense of his own life though another's sublime work of art. -- Sue Prideaux * Spectator *

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Book SynopsisThe 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.Table of ContentsIntroduction: 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 & Lauren Julius Harris 2. Musical potential, giftedness and talent development: Gary E. McPherson, Jennifer Blackwell & Sue Hallam 3. Readiness for learning to perform: Jennifer Blackwell (& Gary E. McPherson 4. Talent development in music: Daniel Müllensiefen; Aaron Kozbelt; Paula M. Olszewski-Kubilius; Rena Subotnik; Frank Worrell; & Franzis Preckel 5. Self-directed learning strategies: Self-directed learning strategies: Kelly A. Parkes 6. High impact teaching mindframes: Gary E. McPherson & John Hattie Section 2: Proficiencies - Section Editor Peter Miksza 7. Practice: Peter Miksza 8. Playing by ear: Warren Haston & Gary E. McPherson 9. Sight-reading: Katie Zhukov & Gary E. McPherson 10. Improvisation: Raymond MacDonald 11. Memorization: Jane Ginsborg 12. Conducting: Steven Morrison & 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 & Frederic Kiernan 19. Musical creativity in performance: Dylan van der Schyff & Andrea Schiavio 20. Performing in the studio: Mark Slater 21. Diversity, inclusion and empowerment: Tawnya Smith & Karin Hendricks Section 4: Psychology - Section Editor Paul Evans 22. Self-regulated learning music microanalysis: Gary E. McPherson 23. Self-determination theory: Paul Evans & Richard Ryan 24. Personality and individual differences: Emese Hruska & Arielle Bonneville-Roussy 25. Buoyancy, resilience, and adaptability: Andrew Martin & Paul Evans 26. Identity and the performing musician: Jane Oakland & Raymond MacDonald 27. Synesthesia and music performance: Solange Glasser Index

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Book SynopsisIn this book author Cathy Benedict offers practical suggestions to help elementary and middle school teachers and students think critically about the world around them, by engaging with themes such as friendship, racism, poverty, religion, and class.Trade ReviewBenedict thoughtfully includes potential lessons and questioning strategies to engage students critically. She outlines the opportunities for student voices to be heard and notes the potential pitfalls along the way ... Overall, this book is effective in questioning existing practices and pointing to some directions forward for music education, particularly at the elementary and middle school levels. * B. Haskett, CHOICE *In Music and Social Justice, Cathy Benedict carefully challenges our commonly held assumptions about enacting child-centered, inclusive, and socially just practices in the music classroom. This book is more than a guide, it is a philosophical meditation in action written by an inspired music educator who makes visible the thinking that informs action and the action that informs thinking. Benedict inspires us to think differently, to observe closely, and act more mindfully. * Carlos R. Abril, Professor of Music Education, University of Miami *Cathy Benedict's book comes at a most needed time in our educational and political history. She provides resources for opening up topics of race, gender, socioeconomics, bullying and religion in music and across school classrooms. Benedict's book offers many practical strategies for teaching social justice in K-8 music and beyond. This book might make teachers uncomfortable, but in a very welcoming way. * Maud Hickey, author of Music Outside the Lines: Ideas for Composing in K-12 Music Classrooms *Table of ContentsIntroduction Chapter 1 - Listening and Responding: Dialogue in Practice Chapter 2 - Communicating Justice and Equity: Meeting the Other Chapter 3 - Friendship and Bullying: Interrogating Forced Narratives Chapter 4 - Soundscapes: Listening for Meaningful Relationships - In Conversation with Kelly Bylica Chapter 5 - Educating for Intelligent Belief or Unbelief Chapter 6 - Politics of Song Chapter 7 - Policy and Teaching: Establishing Change - In Conversation with Patrick Schmidt Afterword Index

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Book SynopsisMusic has been seen since the Romantic era as the quintessentially temporal art, possessing a unique capacity to invoke the human experience of time. The Melody of Time explores the multiple ways in which music may provide insight into the problematics of time, spanning the dynamic century between Beethoven and Elgar.Trade ReviewAt once a deeply engaged historical studyTable of ContentsAcknowledgements ; Introduction ; 1. Time and Transcendence in Beethoven's late Piano Sonatas ; 2. Music, Time and Philosophy ; 3. Memory and Nostalgia in Schubert's Instrumental Music ; 4. Temporality in Russian Music and the Ideology of History ; 5. La sonate cyclique and the Structures of Time ; 6. Elgar's The Music Makers and the Spirit of Time ; Bibliography ; Index

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Book SynopsisEschewing traditionally linear historical frameworks, In Search of Julián Carrillo and Sonido 13 employs an innovative transhistorical narrative in which past, present and future are explored dialogically in order to understand the politics of performance and self-representation behind Carrillo and Sonido 13.Table of ContentsAbout the Companion Website ; List of Figures ; List of Music Examples ; Acknowledgements ; Chapter 1. Introduction: A Cultural Complex's ; Non-Linear Story ; Chapter 2. Imitation, Ideology, Performativity, and ; Carrillo's Symphony No. 1 ; Chapter 3. '...y hermosisima patria sera': National and ; Post-National Transfigurations in Matilde ; Chapter 4. Modernism, Teleology, and Identity: Toward ; a Cultural Understanding of Early Sonido 13 ; Chapter 5. Reading Carrillo: The Future that Never Was ; Chapter 6. Continuities and Discontinuities in an Imaginary ; Cycle: The Thirteen String Quartets ; Chapter 7. Experimentalism, Mythology, the Intermundane, ; and Sonido 13 after Julian Carrillo ; Chapter 8. Estrangement, Performance, and Performativity: ; Musicking Sonido 13 ; Bibliography

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Book SynopsisOut of Time explores a bold idea: that western art music of the last four hundred years is better understood through the idea of musical modernity than by the usual periodizations of music history.Trade ReviewIncluding many musical examples and a wealth of references to literature on modernity and music, this refreshing exploration of "modern music" goes backward and forward, and surrounds music in the present. * B. L. Eden, CHOICE *Table of ContentsIntroduction ; Mapping musical modernity ; 1. Being Late ; Looking back ; Brokenness ; Remembering ; 2. Being Early ; Pushing forwards ; The temporality of desire ; Sounding utopia ; 3. The Precarious Present ; Simultaneity ; Boredom ; Historicism as modernism ; 4. Being Everywhere ; The space of music ; Labyrinths ; Technologies of the musical body ; 5. Being Elsewhere ; Music as transport ; The metaphysics of restlessness ; Re-enchantment ; 6. Placing the Self ; Being nowhere ; Hypersubjectivity ; Staging the self ; 7. Like a Language ; Disclosure ; Discourse ; Music as self-critique ; 8. Le corps sonore ; The return of the repressed ; Bodies of sound ; The grammar of dreams ; Bibliography

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Book SynopsisIn this new edition of their groundbreaking Kodály Today, Mícheál Houlahan and Philip Tacka offer an expertly-researched, thorough, and -- most importantly -- practical approach to transforming curriculum goals into tangible, achievable musical objectives and effective lesson plans.Trade ReviewKodály Today is essential reading for music teachers seeking an approach that will provide their students with lifelong musical literacy and musicianship, while nurturing their love for music. This book offers a powerful, layered approach to the developmentally appropriate teaching of music by presenting the Kodály method in a way that is usable and understandable by music teachers. Houlahan and Tacka render Kodály more relevant than ever by presenting vivid practical models for classroom teachers supported by research on cognition and learning. Teachers of music and the university professors who prepare them for their craft should find this book extremely valuable. * Eileen M. Coppola, Center for Education, Rice University *An extremely valuable source for elementary music instructors, pre-service teachers, and methods teachers at the collegiate level. To say that Kodály Today is a thorough text would be an understatement. There are few Kodály-based resources that provide such a thorough overview of the philosophy behind the approach, a conceptual frame-work for teachers wishing to apply this philosophy, and detailed strategies for repertoire selection, curriculum development, and implementation. * General Music Today *The authors have developed a text that incorporates appropriate musical material and sound teaching strategies for presenting this material to students. Grade level goals, objectives, and strategies are outlined in great detail, and these materials would prove extremely valuable to a music teacher. I also appreciate the inclusion of learning theorists from the education community at large. All in all, this is a very practical text. * Brent M. Gault, Ph. D., Indiana University Jacobs School of Music *Kodály music training has shown that most if not all children entering elementary school can begin to learn immediately how to sing musically and with developing skill. Research is showing that such musical training can also stimulate and contribute to broader cognitive and emotional growth. This important detailed, scholarly and thoughtful examination and presentation of Kodály method now proposes further development to align with recent work in music pedagogy and cognitive learning. * Martin F. Gardiner, Center for the Study of Human Development, Brown University *A mammoth undertaking and a welcome addition to the body of literature on the Kodály concept of music education...This is a book worthy of thorough study and use as a text...A valuable teaching resource that is highly recommended! * Laurdella Foulkes-Levy, Kodály Envoy *This is an extremely comprehensive and exhaustive text which fills a gap in the current Kodály music teaching literature. It has enough information for an experienced teacher to improve their teaching and rethink their current teaching practices but at the same time manages to give the basic and necessary elementary knowledge a beginning Kodály teacher would need in their first venture into this type of music teaching. The relevance of the research undertaken by Houlahan and Tacka and the linking to current educational requirements and standards helps to bring this exceedingly valuable and successful method of music teaching into the 21st century. * Australian Journal of Music Education *This thorough, intensive and above all, elegantly practical approach to understanding and applying [the Kodály method's] tried-and-tested tenets will prove a boon to teachers and students alike...A clearly-signposted volume that succeeds in validating the self-enabling claims of Kodály's Method as an essential tool for teachers and their pupils. The inclusion of 140 pages of exhaustively detailed song lists and lesson and monthly plans is a reason in itself to buy this invaluable book. * Music Teacher *Table of ContentsIntroduction ; Chapter one: Building the Framework of a Music Curriculum Based on the Kodaly Concept ; Chapter two: Developing a Music Repertoire of Songs For The Elementary Music Classroom ; Chapter Three: Developing Creative Expression In The Elementary Classroom Through Singing Movement and ; Chapter Four, Teaching Tools and Techniques for Developing Audiation and Music Literacy Skills ; Chapter five: From Sound to Symbol: A Model of Learning and Instruction for Teaching Music Concepts and ; Chapter six: Grade One Through Five Teaching Strategies for Rhythmic and Melodic Concepts and Elements ; Chapter seven: Developing Musicianship Skills in the Classroom ; Chapter eight: Technology in the Kodaly Classroom ; Chapter nine: Applying the Kodaly Concept to the Elementary Choir ; Chapter ten: Sequencing and Lesson Planning ; Chapter eleven: Teaching Musicianship Skills Starting in the Upper Grades ; Chapter twelve: Evaluation and Assessment ; Chapter thirteen: Organizing Your Teaching Resources for Elementary Classroom

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Book SynopsisKodály in the First Grade Classroom provides teachers with a step-by-step road map for developing children's performance, creative movement, and literacy skills in an organic and thoughtful manner. Each chapter contains key questions, discussion points, and ongoing assignments. Scholarly yet practical and accessible, this volume is sure to be an essential guide for music teachers everywhere.Table of ContentsAcknowledgements ; About the Companion Website ; Introduction ; Chapter one: Building the Framework for a Grade One Music Curriculum based on the Kodaly Concept ; Chapter two: Developing a Music Repertoire: Children as Stewards of Their Cultural and Musical Heritage ; Chapter three: Teaching Strategies: Teaching music concepts and elements in Grade 1 ; Chapter four: Developing Music Skills and Creative Expression: Children as Performers ; Chapter five: Six Units and 30* Sequential Lessons Plans for Grade 1 ; Chapter six: Assessment of Performance, Reading, Writing, and Improvisation in Grade 1 ; Index

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Book SynopsisKodály in the Second Grade Classroom provides teachers with a step-by-step road map for developing children's performance, creative movement, and literacy skills in an organic and thoughtful manner. Each chapter contains key questions, discussion points, and ongoing assignments. Scholarly yet practical and accessible, this volume is sure to be an essential guide for music teachers everywhere.Table of ContentsIntroduction ; Chapter one: Building the Framework for the second grade Music Curriculum based on the Kodaly Concept ; Chapter two: Developing a Music Repertoire: Children as Stewards of Their Cultural and Musical Heritage ; Chapter three: Developing Music skills and Creative Expression: Children as Performers: ; Chapter four: Teaching Strategies ; Chapter five: Unit Plans ; Chapter six: Assessment and Evaluation

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Book SynopsisKodály in the Third Grade Classroom provides teachers with a step-by-step road map for developing children's performance, creative movement, and literacy skills in an organic and thoughtful manner. Each chapter contains key questions, discussion points, and ongoing assignments. Scholarly yet practical and accessible, this volume is sure to be an essential guide for music teachers everywhere.Table of ContentsIntroduction ; Chapter One: Building the Framework for a Grade Three Music Curriculum based on the Kodaly Concept ; Chapter Two: Developing a Music Repertoire: Children as Stewards of Their Cultural and Musical Heritage ; Chapter Three: Teaching Strategies: Teaching music concepts and elements in Grade 3 ; Chapter Four : Developing Music Skills and Creative Expression: Children as Performers ; Chapter Five: Eighth Units and 40 Sequential Lessons Plans for Grade 3 ; Chapter Six: Assessment of Performance, Reading, Writing, and Improvisation in Grade 3

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Book SynopsisKodály in the Fourth Grade Classroom provides teachers with a step-by-step road map for developing children's performance, creative movement, and literacy skills in an organic and thoughtful manner. Each chapter contains key questions, discussion points, and ongoing assignments. Scholarly yet practical and accessible, this volume is sure to be an essential guide for music teachers everywhere.Table of ContentsIntroduction ; Chapter One: Building the Framework for a Grade Four Music Curriculum based on the Kodaly Concept ; Chapter Two: Developing a Music Repertoire: Children as Stewards of Their Cultural and Musical Heritage ; Chapter Three: Teaching Strategies: Teaching music concepts and elements in Grade 4 ; Chapter Four: Developing Music Skills and Creative Expression: Children as Performers ; Chapter Five: Eighth Units and 40 Sequential Lessons Plans for Grade 4 ; Chapter Six: Assessment of Performance, Reading, Writing, and Improvisation in Grade 4

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Book SynopsisThrough a detailed examination of the major musical treatises from the sixth through the twelfth centuries, this text establishes a central dichotomy between classical harmonic theory and the practices of the Christian church.Trade ReviewThe Critical Nexus is a milestone in every respect, which appeals to specialists and novices alike. It deserves to be ranked among the classic studies on the subject and will be of lasting value to anybody interested in the formation of music thought in the Middle Ages. * Fontes Artis Musicae *The Critical Nexus will become required reading for musicologists, music theorists, and medievalists interested in the reception of ancient texts. * Speculum *A meticulously researched survey of early medieval theory and its application to plainsong, it will form the starting point for future research in the field. * James Grier, Professor of Music History, University of Western Ontario *A comprehensive study, fine-tuning our understanding of the challenges faced by medieval theorists as they adopted terminology and concepts from Antiquity to make sense of the music of their own time - the chant repertory of the Christian church. Professor Atkinson brings a unique perspective to this history of tone-system, mode, and notation through his command of Greek and Latin text sources, combined with his forage into the chant repertory itself. The scholarly community will prize this contribution for years to come. * Dolores Pesce, Professor of Music, Washington University in St. Louis *In this meticulous examination of the texts on music that were the most widely read from the ninth to the eleventh century, Charles Atkinson reveals how medieval theorist musicians reinterpreted the tone systems of ancient Greece and the writings of Latin grammarians to explain and notate the new practice of plainchant. His elegant and remarkably lucid argument is the crowning achievement of decades of scholarship: it not only explains early medieval tonality but resolves the longstanding problem of the derivation of the earliest Carolingian notations. It truly transforms our understanding of medieval music. Every musician and medievalist will benefit from reading it. * Barbara Haggh-Huglo, Professor of Music, University of Maryland, College Park *This important book is of a kind to stimulate one's thoughts about the inherent nature of medieval chant and to provoke discussions about contested issues; above all, however, it presents in al its wealth of detail the evidence for the remarkable story of the earliest developments in the history of Western art music. * Music & Letters *All readers, regardless of their level of specialization, will find their understanding both broadened and deepened. To be sure, this is a work that merits to become a classic, that deserves to be read and reread, studied and discussed among students and scholars time and again, and is therefore highly recommended to all musicologists and libraries. * Notes *Table of ContentsNote on Abbreviations and Nomenclature for Ptich ; Prologue ; 1. The Heritage of Antiquity ; Part I. The Eighth and Ninth Centuries ; 2. The Reception of Ancient Texts in the Carolingian Era ; 3. The Heritage of the Church ; Part II. The Synthesis of Ancient Greek Theory and Medieval Practice ; 4. Hucbald of St. Amand and Regino of Prum ; 5. Alia musica ; 6 Pseudo-Bernelinus, Bern of Reichnau, Pseudo-Odo, and Guido d'Arezzo ; Epilogue ; Bibliography ; Index of Chants and Manuscripts ; General Index

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Book SynopsisNothing 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 perceptionTrade ReviewEvery musicologist should read this book, and it is required reading for those dealing with the cognition of music. Essential. * CHOICE *In 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 *With 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 *[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 *Table of ContentsIntroduction 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

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Book SynopsisRethinking Prokofiev looks at the background, context, and musical mechanics of Sergei Prokofiev's work, revealing much of what makes this composer an idiosyncratic genius and his music intriguing, often dramatic, and almost always beguiling.Trade Reviewthe reader is left with a thorough illustration of the vibrant world of Prokofiev research at the start of the third decade in the twenty-first century * Daniel Elphick, Transposition *This book is an important contribution to the literature on Prokofiev...Highly recommended. Upper-division undergraduates through faculty and professionals. * D. Arnold, University of North Texas, CHOICE *It deserves a place in all serious libraries and on the shelves of music lovers everywhere. * Arnold McMillin, Slavonic and East European Review *the editors set out to complicate and contextualize a general perception of the composer as an ambition-compromised victim of Soviet power. The volume's list of contributors ranges in terms of both geography and professional focus; a refreshing number of the authors are practicing musicians ... There's a useful glossary of fundamental cultural and musical terms, but biographical identifications are in the texts. A foreword points readers to a website, on which more musical examples, illustrations and substantial appendices will appear -- a responsible, realistic scholarly model. * David Shengold, Opera News *This rich and insightful collection is essential reading for anyone interested in Prokofiev and the world in which he lived. The essays in Rethinking Prokofiev offer new insight into unfamiliar aspects of Prokofiev's work and fresh and compelling looks at some more familiar ones. * Kevin Bartig, Professor of Music, Michigan State University *A compelling reassessment of Prokofiev's career from start to finish that raises a poignant question: When we hear his music, do we hear what he heard? The answers here, derived from painstaking archival research, make plain a stark truth: Prokofiev was the most harrowed composer of the 20th century, and his music bears the marks of compromise, resistance, and resilience. * Simon Morrison, Professor Music and Slavic Languages and Literatures, Princeton University *Table of ContentsList of Contributors Acknowledgments About the Companion Website A Note on Archival Sources Rita McAllister Preface Simon Morrison Introduction: Why Re-Assess Prokofiev? Rita McAllister and Christina Guillaumier Part I Prokofiev and the Russian Models 1 Prokofiev and the Russian Tradition Marina Raku 2 Prokofiev and the Development of Soviet Composition in the 1920s and 1930s Patrick Zuk 3 Prokofiev and the Soviet Symphony Daniel Tooke Part II Prokofiev and his Contemporaries 4 'Monsieur Prokofieff': Prokofiev in the French Context Marina Frolova-Walker 5 Prokofiev and Shostakovich: A Two-Way Influence Ivana Medic 6 Prokofiev and Atovmian: The Story of a Unique Friendship Nelly Kravetz Part III Music and Text: Prokofiev's Relationship with his Literary Sources 7 The Sun-Sounding Scythian: Prokofiev's Musical Interpretation of Russian Silver-Age Poetry Polina Dimova 8 Editing Prokofiev's Seven, they are Seven: A Case Study Nicolas Moron 9 From Film Score to Art Music and Back: Prokofiev's Film Music in the Context of Text-Based Genres Julia Khait 10 Semyon Kotko and War and Peace: Prokofiev and His Collaborators Terry Dean Part IV Drama and Gesture 11 Staging Prokofiev's Early Ballet Jane Pritchard 12 Drama, Theatre and Gesture in the Operas of Prokofiev Christina Guillaumier 13 Audio-Visual Montage in Ivan the Terrible: Understanding Prokofiev's Film Score through Eisensteinian Sound Theory Katya Ermolaeva 14 'Yea, Though I Walk Through the Valley of the Shadow of Death..': An Introduction to Prokofiev's Thanatology Natalia Savkina Part V Identity and Structure 15 A Genealogy of Prokofiev's Musical Gestures from the Juvenilia to the Later Piano Works Christina Guillaumier 16 The Five Piano Concertos: The Pianist's Perspective Boris Berman 17 'Things in Themselves': An Analytical Study of Prokofiev's Music Notebooks Rita McAllister 18 Towards an Analysis of Prokofiev's Middle Period Works Konrad Harley Part VI The Reception and After-Life of the Music 19 Prokofiev's Reception in the United Kingdom: A Case Study Joseph Schultz 20 Prokofiev, Soviet Influence, and the Music World in Stalinist Central Europe David G. Tompkins 21 Prokofiev in the Popular Consciousness Peter Kupfer 22 Prokofiev's Problems - and Ours Richard Taruskin Glossary Index

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Book SynopsisTurn 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.Trade ReviewWith 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 *Ambient 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 *Table of ContentsPreface 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

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Book SynopsisIn Teaching the Whole Musician: A Guide to Wellness in the Applied Studio, author Paola Savvidou empowers applied music instructors to honor and support their students' wellness through compassion-filled conversation tools, and hands-on activities both injury prevention, mental health protection, and recovery support.Trade ReviewIn Teaching the Whole Musician, Dr. Paola Savvidou supplies crucial, research-based guidelines for music teachers to integrate wellness education into lessons and classes. With engaging text, handy tables, illustrative figures, and practical recommendations, this important book equips educators to foster healthy, lifelong music making. * Gerald Klickstein, author, The Musician's Way: A Guide to Practice, Performance, and Wellness *Teaching the Whole Musician is an inspiring contribution to the music world. With keen insight and genuine sensitivity, Savvidou offers a multi-dimensional approach to cultivating physical, mental, and occupational well-being for musicians. Packed with relevant and accessible information, this book will be a treasured resource for studio instructors. * Dr. Vanessa Cornett, author, The Mindful Musician: Mental Skills for Peak Performance *Savvidou's book provides today's teachers a broad, comprehensive perspective of wellness that recognizes the importance of dealing with the 'whole person' that walks into our studios. It is an especially helpful and thorough resource to which studio teachers can turn for specific guidance on a broad and diverse range of practical topics. Especially notable is her identifying teachers as a student's 'first line of defense,' helping students through the many challenges impacting them today... This book deserves a prominent place in every musician's and music school's library. * Gail Berenson, Professor Emerita of Piano, Ohio University — Athens and Past President, Music Teachers National Association *Table of ContentsPreface Acknowledgments Chapter 1. Setting the Foundation: What is Wellness? Chapter 2. Parent, Teacher, Mentor, or Psychologist? The Multifaceted Role of the Applied Instructor Chapter 3. "Is It Tendinitis?" Common Physical Injuries Chapter 4. Stacking the Joints: Physical Alignment Chapter 5. Protecting the Body: Injury Prevention Chapter 6. Expressive Performance: Laban Movement Analysis Chapter 7. The Power of the Mind: Mental Health Chapter 8. Turning Inwards: Contemplative Practices Chapter 9. Fueling the Body and Mind: Nutrition and Sleep References Index

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Book SynopsisTrade ReviewA 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 *Table of ContentsIntroduction 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

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Book SynopsisWith a focus on music in context and a wealth of in-text and online exercises, The Complete Musician offers a complete program for teaching and learning undergraduate music theory.Trade ReviewThe Complete Musician is a comprehensive theory textbook with a linear approach, with aural skills and keyboard, and numerous activities and examples that illustrate each topic well."-David Thurmaier, University of Missouri-Kansas CityThis textbook makes important concepts in music theory accessible to the student in a way that is both clear and concise. Laitz's knowledge of both music-theory pedagogy and the repertoire is superlative, which results in a text that is beneficial to use in the entirety of the music-theory sequence."-Michael Chikinda, University of UtahTable of ContentsPREFACE PART 1: FOUNDATIONS CHAPTER 1A Musical Space: Pitches, Scales, and Keys CHAPTER 1B Musical Time: Meter and Rhythm CHAPTER 1C Musical Distance: Intervals CHAPTER 2 Pitch and Meter Combine: Melody and Counterpoint CHAPTER 3 Triads, Seventh Chords, and Texture PART 2: FUSING MELODY, HARMONY, AND COUNTERPOINT CHAPTER 4 The Role of Context: Embellishing Tones and Melodic Shape CHAPTER 5 Tonic, Dominant, and Voice Leading CHAPTER 6 V7 and Two-Level Analysis CHAPTER 7 Expanding Tonic and Dominant with First-Inversion Triads CHAPTER 8 Inversions of V7 and Leading-Tone Seventh Chords PART 3: ESTABLISHING, EXPANDING, AND EMBELLISHING THE PHRASE MODEL CHAPTER 9 The Pre-Dominant Function and the Phrase Model CHAPTER 10 Accented and Chromatic Embellishing Tones CHAPTER 11 Six-Four Chords and Plagal Motions CHAPTER 12 Pre-Dominant Seventh Chords and Embedded Phrase Models CHAPTER 13 The Submediant and the Step-Descent Bass CHAPTER 14 The Mediant and the Back-Relating Dominant PART 4: SMALL FORMS CHAPTER 15 Periods CHAPTER 16 Sentences, Double Periods, and Asymmetric Periods AN INTERMEZZO ON MUSICAL MOTIVES PART 5: EXPRESSIVE COLOR THROUGH CHROMATICISM CHAPTER 17 Applied Chords CHAPTER 18 Modulation CHAPTER 19 Harmonic Sequences CHAPTER 20 Binary Form and Variations CHAPTER 21 Modal Mixture CHAPTER 22 Chromatic Modulation and Text-Music Relations CHAPTER 23 Neapolitan Chords CHAPTER 24 Augmented-Sixth Chords PART 6: LARGE FORMS CHAPTER 25 Ternary Form CHAPTER 26 Rondo Form CHAPTER 27 Sonata Form PART 7: NEAR, AT, AND PAST THE EDGES OF TONALITY CHAPTER 28 Tonal Ambiguity and Symmetrically Constructed Harmonies CHAPTER 29 Symmetry Stretches Tonality: Chromatic Sequences and Equal Divisions of the Octave CHAPTER 30 Centricity, Extended and Non-Tertian Sonorities, and Collections CHAPTER 31 Analysis with Sets CHAPTER 32 Metrical and Serial Techniques GLOSSARY CREDITS INDEX OF TERMS AND CONCEPTS INDEX OF MUSICAL EXAMPLES AND EXERCISES

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Book SynopsisThere is compelling evidence that music can enhance parental wellbeing, yet to date there have been few attempts to bring together current endeavours in the field. Music and Parental Mental Wellbeing provides readers from music, health, and beyond, with a new and comprehensive opportunity to consider how music can support parental mental wellbeing. Drawing on recent ground-breaking practice, research, and evaluation the book illuminates how music can support mental wellbeing in pregnancy and the postnatal period, childbirth and perinatal hospital settings, and in the early years.Each chapter provides introductory context, describes the relevant musical practice, consider the intersections with parental wellbeing, and end with implications for practice and key take-aways for the reader. With an interdisciplinary and international team of authors, including music and health practitioners, experts by experience, and researchers, this book explores and establishes the role of music, in its many forms, in supporting and enhancing parental mental wellbeing.

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Book SynopsisThe study of music and the brain can be traced back to the work of Gall in the 18th century, continuing with John Hughlings Jackson, August Knoblauch, Richard Wallaschek, and others. These early researchers were interested in localizing musicality in the brain and learning more about how music is processed in both healthy individuals and those with dysfunctions of various kinds. Since then, the research literature has mushroomed, especially in the latter part of the 20th and early 21st centuries. The Oxford Handbook of Music and the Brain is a groundbreaking compendium of current research on music in the human brain. It brings together an international roster of 54 authors from 13 countries providing an essential guide to this rapidly growing field. The major themes include Music, the Brain, and Cultural Contexts; Music Processing in The Human Brain; Neural Responses to Music; Musicianship and Brain Function; Developmental Issues in Music and the Brain; Music, the Brain, and Health; and the Future. Each chapter offers a thorough review of the current status of research literature as well as an examination of limitations of knowledge and suggestions for future advancement and research efforts. The book is valuable for a broad readership including neuroscientists, musicians, clinicians, researchers and scholars from related fields but also readers with a general interest in the topic.Trade ReviewThe editors of The Oxford Handbook of Music and the Brain have compiled an excellent collection of chapters spanning the breadth of this field. This is a comprehensive volume that addresses both methodological and conceptual issues in the neuroscience of music. This volume would be valuable both as a resource for teaching and research, and provides relevant information for researchers with expertise in this area and those looking for a starting point into the neuroscientific study of music. * Amy M. Belfi, Perception *Table of ContentsSection I. Introduction 1: Michael H. Thaut and Donald A. Hodges: The Neuroscientific Study of Music: A New Discipline Section II. Music, the Brain, and Cultural Contexts 2: Michael H. Thaut and Donald A. Hodges: Music through the Lens of Cultural Neuroscience 3: Steve J. Morrison, Steven M. Demorest, and Marcus T. Pearce: Cultural Distance: A computational approach to exploring cultural influences on music cognition 4: Bjorn Merker: When extravagance impresses: Recasting esthetics in evolutionary terms Section III. Music processing in The Human Brain 5: Thenille Braun Janzen and Michael H. Thaut: Cerebral Organization of Music Processing 6: Robin W. Wilkins: Network Neuroscience: An Introduction to Graph Theory Network-Based Techniques for Music and Brain Imaging Research 7: Mike Schutz: Acoustic structure and musical function: Musical notes informing auditory research 8: Christina M Vanden Bosch der Nederlanden, Eric T. Taylor, and Jessica A. Grahn: Neural Basis of Rhythm Perception 9: Stefan Koelsch: Neural Basis of Music Perception: Pitch, Harmony, and Timbre 10: Frank Russo: Multisensory Processing in Music Section IV. Neural Responses to Music: Cognition, Affect, Language 11: Lutz Jäncke: Music and Memory 12: Psyche Loui and Rachel Guetta: Music and attention, executive function, and creativity 13: Patrik N. Juslin and Laura S. Sakka: Neural Correlates of Music and Emotion 14: Yuko Koshimori: Neurochemical Responses to Music 15: Elvira Brattico: The neuroaesthetics of music: A research agenda coming of age 16: Daniele Schön and Benjamin Morillon: Music and Language Section V. Musicianship and Brain Function 17: Virginia B. Penhune: Musical Expertise and Brain Structure: The causes and consequences of training 18: Irma Järvelä: Genomics approaches for studying musical aptitude and related traits 19: Eckart Altenmüller, Shinichi Furuya, Daniel S. Scholz, and Christos I. Ioannou: Brain Research in Music Performance 20: Aaron Berkowitz and Michael G. Erkkinen: Brain Research in Music Improvisation 21: Timothy L. Hubbard: Neural mechanisms of musical imagery 22: Vesa Putkinen and Mari Tervaniemi: Neuroplasticity in Music Learning Section VI. Development al Issues in Music and the Brain 23: Anthony Brandt, L. Robert Slevc, and Molly Gebrian: The Role of Musical Development in Early Language Acquisition 24: Laurel J Trainor and Susan Marsh-Rollo: Rhythm, Meter, and Timing: The heartbeat of musical development 25: L. Ferreri, A. Moussard, E. Bigand, and B. Tillmann: Music and the Aging Brain 26: Swathi Swaminathan and E. Glenn Schellenberg: Music Training and Cognitive Abilities: Associations, Causes, and Consequences 27: Adam Ockelford: The Neuroscience of Children on the Autism Spectrum with Exceptional Musical Abilities Section VII. Music, the Brain, and Health 28: Corene Thaut and Klaus Martin Stephan: Music and Sensorimotor Functions 29: Yune Lee, Corene Thaut, and Charlene Santoni: Music-Induced Speech and Language Rehabilitation 30: Shantala Hegde: Neurologic Music Therapy to target Cognitive and Affective Functions 31: Isabelle Royal, Sébastien Paquette, and Pauline Tranchant: Musical Disorders 32: David Peterson: When blue turns to grey: the enigma of musician's dystonia Section VII. The Future 33: Michael H. Thaut and Donald A. Hodges: New Horizons for Brain Research in Music

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Book SynopsisPerforming 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.Table of Contents0: Wöllner & 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 & Virginie van Wassenhove: Psychological and neuroscientific foundations of rhythms and timing 4: Sylvie Droit-Volet & 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 & 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 & Laura Bishop: Joint shaping of musical time: How togetherness emerges in music ensemble performance 14: Julien Laroche, Tommi Himberg & Asaf Bachrach: Making time together: An exploration of participatory time-making through collective dance improvisation 15: Birgitta Burger & 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 & 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 & Stephen McAdams: Evaluating the psychological reality of alternate temporalities in contemporary music: Empirical case studies of Gérard Grisey's Vortex Temporum 24: Kristina Knowles & Richard Ashley: Measuring experienced time while listening to music 25: Jan Stupacher, Michael Hove & 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 & Daniel Levitin: Timing, tempo and rhythm: Evidence from the laboratory and the concert stage

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Book SynopsisMusic listeners who understand what they hear are thinking in music. Music readers who understand and visualize what they read are thinking in music. This book investigates the various ways musicians acquire those skills through an examination of research in music perception and cognition.Trade ReviewAn excellent book that makes many contributions, the most groundbreaking of which is a synthesis of cognitive research, pedagogical and other more qualitative studies... * Music Perception *

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

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Book SynopsisUsing sketches and other documentary evidence, this study is an investigation of composition in Renaissance music. It sets out the indispensable background to an inquiry and into the fundamental processes of Renaissance composition.Trade Reviewthe most comprehensive and enlightening study of Renaissance musical compostion yet written ... This excellent book is important not only for its general theory but for its illumination of the everyday * Anthony Pryer, TLS 29/10/99 *

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