Theory of music and musicology Books

Book Synopsis* Are you about to write a dissertation for an MA in an arts therapy?* Is your workplace pressuring you to do research on your practice?* Do you fancy trying your hand at a bit of research without any pressure from anyone?* Are you bewitched, bothered and bewildered?A mystique about research usually comes from reading a) writers who launch into philosophical dialectics about research and avoid the basics; b) poorly written research papers full of undecipherable formulae; and c) smug, unfriendly research texts.This book begins at the beginning. Ansdell and Pavlicevic hold your hand and give you plenty of hints and tips while you prepare your funding proposal or research project. They help you think about your title, structure your research questions and aims, and prepare to collect, organize and analyze your research data. Moreover, you're not alone! Franz and Suzie have their own projects which you're invited to follow with opportunities to learn about the nitty-gritty of tables, pie-charts, data transcription, data presentation - and supervisors who toss off clever, useless bits of advice.`Beginning Research in the Arts Therapies' puts the zap into arts therapies research, making it fun and serious, exasperating and utterly absorbing. Miss this book and you'll deprive yourself of a sympathetic ear, firm advice and a sensible and imaginative combustion of theory, debate and determination. `Beginning Research in the Arts Therapies' is recommended to all arts therapies practitioners: students, researchers, and those clinicians who simply want to `keep up' with research literature without `doing it for themselves'.Trade ReviewThis research text is the best and most comprehensive one for arts therapists that I have come across so far. I have no hesitation about recommending it to novice researchers in the arts therapies and those who instruct them. It is a volume that supplies much of what arts therapists of any nationality need to know about scholarly inquiry - and does so in a most palatable manner. -- The Arts in PsychotherapyTable of Contents1. Beginners' nerves. 2. What turns you on? Working titles and research questions. 3. Plotting, planning and playing safe. 4. The `3R's' of research: Reading, writing and referencing. 5. Making a proposal. 6. Designs and ethics. 7. Franz's project part I. 8. Suzie's project part I. 9. Franz's project part II. 10. Suzie's project part II. 11. Surveying the scene: Questionnaire and survey methods. 12. Finishing off. Epilogue: A community of inquiry. References. Bibliography. Index.

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Book SynopsisTrade Review"Summing Up: Recommended." * CHOICE *An Alex Ross "Bookshelf" recommendation * The Rest is Noise *"The Hum of the World is a more-than-intriguing read and definitely one that will get you thinking about the role of sound within a cosmic context. . . . Recommended." * Journal of the Association of Anglican Musicians *Table of ContentsPrelude Sound and Knowledge The Audiable: An Introduction Some Leitmotifs The Standard of Vision A Philosophy of Listening? Constructive Description Sight, Sound, and Language The Sound of Words Seeing, Saying, and Hearing The Audiable: Variations on a Theme Music in the Air “No Sound without Music” Language and the Human Lord Bacon’s Echoes Ripple Effects: Distant Voices The Infinite Broadcast Immanence Reading Transfigured: St. Augustine To the Life: The Image Moving Pictures Modern Times: The Cartoon The Sound of Meaning Music and the Audiable: A Suite in Three Movements Plato’s Singing School Musical Synesthesia The Music of Language The Soundscape Song Noise and Silence Fish, Flesh, or Fowl Sensory Hybrids “Waiting to Be the Music” Circle Songs Forty-Part Motets The Ether Elemental Media Elemental Fluids Writing the Soundscape Haunting Melodies The Lifelike: The Undead Beyond Words? 1 The Audiable and the Audible Into Silence Enchantments of the Name The Inaudible On Saying “I am” The Shriek Metal Here Comes That Song Again The Mirror of Silence Rhythmic Hearing Media All the Way Down The Auditory Window Cacophony: Dispossession (Beckett) Euphony: Repossession (Beckett) Worldly Dissonance Sounds of Battle: The Civil War Sounds of Battle: World War I Ulysses in Auschwitz Intermezzo Sounding Bodies Pandemonium? Songs of Entropy By Hand Past and Present Consciousness Acknowledgments Index

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Book SynopsisThe most comprehensive and integrated AP Music Theory series for today's students

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Book Synopsis

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Book SynopsisIt is well known that many musicians, from amateurs to famous professionals, are largely and sometimes exclusively self-taught. Most of the time, these musicians tend to put music theory aside, but there comes a time when many become curious about this science and understand its utility and potential. Unfortunately, they often get discouraged and think it's too late to learn theory, that they needed to start early, and of course, know how to read. Fortunately, this turns out to be completely untrue. Most self-taught musicians will also turn to books and realize many are written for specialists and those who can already read music. They talk about scales and how to write chords on a staff, but if you are not sure what a note is and it takes you twenty minutes to figure out where a C is, it just adds to the frustration. Yet I promise that a late start in learning theory has no impact on the quality of musician you can become and your future ability to

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Book SynopsisMusic in Time probes the temporality of music from many perspectives, in response to Christopher F. Hasty's groundbreaking Meter as Rhythm. The essays bridge the conventional divides between theory, history, ethnomusicology, aesthetics, performance practice, cognitive psychology, and dance studies.

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Book SynopsisIn this illuminating work, B. Brian Foster takes us where not many blues writers and scholars have gone: into the homes, memories, speculative visions, and lifeworlds of black folks in contemporary Mississippi to hear what they have to say about the blues and all that has come about since their forebears first sang them.Trade ReviewFoster's thoughtful and well-researched look at race and the blues via an exploration of a distressed and declining Southern rural town will be useful to music and sociology academics." —Library Journal

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Book SynopsisTrade Review"With his critical and thorough approach, Levaux manages to cast light on the historical contexts, stylistic nuances and elaborates thereby in a manner, that should resonate and be relevant for both the uninitiated as well as the fanatics." * Scene Point Blank *"In his quest for ‘Truth’, Levaux provides deeply valuable new historical, disciplinary, and critical perspectives on the history of minimalism, offering novel insights into a topic that many have previously addressed." * Music & Letters *Table of ContentsAcknowledgments Introduction 1. 1960: Before Minimalism 2. Taking Root in Modernity: New Music 3. Transcribing Music: New York Avant-Gardists and Monotonality 4. 1967: Giants? 5. Creating Genres: The Theatre of Mixed Means and Dream Music 6. Taking Sides over a New Medium: Electronic Music 7. The New York Hypnotic School: Founding a Movement 8. Untying the Bonds: Process Music 9. Transfiguring Experimental Music: Minimal Music 10. 1975: The Emergence of Minimalism 11. Fighting or Laying Down Arms: Music with Roots in the Aether and Simplicity 12. Persevering: Systems 13. Giving Up Ground; Retaking It: Minimal Music 14. Subscribing to an Idea: A New Current and Modern Music 15. Disrupting the Status Quo: American Minimal Music 16. Going beyond Modernity: Jameson and Lyotard 17. Opening the Borders: Popular Music 18. 1984: The Spread of Minimalism 19. Confirming an Established Fact: Perspectives of New Music 20. Furthering the Fight: New Sounds 21. 1994: The Arrival of Minimalism 22. In Conquest of the Twenty-First Century Epilogue Notes References Index

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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 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 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 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 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 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 Synopsis**WINNER of Presto Books'' Best Composer Biography**NINE WORKS OF BEETHOVEN, NINE WINDOWS INTO THE LIFE AND LEGACY OF A MUSICAL GENIUS. ''We are doubly blessed that Beethoven should have led such an extraordinary life. Laura has combined the two - the genius of his music and the richness of his experiences - to shine a revealing light on our greatest composer'' John Humphrys_________________________Ludwig van Beethoven: to some, simply the greatest ever composer of Western classical music. Yet his life remains shrouded in myths.In Beethoven, Oxford professor Laura Tunbridge cuts through the noise. With each chapter focusing on a period of his life, piece of music and revealing theme - from family to friends, from heroism to liberty - she provides a rich insight into the man and the music. Revealing a wealth of never-before-seen material, this tour de force is a compelling, accessible portrayal of one of the world''s mTrade ReviewWe are doubly blessed that Beethoven should have led such an extraordinary life. Laura has combined the two - the genius of his music and the richness of his experiences - to shine a revealing light on our greatest composer -- John HumphrysElegant, enquiring and best read with the music turned up -- Julian Glover * Evening Standard *I found Tunbridge's book full of thought-provoking detail. Beethoven may be irredeemably pale and male, but, in this far-ranging discussion, his life and revolutionary music never feel stale -- Richard Morrison * The Times *A concise, subtly revealing survey... emphasizing the many-sidedness of the composer's spirit -- Alex Ross * New Yorker *This book is really wonderful! Nine works of Beethoven from different times in his life tell the story of that life - nine windows through which the man and his music are revealed with captivating clarity. We often speak about the 'universal spirit' of Beethoven but this book also brings to life how he fits into, and indeed creates, the new universe of cultural life which was born as the nineteenth century began. However many books on Beethoven you own, find the space for one more. This one -- Stephen Hough, pianist, composer, writerIn a year when everyone's looking for a new take on Beethoven, Laura Tunbridge has found nine. It makes great sense to look at the composer not thematically but in selected fragments, taking us nine small steps closer to his elusive totality. Fresh and engaging -- Norman Lebrecht, author of Genius and AnxietyI truly enjoyed reading it . . . Excellent . . . Laura Tunbridge upends the two-centuries-old image of Beethoven as a Promethean Titan heroically composing works of genius on his isolated rock of suffering. She convincingly argues that Beethoven's current iconic status must be understood within the context of his financial dealings and lifetime of often affable, sometimes acerbic, vibrant interchanges with family members, other composers, patrons, friends, musicians, singers, publishers, producers, and makers of musical instruments. Her detailed musical analyses of familiar as well as now rarely-performed works of Beethoven converse with one another as well as with other music of the era and with quotidian life in Vienna. This well researched and accessible book is a must read for all who seek to know more about the flesh and blood tangible Beethoven and the checkered history of his reception than about the Beethoven of unfathomable mythic immensity -- John Clubbe, author of Beethoven: The Relentless RevolutionaryMark that young man, he will make a name for himself in the world -- Mozart after hearing the young Beethoven playTunbridge has come up with the seemingly impossible: a new way of approaching Beethoven's life and music . . . and in every chapter a superb - and accessible to non-musicians - analysis of the music . . . profoundly original and hugely readable -- John Suchet, author Beethoven: The Man RevealedRemarkable . . . she captures the essence of his genius and character. I'll always want to keep it in easy reach -- Julia Boyd, author of Travellers in the third ReichIlluminating . . . deftly gathers in the connections . . . In 288 pages, Tunbridge gives us detail enough to create a rounded portrait . . . She makes us marvel at Beethoven all the more -- Fiona Maddocks * Observer *You don't have to be a music scholar to enjoy this brilliant, and pleasingly concise book. But, if you don't love Beethoven, both the man and his music, when you start, you should by the time you finish -- Roger Alton * Daily Mail *Cuts straight to the action . . . Tunbridge balances the traditional narrative of universal, timeless genius, of innovation before its time, with a pragmatic, jobbing musician working hard to make a living -- Alexandra Coghlan * Spectator *Compact but also rewarding...a lot of information is packed into her musical portraits -- Richard Fairman * Financial Times *Laura Tunbridge finds something fresh to say about Beethoven by looking at his life through nine pieces... An entertaining way to celebrate the great man's 250th birthday -- James Marriott * Sunday Times Books of the Year *A twinkling elucidation of concert life in Vienna... fluent, concise and engaging -- Paul Griffith * Times Literary Supplement *Laura Tunbridge, in her new biographical study, has found an elegant way to give Beethovenian heroism and struggle its due, while slyly plucking at the reverse of Solomon's martial banner... Each chapter delivers its little shock of correction -- James Wood * London Review of Books *Laura Tunbridge offers a timely portrait of the composer in an elegant biography . . . refreshingly, [she] focuses on the man rather than the myth. Knowledgeable and humane, this is a deeply sympathetic portrait of a turbulent musical genius * Daily Mail *Tunbridge never stints on musical description, nor compromises her admirable rigour, while her prose is vivid, crystal-clear and never less than fascinating . . . a wonderfully rewarding book -- Jessica Duchen * Classical Music Magazine *

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Book SynopsisAs the 1970s ended, Waits felt trapped by his persona and career. But at his low point: Francis Ford Coppola asked Tom to write the score for "One From the Heart". He cleaned up, and met Kathleen Brennan. This work tells the story of a man creating that elusive American second act, and also about finding the prefect collaborator in his wife.Trade ReviewAnother bodice-ripper in the 33 1/3 series. -- Cory Frye * Under the Radar Magazine *Smay acts as a side-mouth talking tour guide leading us through the darkness, giving us flashlights so we can illuminate the parts to love the whole we never quite see. -- Matthew Fiander * Popmatters.com *Intelligent discussion of Tom Waits is a rare bird, and this volume is welcome addition. * The Big Takeover *

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Book SynopsisOffers an introduction to one of the most important and influential piano concertos in the history of Western music. It combines an account of the work's genesis with a detailed yet accessible analysis of each movement and new research into its reception and performance history.Table of ContentsIntroduction: situating Schumann's piano concerto; 1. Rethinking the romantic piano concerto; 2. The genesis of Schumann's piano concerto; 3. Analysis (1): the first movement; 4. Analysis (2): the slow movement and Rondo Finale; 5. Reception and Legacy; Appendix I: Glossary of Technical Terms and Symbols; Appendix II.

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Book SynopsisABRSM's official Music Theory Practice Papers 2022 are essential resources for candidates preparing for our online Music Theory exams. They provide authentic practice material and are a reliable guide as to what to expect in the exam. -Essential practice material for ABRSM Grade 1 Theory exams -Model answers also available

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

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Book SynopsisThe Music Theory in Practice series has helped more than one million musicians worldwide to learn about the notation and theory of music. Now fully revised, this workbook remains the best way to prepare for ABRSM's Grade 1 Theory of Music Exam. Features a clear explanation of music notation, many worked examples and practice exercises, definitions of important words and concepts, specimen exam questions and helpful tips for students. As well as supporting the ABRSM Theory syllabus, this workbook also provides an excellent resource for anyone wishing to develop general music literacy skills.

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Book SynopsisLost for decades, the manuscript of Hermann Beckh's final lectures on the subject of music present fundamentally new insights into its cosmic origins. Beckh characterises the qualities of musical development, examines select musical works (that represent for him the peak of human ingenuity), and throws new light on the nature and source of human creativity and inspiration. Published here for the first time, the lectures demonstrate a distinctive approach founded on the raw material of musical perception. Beckh discusses the whistling wind, the billowing wave, the song of the birds and particularly the theme of longing. Never losing the ground from under his feet, he penetrates perennial themes: from the yearning for real spontaneity and the 'Mystery background' uniting heaven and earth, to spiritual knowledge that can meet the demands of the twenty-first century. Out of the cosmic context, Beckh writes to the individual situation. From there, he seeks again the re-won cosmic context. He does not write as a musical specialist and then turn to universal human concerns; rather, Beckh writes from universal human concerns and reveals music as of special concern to everyone. In addition to the transcripts of fifteen lectures, this book contains a valuable introduction and editorial footnotes. It also features appendices including Beckh's essay 'The Mystery of the Night in Wagner and Novalis'; reminiscences of Beckh by August Pauli and Harro Ruckner; Donald Francis Tovey's 'Wagnerian harmony and the evolution of the Tristan-chord', and several contemporaneous reviews of Beckh's published works.Table of ContentsIntroduction by Alan Stott - The Human Being and Music - 1. The Polarity of the Musical Element: the Airy and the Sound-Etheric (the Earthly and the Cosmic Element) - 2. The Two Elements as the Soul and the Spirit of Music. The Two Biblical Creation Stories. The Human Soul-Air. The Fall of Man - 3. The Two Elements in the Music from Bach to Beethoven and Chopin. The Earthly Element - Dust. The recent Epoch of Music - 4. The Two Elements of Music as 'Wind and Wave'. Strindberg's The Dream Play. Mozart, Beethoven and Chopin - 5. The Union of both Elements in the Theme of Longing in Tristan and Isolde - 6. The Motif of Longing in Tristan and Isolde - 7. The Primordial Root va - 'blowing', and the Experience of Pain. The Hibernian Mysteries. The Magic of the Mother. The Christian Mystery and Parsifal - 8. Parsifal. The Starry Quality. Karfreitagszauber and the Liebestod. A 'Super-Tonal' Style. Bruckner's Ninth Symphony. Planets, Stars and the Musical Keys - 9. The Trinity of Instruments: Strings, Woodwind and Brass in Wagner and Bruckner - 10. The Mystery of Death in Tristan and Isolde and Bruckner's Ninth Symphony. The Key of D-minor - 11. Earthly and Cosmic Music. Strindberg's The Dream Play - 12. Novalis. Nature and the Musical Element. The Mastersingers. Beethoven's Pastoral Symphony - 13. The Life of Initiation. Opera and the Musical Future. Novalis and the Musical 'Homeland'. Wagner and 'not music'. Opera and Absolute Music. Mystery Back-grounds. Tannhauser - 14. Mystery Contexts in Wagner. The Mystery of Human Life; Prophecy, Fulfilment and the Future - 15. The Christian Mystery dramatised in Music - Appendix One: Hermann Beckh: The Mystery of the Night in Wagner and Novalis - Appendix Two: August Pauli: Memories of Hermann Beckh. Harro Ruckner: A Memory of Hermann Beckh - Appendix Three: Donald Francis Tovey: Wagnerian harmony and the [possible] evolution of the Tristan-chord. Chopin's Mazurka, op. 68, no. 4, bb. 11-14 - Appendix. Book Reviews: Hermann Beckh: Buddha's Life and Teaching, Hermann Beckh The Parsifal=Christ=Experience in Wagner's Music Drama. Hermann Beckh: The Language of Tonality in the Music of Bach to Bruckner. Christoph Peter: The Language of Music in Mozart's 'The Magic Flute' - Notes - Bibliography

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Book SynopsisWe Still Here maps the edges of hip-hop culture and makes sense of the rich and diverse ways people create and engage with hip-hop music within Canadian borders.Trade Review"As the editors and essay contributors of We Still Here: Hip Hop North of the 49th Parallel well understand, identity in terms of hip hop in Canada has everything to do with the diaspora of cultures across the nation's provinces and cities … Indigenous voices, immigrant stories, linguistic diversity, gender, and generational divides are at the forefront of this exploration of hip hop's evolution as a medium both of expression and entertainment in Canada since the mid-1980s, a period in hip hop history dominated largely by what was happening in New York and LA. If you're the type of hip hop fan who views knowledge as the fifth element, this book is absolutely for you." Montreal Review of Books"We Still Here goes deep into the different identities, communities, and practices that create Canadian hip hop. It offers comprehensive analyses of indigenous hop hop in urban and non-urban dimensions, the rich contexts constituted by the black community in Nova Scotia, queer hip hop, and early suburban hip hop in Toronto. A significant strength of the collection is the number of female voices represented. The sense is conveyed of a national hip hop culture in which women are absolutely essential." Will Straw, McGill University“This is a rich collection compiled for a broad readership – academic and non-academic – and it invites all into awareness and contemplation of the rooted hip hop legacies and practices framing and shaping the Canadian context.” University of Toronto Quarterly

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Book SynopsisPatrick McNaughton is Chancellor's Professor of African Art at Indiana University, Bloomington. He is author of Mande Blacksmiths (IUP, 1988).

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Book SynopsisOver the past fifty years Roger Sessions has developed, in articles, lectures, and addresses, various themes that reflect the stages of his own musical and intellectual growth. These themes form the basis of the present collection of essays. Many of the essays deal with specific problems that musicians, especially composers, have faced during the pTable of Contents*Frontmatter, pg. i*Contents, pg. v*Editor's Note, pg. vii*Preface, pg. ix*The Composer and His Message [1939], pg. 3*Music in Crisis [1933], pg. 27*The New Musical Horizon [1937], pg. 45*Song and Pattern in Music Today [1956], pg. 53*Problems and Issues Facing the Composer Today [1960], pg. 71*Style and "Styles" in Music [1961], pg. 88*Art, Freedom, and the Individual [957], pg. 105*Composer and Critic [1934], pg. 120*America Moves to the Avant-Scene [1937], pg. 123*To Revitalize Opera [1938], pg. 137*The Scope of Music Criticism [1947], pg. 146*Music in a Business Economy [1948], pg. 157*How a "Difficult" Composer Gets That Way [1950], pg. 169*Music and the Crisis of the Arts [1954], pg. 175*New Vistas in Musical Education [1934], pg. 187*The Composer in the University [1949], pg. 193*What Can Be Taught? [1967], pg. 204*Heinrich Schenker's Contribution [1935], pg. 231*Hindemith on Theory [1937], pg. 241*Exposition by Krenek [1938], pg. 249*Escape by Theory [1938], pg. 256*The Function of Theory [1938], pg. 263*Music and Nationalism [1933], pg. 271*Vienna-Vale, Ave [1938], pg. 282*On the American Future [1940], pg. 288*American Music and the Crisis [1940], pg. 295*No More Business-as-Usual [1942], pg. 304*Artists and This War [1942], pg. 313*Europe Comes to America [1945], pg. 319*Ernest Bloch [1927], pg. 329*On Oedipus Rex [1928], pg. 339*Hindemith's Mathis der Maler [1934], pg. 347*Schoenberg in the United States [1944, revised 1972], pg. 353*Some Notes on Schoenberg and the "Method of Composing with Twelve Tones" [1952], pg. 370*Thoughts on Stravinsky [1957], pg. 376*In Memoriam Igor Stravinsky [1971], pg. 386*In Memoriam Luigi Dallapiccola [1975], pg. 387

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Book SynopsisWith a colleague's candour, sympathy, and expertise, Steenhuisen discusses the creative process with thirty-two contemporaries.Trade Review"And on those nights when it is absolutely too cold to go out, I'll most likely be curling up with Paul Steenhuisen's new book Sonic Mosaics: Conversations with Composers. Beyond being a highly accomplished composer in his own right, Steenhuisen is also a recognized interviewer of his creative colleagues. Over numerous years, he has conducted and recorded dozens of one-on-one conversations with some of our country's leading composers (many of which appeared in these pages between 2001 and 2005). Now, after much anticipation, these insightful interviews are available in one volume. Paul’s well-documented conversations offer the reader entry into the creative process and ways of listening to new musical works. He calls on his own experience as a composer to lend these 32 interviews a colleague's openness, understanding and expertise." Jason van Eyk, Wholenote, February 2009"Steenhuisen shows an understanding of the work of everyone he interviews, no matter what their musical style. This especially pays off with an experimental composer like John Oswald, whose technique of plunderphonics challenges traditional approaches to composition. Things get lively when he asks Oswald whether his pieces have an expiry date. Steenhuisen's questions are thought-provoking, and his thorough preparation allows him to follow wherever the subject takes him. A surprising answer can turn things in an entirely different direction....[M]any things in this important book have been particularly well-considered, from the design, the photos and the cover art, to the discography, annotations, and index (which even has an entry for playfulness)." Pamela Margles' BookShelf, Wholenote Magazine, March 30, 2009 (full entry at http://thewholenote.com/index.php?option=com_content&view=category&layout=blog&id=56&Itemid=52)"[I]f you want to find out about recent developments in Canadian contemporary composition, Sonic Mosaics is where to go." Philip Clark,The WIRE, May 2009"The reader is impressed by the intellectual prowess of so many underrated creators, and the special relationship between composers gives the work more substance. [If] one is interested in Canadian music, or composers who seem preoccupied by music history, they would be well-advised to look into Steenhuisen's book. Special praise is to be given to the Lachenmann interview, which captures the essence of his work in a simple, elegant and moving way." René Bricault, La Scena Musicale, May 2009"Paul Steenhuisen carried out a series of 31 excellent interviews with Canadian and international composers beginning in 2001. The book runs the gamut from Schafer to Boulez, and includes composers of all generations. So much of a good interview depends upon the knowledge and imagination of the interviewer, and Steenhuisen gets high marks in both areas. We are desperately short of informed information about Canadian composers of our time, and both Steenhuisen and the University of Alberta Press are to be congratulated for this long overdue achievement." Lawrence Cherney, Artistic Director, Soundstreams Canada, September 2009"An articulate composer coaxes revealing shop talk from diverse peers." Ethelbert Nevin, Tome Tweets / La Folia Online Music Review, September 2009"Most texts dealing with Canadian music are organized as surveys. An alternate approach is to present in a single volume a collection of interviews or conversations with selected composers. Although this approach is less inclusive and does not address explicitly any larger trends or developments, it often provides better insight into the musical activities of each composer, conveys a stronger sense of his or her individual personality, and explores the musical works on their own terms rather than in the way they fit into a larger picture. Paul Steenhuisen has chosen the latter path and the result, Sonic Mosaics: Conversations with Composers, is an excellent and welcome view of contemporary music activity in Canada. Sonic Mosaics makes no attempt to be inclusive or comprehensive. It provides instead a glimpse of the new music scene in Toronto during the early years of the twenty-first century. Steenhuisen is excellent in his role as interviewer. He is an accomplished composer with strong new music affiliations. Steenhuisen approaches each composer on his or her own terms, asking questions that are unique and appropriate to each rather than following a set formula. He is also adept at asking good opening questions and then stepping aside to let the composers speak for themselves. In most cases a strong sense of each composer's personality is apparent. Steenhuisen also provides a discography that lists a maximum of five recordings per composer, so that listeners can be introduced to or explore further the music of the composers interviewed. Whereas most books on music have difficulties addressing the twenty years prior to publication, Steenhuisen focuses almost exclusively on the current decade to reveal the thoughts, challenges, and artistic endeavors of contemporary Canadian composers." J. Drew Stephen, Canadian Association of Music Libraries, Archives, and Documentation Centres, Fall 2009"It's nice to see Sonic Mosaics by Paul Steenhuisen reviewed in BookShelf this month. As noted in the review, a lot of the composer interviews in the book were incubated here in WholeNote over the years. The debt we owe Steenhuisen is that he carved a niche in our magazine for lengthy interviews, in which the voice of an artist being asked good questions has a chance to shine through." David Perlman, Wholenote Magazine, March 2009"One might fear that a book of interviews in which one specialist interviews another in the same field would result in an impenetrable, jargon-ridden read that would send the reader crying out for generalists to give them something understandable and relevant to their own experience. This book, though not for the uninitiated, rarely crosses the line into the specialist realm....Steenhuisen's questions and style sometimes probing, other times knowingly prodding the subject create a text that never lags.... Considering the interviews' length and generalist purpose, they are remarkably thorough.... A highly-recommended read." John Oliver, Sequenza21, January 27, 2010 [Full review at http://www.sequenza21.com/2010/01/talking-with-composers-canada-and-beyond/]"Paul Steenhuisen's conversations with thirty-one then living composers ... feel expansive and are frequently revelatory. Steenhuisen is himself a composer. His questions are deeply informed and smart, and they invariably elicit interesting responses. It is wonderful how articulate composers can be, not just about their own work, but about music generally and even about the other arts as well.... In almost every case these composers have provocative things to say. Readers untutored in the language of music may find themselves left behind sometimes, but, surprisingly, most of these talks will engage even the musically illiterate.... These interviews in the aggregate give us a good sense of what the contemporary 'classical' music world consists of and feels like from the composer's point of view." Bruce Whiteman, Canadian Review Service, July 2013 [Full article, Regaining Our Composure, is at http://www.canadianreviewservice.com/]Table of ContentsR Murray Schafer; Robert Normandeau; Chris Paul Harman; Linda Catlin Smith; Alexina Louie; Omar Daniel; Michael Finnissy; John Weinzweig; Udo Kasemets; Pierre Boulez; Barbara Croall; James Rolfe; John Beckwith; Yannick Plamondon & Marc Couroux; George Crumb; Peter Hatch; John Oswald; Francis Dhomont; Martin Arnold; Helmut Lachenmann; Juliet Palmer; Christian Wolff; Mauricio Kagel; John Rea; Gary Kulesha; Howard Bashaw; Christopher Butterfield; Hildegard Westerkamp; Keith Hamel; Jean Piche; James Harley; Index.

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Book SynopsisRather than a musical score, the work in this book is a graphic realisation of the structure of a musical composition. The pattern which unfolds takes on elements of landscape and architecture in stark black and white.

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Book SynopsisAddressing established scholars and advanced students of Purcell, this book proposes the first analytical approach to Purcell's music to be based on examination of his compositional methods alongside historically contemporary theory. It will be of interest to analysts and music theorists of seventeenth-century music, and of early music.Trade Review'This book documents a remarkable achievement. It not only offers direct insights into the creative processes of a great composer on a technical level, but also succeeds in getting, as it were, into his skin as he faced compositional problems - something not previously attempted in the case of Purcell (and all too rarely accomplished for any composer).' Bruce Wood, Bangor University'Compositional Artifice in the Music of Henry Purcell represents a step-change in the emerging musicological sub-discipline of historically informed analysis. By introducing the contemporary notion of 'artificial' composition - in which the composer incorporated intricate imitative devices to provide creative satisfaction for both composer and performer - Howard unravels with remarkable clarity the hidden compositional techniques lying behind Purcell's inventive strategies in both his instrumental chamber music and his later large-scale vocal works. The book provides a set of historically sensitive analytical tools that have the potential to transform the reader's understanding of some of Purcell's greatest masterpieces.' Rebecca Herissone, University of ManchesterTable of ContentsIntroduction; Part I. Purcell's 'Art of Descant': 1. In counterpoint: sources and analysis; 2. Artifice, Fugeing and fantazia; 3. 'The chiefest instrumental musick now in request': canzonas and other sonata fugues; 4. 'The power of the Italian notes': Purcell's sonatas as and in reception; Part II. 'Thou Didst Thy Former Skill Improve': 5. 'Celestial art[ifice]' in Hail, bright Cecilia; 6. Artifice and musical modelling; 7. Augmentation as artifice, artifice as augmentation; 8. 'Italian sonatas in orchestral garb'.

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Book SynopsisScientific thinking has long been linked to music theory and instrument making, yet the profound and often surprising intersections between the sciences and opera during the long nineteenth century are here explored for the first time. These touch on a wide variety of topics, including vocal physiology, theories of listening and sensory communication, technologies of theatrical machinery and discourses of biological degeneration. Taken together, the chapters reveal an intertwined cultural history that extends from backstage hydraulics to drawing-room hypnotism, and from laryngoscopy to theatrical aeronautics. Situated at the intersection of opera studies and the history of science, the book therefore offers a novel and illuminating set of case studies, of a kind that will appeal to historians of both science and opera, and of European culture more generally from the French Revolution to the end of the Victorian period.Trade Review'There is an interesting discussion of whether opera was beneficial or dangerous for the mentally ill. This exploration of the intersection of two important aspects of 19th-century Western life will interest scientists and musicians alike.' R. Pitts, Choice'Over the course of the essays, all of which are excellent, the book weaves a very solid network of living objects, which resonate with each other from chapter to chapter and bear witness to the inextricable entanglement between the operatic stage and the scientific stage in nineteenth-century opera, echoes of which are still audible today.' Isabelle Moindrot, Revue de musicologieTable of Contents1. Introduction: the laboratory and the stage David Trippett and Benjamin Walton; Part I. Voices: 2. Pneumotypes: Jean de Reszke's high pianissimos and the occult sciences of breathing James Q. Davies; 3. Vocal culture in the age of laryngoscopy Benjamin Steege; 4. Operatic fantasies in early nineteenth-century psychiatry Carmel Raz; 5. Opera and hypnosis: Victor Maurel's experiments in suggestion with Verdi's Otello Céline Frigau Manning; Part II. Ears: 6. Hearing space in the music of Hector Berlioz Julia Kursell; 7. From distant sounds to Aeolian ears: Ernst Kapp's auditory prosthesis David Trippett; 8. Wagner, hearing loss, and the urban soundscape of late nineteenth-century Germany James Deaville; Part III. Technologies: 9. Science, technology and love in late eighteenth-century opera Deirdre Loughridge; 10. Technological phantoms of the opéra Benjamin Walton; 11. Circuit listening Ellen Lockhart; Part IV. Bodies: 12. Excelsior as mass ornament: the reproduction of gesture Gavin Williams; 13. Automata, physiology and opera Myles Jackson; 14. Wagnerian manipulation: Bayreuth and the sciences of the mind James Kennaway; 15. Unsound seeds Alexander Rehding.

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Book SynopsisThis book is a cultural history of the nineteenth-century songster: pocket-sized anthologies of song texts, usually without musical notation. It examines the musical, social, commercial and aesthetic functions songsters served and the processes by which they were produced and disseminated, the repertory they included, and the singers, printers and entrepreneurs that both inspired their manufacture and facilitated their consumption. Taking an international perspective, chapters focus on songsters from Ireland, North America, Australia and Britain and the varied public and private contexts in which they were used and exploited in oral and print cultures.Trade Review'No doubt a range of interdisciplinary scholars - such as those grounded in English, popular culture, music, American studies, media studies, and more - will be interested in this volume's focus on the nineteenth century, culture, production, and politics.' Scott Gac, Journal of Popular Music Studies'There is an abundance of positive thought and information in the book. Every chapter is of interest and leaves one wanting more.' Stephen Banfield, Popular Music'…excellent, helpful, informative, and interesting' Ian Newman, Music & LettersTable of Contents1. The nineteenth-century songster: recovering a lost musical artefact Paul Watt, Derek B. Scott and Patrick Spedding; Part I. Production, Function and Commerce: 2. American secular songsters in the nineteenth century: an overview Norm Cohen; 3. The prefaces to songsters: the law, aesthetics, performers and performance Paul Watt; 4. The genesis of Thomas Moore's Irish Melodies, 1808–34 Sarah McCleave; Part II. Politics: 5. The US Presidential campaign songster, 1840–1900 Derek B. Scott; 6. Friendship, cosmopolitan connections and late Victorian socialist songbook culture Kate Bowan; 7. 'Confound their politics': the political uses of God Save the King-Queen Paul Pickering; 8. Charles Robert Thatcher's songsters: politics on the goldfields of Victoria, Australia Mark Pinner; Part III. Nation, Place and Purpose: 9. Rethinking the songster and national-cosmopolitan identity in Lowland Scotland, c.1787–1830 Andrew Greenwood; 10. The blackface songster in Britain Michael Pickering; 11. Popular songsters and the British military: the case of The Girl I Left Behind Me Anthea Skinner; 12. Australian songsters and the Australian folk song movement Graeme Smith.

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Book SynopsisThis thematic examination of Britten''s operas focuses on the way that ideology is presented on stage. To watch or listen is to engage with a vivid artistic testament to the ideological world of mid-twentieth-century Britain. But it is more than that, too, because in many ways Britten''s operas continue to proffer a diagnosis of certain unresolved problems in our own time. Only rarely, as in Peter Grimes, which shows the violence inherent in all forms of social and psychological identification, does Britten unmistakably call into question fundamental precepts of his contemporary ideology. This has not, however, prevented some writers from romanticizing Britten as a quiet revolutionary. This book argues, in contrast, that his operas, and some interpretations of them, have obscured a greater social and philosophical complicity that it is timely - if at the same time uncomfortable - for his early twenty-first-century audiences to address.Trade Review'The author is interested in Britten's ideology and studies this by focusing on the origins, nature, and structure of the ideas in the operas. Recommended. Graduate students, researchers, faculty, professionals.' R. Pitts, Choice'… deeply original and brilliantly wrought … Ideology in Britten's Operas is an intellectually stimulating achievement-agile in critical-theoretical perspective, musical in its score analyses, and engaging to read. It is also an ambitious book, seeking in Britten's operas a testing-ground for a broader ideologically framed criticism.' Philip Rupprecht, Music and LettersTable of ContentsPart I. Mappa Mundi: 1. Defining ideology; 2. Ideological narratives; Part II. The Ship of State: 3. From manifest violence to its historical sediment; 4. The occultation of history; Part III. New World: 5. Women and children; 6. A shadow falls on castle walls.

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Book SynopsisExplores the political aesthetics of 'lateness' in the cultural sphere after World War I, mapping intersections between the activities, attitudes and ideas of musical and literary figures in Britain. The book will appeal to readers interested in musical modernism, literary modernism and the politics of interwar Britain.Trade Review'The concepts of lateness and modernism in early twentieth-century culture have both received voluminous critical attention in recent years. But here is an invigorating and sophisticated book which makes a highly distinctive and indeed provocative contribution. Neglected aspects of inter-war British musical and literary modernism receive long overdue scrutiny through virtuoso readings of the work of Philip Heseltine, Cecil Gray and Kaikhosru Sorabji. In short, essential, and thoroughly enjoyable reading.' Stephen Downes, Royal Holloway, University of LondonTable of Contents1. The afterlife of a 'Beaten Ghost'; 2. Sketch of a milieu: impasse and lateness; 3. Impersonality and vividness; 'Le Gai Savaire', Philip Heseltine and D. H. Lawrence; 4. Modernism, democracy and the politics of lateness: Kaikhosru Sorabji and the new age; 5. Cycles, rotation and the image: Cecil Gray's music history and H. D.'s Imagism

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