Theory of music and musicology Books

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Trade ReviewYou should derive considerable enlightenment from Bonds' trenchant and pertinent perspectives. * Arnold Whittall, The Musical Times *...the idea...turns out to be a big one, and Bonds rises brilliantly to his own challenge, writing an epic narrative with a masterly command of 2,500 years of music history from the mysteries of Pythagoras to the mysteries of the CIA...Bonds's concept is immaculately conceived, wonderfully lucid, beautifully organized, and elegantly written. * Music Theory Online *This is an immensely informed, thoroughly documented, and detailed book, offering much to chew on during a delicious and intellectually nourishing journey through millennia of theoretical discussions about the nature of music. Readers with an interest in these matters should find Bonds' account profoundly satisfying, and his book should also provide the basis for graduate seminars on musical aesthetics. Highly recommended. * Classical.Net *Table of ContentsIntroduction 7 Part One Essence as Effect: To 1550 23 1. Orpheus and Pythagoras 23 2. Isomorphic Resonance 30 Part Two Essence and Effect: 1550-1850 39 3. Expression 41 The Separation of Powers 41 Music and Language 48 Music as Language 58 Mimesis 69 4. Beauty 79 5. Form 90 Form as Number 91 Form as Content 98 6. Autonomy 103 Material Autonomy 103 Ethical Autonomy 108 7. Disclosure 112 The Composer as Oracle 112 Beautiful Insights 117 Cosmic Insights 121 Part Three Essence or Effect: 1850-1945 127 8. Wagner's "Absolute" Music 129 9. Hanslick's "Pure" Music 140 Hanslick the Conventional 156 Hanslick the Radical 171 Hanslick the Ambivalent 181 10. Liszt's "Program" Music 205 11. Polemics 214 12. Reconciliation 231 13. Qualities Recast 244 Expression 246 Beauty 263 Form 264 Autonomy 278 Disclosure 284 Epilogue: Since 1945 292 Appendix: Hanslick's Vom Musikalischen-Schönen: Early and Selected Later Reviews and Commentary 294 Works Cited ] 304

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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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Book SynopsisIntroducing a new theory of musical form for the analysis of instrumental music of the classical style. The book provides a broad set of principles and a comprehensive methodology for analysing phrases and themes to complete movements. Illustrated with over 250 annotated musical examples by Haydn, Mozart and Beethoven.Trade ReviewThis ambitious book offers nothing less than a new theory of form for the music of the Classical period ... In its combination of scholarship, musicality and sheer common sense, Caplan's Classical Form is a major achievement by any standards ... it should be read by anybody who teaches, studies or writes about this music. * Music and Letters *Table of ContentsIntroduction Part I. Preliminaries 1: Some Basic Formal Functions: An Overview 2: Fundamental Progressions of Harmony Part II. Tight-Knit Themes 3: Sentence 4: Period 5: Hybrid Themes and Compound Themes 6: Small Ternary 7: Small Binary Part III. Looser Formal Regions 8: Subordinate Theme 9: Transistion 10: Development 11: Recapitulation 12: Coda Part IV. Full-Movement Forms 13: Sonata Form 14: Slow-Movement Forms 15: Minuet/Trio Form 16: Rondo Forms 17: Concerto Form Glossary of Terms Notes Bibliography Index of Classical Compositions General Index

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Book SynopsisPresents a translation of the third volume of Syntagma musicum, a multi-volume work by a German composer and theorist. This volume deals with terminolgy and performance practice, and offers us a detailed commentary available from the 17th century about the performance of particular pieces of music.Trade Review...contains valuable commentary * William E Hettrick, Music and Letters *

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Book SynopsisThis text addresses the central problem of music cognition. Equally important, the work offers an analysis of the relationship between the psychological organization of music and its internal structure.Trade ReviewWe have before us a summary of some 12 years of assiduous and intelligent work by one of the very best minds in cognitive science. I have followed Carol Krumhansl's research for years with enthusiasm; it is a joy to see it reported so well ... Go read this excellent book! * American Scientist *Table of Contents1. Objectives and Methods ; 2. Quantifying Tonal Hierarchies and Key Distances ; 3. Musical Correlates of Perceived Tonal Hierarchies ; 4. A Key-Finding Algorithm Based on Tonal Hierarchies ; 5. Perceived Relations Between Musical Tones ; 6. Perceptual Organization and Pitch Memory ; 7. Quantifying Harmonic Hierarchies and Key Distances ; 8. Perceived Harmonic Relations ; 9. Perceiving Multiple Keys: Modulation and Polytonality ; 10. Tonal Hierarchies in Atonal and Non-Western Tonal Music ; 11. Music Cognition: Theoretical and Empirical Generalizations

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Trade ReviewIf one were to describe this impressive book in a nutshell, one might simply say that it is a thorough and rigorous account of the medieval tone-system in its theoretical and practical aspects; but this would do scant justice to its depth and complexity * Music and Letters *Table of ContentsPROLOGUE; PART I. THE EIGHTH AND NINTH CENTURIES; PART II. THE SYNTHESIS OF ANCIENT GREEK THEORY AND MEDIEVAL PRACTICE; EPILOGUE: PROBLEMS AND SOLUTIONS; BIBLIOGRAPHY; INDEX

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Book SynopsisThe twelve essays by Kendall Walton in this volume address a broad range of issues concerning the arts. Walton introduces an innovative account of aesthetic value, and explores relations between aesthetic value and values of other kinds. His classic ''Categories of Art'' is included, as is ''Transparent Pictures'', his controversial account of what is special about photographs. A new essay investigates the fact that still pictures are still, although some of them depict motion. New postscripts have been added to several of the reprinted essays.Trade ReviewThe collection is indeed a joy to read... Each essay gives the tangible impression hearing an outstanding philosopher in direct engagement with the issues... For all the freshness and directness of style, there is an extraordinary level of subtle nuance and fine distinction... It is a principal conclusion of the opening chapter, which gives the collection its title, that a distinctive mark of aesthetic pleasure is the fact we take pleasure, not just in the object itself, but also in our admiration for the object. Just such a pleasure will be occasioned by this admirable volume. Marvelous indeed. * Ian Ground, Philosophy *Table of ContentsIntroduction Part I: Aesthetic and Moral Values 1: "How Marvelous": Toward a Theory of Aesthetic Value Postscripts to "How Marvelous!" 2: The Test of Time 3: Morals in Fiction and Fictional Morality 4: On the (So-Called) Puzzle of Imaginative Resistance Part II: Pictures and Photographs 5: Pictures & Hobby Horses: Make-Believe Beyond Childhood 6: Transparent Pictures: On the Nature of Photographic Realism Postscripts to "Transparent Pictures" 7: On Pictures & Photographs: Objections Answered 8: Seeing In and Seeing Fictionally 9: Depiction, Perception, & Imagination: Responses to Richard Wollheim 10: Experiencing Still Photographs: What Do You See and How Long Do You See It? Part III: Categories and Styles 11: Categories of Art 12: Style and the Products and Processes of Art

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Book SynopsisTonal Pitch Space presents a model of diatonic space that quantifies intuitions of the relative distances of pitches, chords, and keys. The model assigns prolongational structure, represents paths through the space, and computers patterns of tension and attraction as musical events unfold.Trade Review"Tonal Pitch Space is one of the most important books to come along in music theory and music cognition in a while. The degree of detail that Lerdahl builds into his model is extraordinary, and the consistency with which he references not only the research literature of cognitive psychology but also that of the full breadth of the history of music theory will ensure its importance to both groups of scholars for some time to come."--Computer Music Journal"A Generative Theory of Tonal Music by Fred Lerdahl and Ray Jackendoff is one of the most important works in music theory in the last half of the 20th century, and likewise it has taken its place among the foundational texts in music perception and cognition. Thus the publication of Lerdahl's Tonal Pitch Space, a book which extends the GTTM project, is a significant event."--Music Perception"[Tonal Pitch Space] is an awe-inspiring achievement. It is bursting at the seams with interesting ideas and perceptive analytic insights. It breaks new ground in establishing rigorous, algorithmic procedures for sophisticated music theories and in forging strong connections between music theory and music psychology. It engages other work in the field in the most exemplary way (one can only marvel at the wealth of references, not only to music theory past and present but also to psychology and other disciplines)--building on the ideas of others but always offering fresh insights and perspectives."--Musicae Scientiae"This book assembles and fully systematizes Lerdahl's work of the past decade and in many ways completes the project begun with 'A Generative Theory of Tonal Music.' In its scope, the detail of its argument, and in its claim to very precisely model musical cognition on a grand scale, this work is virtually without precedent."--Christopher Hasty, Professor of Music, University of Pennsylvania"Fred Lerdahl's 'Tonal Pitch Space' is an extraordinary achievement in music theory. It promises to have a major impact on our understanding of how music works and how music is understood. It sketches a theory of enormous potential, with which theorists and cognitive scientists should be concerned for decades hence."--Jonathan Kramer, Professor of Music, Columbia University

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Trade ReviewThis book would fit beautifully into our graduate program. Phillips has hit the nail on the head by including introductions to research types with actual examples from the literature. I especially like the idea of the Study and Discussion Questions (and the foci of the particular ones he has chosen), and the Suggested Activities. I appreciate how Phillips pushes students into new areas without frightening them. I applaud the inclusion of qualitative and action research. I would adopt this text into a music education research course in a second. * Bruce Gleason, University of St. Thomas *I would like to say bravo for putting this text together. I think we need it in our field, and I appreciate the level-headed approach. Phillips does a good job of covering all the methodologies. And I like that he uses articles to illustrate the different methodologies. * Diana Hollinger, San Jose State University *Table of ContentsEACH CHAPTER ENDS WITH STUDY AND DISCUSSION QUESTIONS AND SUGGESTED ACTIVITIES; PART ONE. RESEARCH BASICS; 1. RESEARCH IN MUSIC EDUCATION AND MUSIC THERAPY; 2. THE RESEARCH STUDY; 3. READING RESEARCH: A COMMENTARY; JUDITH A. JELLISON (2002). "ON-TASK PARTICIPATION OF TYPICAL STUDENTS CLOSE TO AND AWAY FROM CLASSMATES WITH DISABILITIES IN AN ELEMENTARY MUSIC CLASSROOM."; PART TWO. HISTORICAL AND PHILOSOPHICAL RESEARCH; 4. HISTORICAL RESEARCH; MARTHA CHRISMAN RILEY (1990). "PORTRAIT OF A NINETEENTH-CENTURY SCHOOL MUSIC PROGRAM."; 5. PHILOSOPHICAL RESEARCH; ESTELLE JORGENSEN (2006). "REFLECTIONS ON FUTURES FOR MUSIC EDUCATION PHILOSOPHY."; PART THREE. QUALITATIVE RESEARCH; 6. PRINCIPLES OF QUALITATIVE RESEARCH; MANNY BRAND (2002). "AN ETHNOGRAPHIC STUDY OF HONG KONG AND AMERICAN MUSIC EDUCATION STUDENTS."; 7. CRITICAL READING OF QUALITATIVE RESEARCH; JOHN W. SCHEIB (2003). "ROLE STRESS IN THE PROFESSIONAL LIFE OF THE SCHOOL MUSIC TEACHER: A COLLECTIVE CASE STUDY."; 8. REFLECTING ON QUALITATIVE RESEARCH; LOUIS SCHLEUTER (1994/1995). "QUALITATIVE STUDY OF DIALOGUE: A THOUGHT PROCESS."; BARBARA L. WHEELER (2002). "EXPERIENCES AND CONCERNS OF STUDENTS DURING MUSIC THERAPY PRACTICA."; PART FOUR. QUANTITATIVE RESEARCH; 9. PRINCIPLES OF QUANTITATIVE RESEARCH; 10. ANALYSIS OF THE DATA; 11. QUANTITATIVE RESEARCH: DESCRIPTIVE; KATE GFELLER, STEVEN K. HEDDEN, AND ALICE-ANN DARROW (1990). "PERCEIVED EFFECTIVENESS OF MAINSTREAMING IN IOWA AND KANSAS SCHOOLS."; CORNELIA YARBROUGH AND HARRY E. PRICE (1989). "SEQUENTIAL PATTERNS OF INSTRUCTION IN MUSIC."; 12. QUANTITATIVE RESEARCH: EXPERIMENTAL; KENNETH H. PHILLIPS AND STEVEN W. EMGE (1994). "VOCAL REGISTRATION AS IT AFFECTS VOCAL RANGE FOR SEVENTH- AND EIGHTH-GRADE BOYS."; KENNETH H. PHILLIPS (1985). "THE EFFECTS OF GROUP BREATH-CONTROL TRAINING ON THE SINGING ABILITY OF ELEMENTARY STUDENTS."; KARIN HARFST SEHMANN (2000). "THE EFFECTS OF BREATH MANAGEMENT INSTRUCTION ON THE PERFORMANCE OF ELEMENTARY BRASS PLAYERS."; 13. QUANTITATIVE RESEARCH: CLINICAL; REBECCA L. ENGEN (2005). "THE SINGER'S BREATH: IMPLICATIONS FOR TREATMENT OF PERSONS WITH EMPHYSEMA."; CHRIS TURNER, BRUCE GANTZ, MARY LOWDER, AND KATE GFELLER (2005). "BENEFITS SEEN IN ACOUSTIC HEARING + ELECTRIC SIMULATION IN SAME EAR."; 14. MIXED METHODS RESEARCH; CLIFFORD K. MADSEN AND STEVEN N. KELLY (2002). "FIRST REMEMBRANCES OF WANTING TO BECOME A MUSIC TEACHER."; LOIS SCHLEUTER (1991). "STUDENT TEACHERS' PREACTIVE AND POSTACTIVE CURRICULAR THINKING."; PART 5. RESEARCH AND THE CLASSROOM; 15. ACTION RESEARCH; COLLEEN M. CONWAY AND JAMES BORST (2001). "ACTION RESEARCH IN MUSIC EDUCATION."; 16. INTEGRATING RESEARCH AND TEACHING; URSULA CASANOVA (1989). "RESEARCH AND PRACTICE: WE CAN INTEGRATE THEM."; EPILOGUE

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Trade ReviewEditor: Suzanne Ryan "In my opinion, this is the most important book on music aesthetics to appear in the last several decades.... Goehr does not seek a universal definition for music and its meanings but instead traces the history of the 'work concept' in Western music. She both reveals the developments that cemented the notion of the musical work in the 19th century and also examines the limits of that notion."--Susan McClary, Professor of Musicology, University of California -- Los Angeles"This book is not only a major contribution to the philosophy of music, but is also vitally important to understanding music history and performance practice. Further, those interested in rethinking the conventions of today's classical music world should not miss it."--Bernard Sherman, Iowa Public Radio, author of Inside Early Music: Conversations with Performers, co-editor of Performing BrahmsTable of ContentsFOREWORD; INTRODUCTORY ESSAY: HIS MASTER'S CHOICE; INTRODUCTION; PART I. THE ANALYTIC APPROACH; PART II. THE HISTORICAL APPROACH; BIBLIOGRAPHY OF WORKS CITED; INDEX

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Table of ContentsIntroduction: At the Intersection of Old and New Paths ; Part I: Schumann's One and Only Schubert ; Chapter 1: Schumann and Schubert's "Immortal" Piano Trio in E flat ; Chapter 2: The Gestus of Remembering: Schubert's Critique of Schubert's Impromptus ; Part II: Uttering CLARA in Tones ; Chapter 3: Schumann: Cryptographer or Pictographer? ; Chapter 4: Brahms's Musical Ciphers: Acts of Homage and Gestures of Effacement ; Chapter 5: The Folded Fan ; Part III: A Noble Model ; Chapter 6: Metaphysical Chess Games ; Chapter 7: Brahms, the Schumann Circle, and the Style hongrois: Contexts for the "Double" Concerto ; Epilogue: Crossing Paths and Modes of Experience

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Book SynopsisDancefilm: Choreography and the Moving Image examines the choreographic in cinema - the way choreographic elements inform cinematic operations in dancefilm. It examines some of the most significant collaborations between dancers, choreographers, and filmmakers and presents new models of cinematic movement that are historically informed and interdisciplinary in nature.Trade ReviewThis is a book of tremendous reach and range, shuttling easily up and down the decades, moving nimbly between dance history and film theory, and hopping happily back and forth between big mainstream movies and small experimental gems. It's a book be-jeweled with zinging phrases, memorable quotations and big ideas tautly expressed. Best of all, it's an hospitable book with a great cast of characters, wherein film-stars rub shoulders with theorists and the commercial converses with the avant garde. * David Hinton, Film-maker *This book makes a convincing case for recognizing that work choreographed by and with the camera is an artform with its own distinct properties. Drawing on philosophy, dance studies, and film theory, Brannigan offers acute insights into the nature of dancefilm. * Ramsay Burt, Professor of Dance History, De Montfort University *Images move; dancers make images: the complexities of this choreographic interweave are here explored in a range of illuminating ways. Erin Brannigan's book is an innovative contribution of equal importance to Cinema Studies and Dance Research. * Jane Goodall, Adjunct Professor, Writing and Society Research Group, The University of Western Sydney *Tackling a large-scale agenda from a meticulously researched and unapologetically dance-centred perspective, Dancefilm is a much-needed resource for the serious scholar. * RealTime *A significant contribution to the field. Brannigan has provided us with an historical context, terminology and other tools for discussing dancefilm. She has assembled a particular cast of theorists, historians, choreographers, filmmakers and dancefilm artists. She has provided a platform upon which further development of screendance can spring. Can we now step forward, respond to and acknowledge her offering, and continue the conversation? * Dancefilm Journal *Table of ContentsPREFACE; ABOUT THE COMPANION WEBSITE; INTRODUCTION; FILMMOGRAPHY; BIBLIOGRAPHY

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Trade Reviewa readable and constantly intelligent book * Tim Homfray, The Strad *Table of ContentsPART I: CONTEXT ; 1. What is a Teaching Artist? ; 2. Teaching Artists in the Arts Learning Ecosystem ; 3. Guidelines for Teaching Artistry ; 4. The Best Reason for Being a Teaching Artist ; 5. Balancing the Two Economies of Today's Musician ; PART II: THE OVERLOOKED ESSENTIALS ; 6. Role Play: The Four Angles in Arts Learning ; 7. Inside the Liminal Zone ; 8. The Habits of Mind of Musical Learning ; 9. The Essential Skills of the 21st Century Artist ; 10. Creating the Playground ; PART III: LEARNING TO BE A TEACHING ARTIST ; 11. The Entry Point Question-Where to Begin? ; 12. A Teaching Artist's Curriculum ; 13. What Does "Better" Look Like? ; 14. Mentoring: Myths and Mission ; PART IV: THE FUNDAMENTALS OF WORKING IN EDUCATION SETTINGS ; 15. Truth and Dare in Education Programs ; 16. How to Succeed in School Environments ; 17. Getting Schooled on School Performances ; 18. Art for Art's Sake or for the School's Sake? ; 19. Blind Dates, Steady Dating, and Musical Marriages ; PART V: CURRENT CHALLENGES ; 20. Arts Integration: The Hot Zone ; 21. Reflecting on Reflection ; 22. The Dos and Don'ts of Assessment ; 23. Feedback: Giving and Getting It Right ; PART VI: BRINGING TEACHING ARTISTRY INTO PERFORMANCES ; 24. Fuller Audience Engagement: What Does It Look Like? ; 25. Speak Up or Shut Up?: Using Words in Performance ; 26. Interactive Performances ; 27. The Very Open Rehearsal ; PART VII EXPANDING THE ROLES OF THE TEACHING ARTIST ; 28. The Essential Educational Entrepreneur ; 29. The Private Music Lesson ; 30. The Everyday Advocate ; 31. The Telling Facts of Advocacy ; PART VIII BEYOND THE BORDERS ; 32. They Take the High Road ; 33. The Planet Gets It Together ; 34. The Guiding Spirit ; Index

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Book SynopsisThis collection presents intriguing explanations of extraordinary musical creations from across the world, concentrating on how the music works as sound in process.Trade ReviewAn interesting sampler of the world's music and practitioners...Recommended. * CHOICE *Table of ContentsAbout the Companion Website ; Introduction, John Roeder ; Part I: Analytical Encounters with Music in Diverse Cultures ; 1. Surface and Deep Structure in the Togaku Ensemble of Japanese Court Music (Gagaku). Naoko Terauchi ; 2. Form, Counterpoint, and Meaning in a Fourteenth-Century French Courtly Song. ; Eva Elizabeth Leach ; 3. Nuances of Continual Variation in the Brazilian Pagode Song <"Sorriso Aberto>". ; Jason Stanyek and Fabio Oliveira ; 4. Thelonious Monk's Harmony, Rhythm, and Pianism. Evan Ziporyn and Michael Tenzer ; 5. Dynamics of Melodic Discourse in Indian Music: Budhaditya Mukherjee's ?l?p in R?g P?riy?-Kaly?n. Richard Widdess ; 6. Timbre-and-Form: The BSC and the Boston Improvising Community, Lou Bunk ; 7. Rhythm and Folk Drumming (P'ungmul) as the Musical Embodiment of Communal Consciousness in South Korean Village Society. Nathan Hesselink ; 8. Strophic Form and Asymmetrical Repetition in Four American Indian Songs. ; Victoria Lindsay Levine and Bruno Nettl ; 9. Musical Form and

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Book SynopsisIn The Art of Partimento, performer and historian Giorgio Sanguinetti provides students and scholars of composition and music theory an historical chronicle as well as a practical guide, offering them the opportunity not only to understand the life of this fascinating tradition, but to participate in it as well.Trade ReviewGiorgio Sanguinettis The art of partimento is a very impressive accomplishment, not only for its groundbreaking effort to sketch the history of this largely uncovered repertory, but also for the very useful list of sources on the companion website and for the beautiful linearity of many of his realizations in the third part of the book. This book will benefit not only keyboardists but also advanced players of the lute and theorbo, at least those who have acquired skills in playing without tablature. Sanguinettis monograph has the potential to enrich deeply the study of harmony, counterpoint and fugue, as it enables the reader to reconstruct a unique and historically founded synthesis between practical playing and theoretical learning, using teaching material from some of the most distinguished masters of the 18th century. * Peter van Tour, Early Music *This wonderful book explores the rules of this multifaceted compositional shorthand. * Music Teacher *Sanguinetti's book is a comprehensive and highly organized account of an exceedingly complex musical art. * David Chapman, Notes *Table of ContentsPart One: History ; 1. Of Some Odd Musical Manuscripts ; 2. What are Partimenti? ; 3.The Partimento in Italy and in Naples ; 4. The Neapolitan Conservatori: an Historical Outline ; 5. Teaching Methods in the Conservatories of Naples ; 6. Partimento Sources: Transmission and Typology ; 7. A Genealogy of Masters ; Part Two: Theory ; 8. Partimento as Composition Theory ; 9. The Rules: a Synoptic View ; Part Three: Practice ; 10. Prelude to Realization ; 11. The Unfigured Partimento ; 12. The Art of Diminution ; 13. Imitation ; 14. Motivic Coherence ; 15. "Authentic" Realizations ; Part Four: A Guide to Realization ; 16. Lezione, Prelude, Modular Etude ; 17. Tutti/solo: Concerto and Toccata ; 18. Sonata ; 19. Fantasia, Variation, Dance ; 20. Imitative Genres ; 21. Fugue ; Epilogue ; List of Souces ; Bibliography ; Index.

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Book SynopsisThis groundbreaking book offers the first detailed analysis of the textual, liturgical, and musical aspects of the vespertinus, the chant genre most central to the Christian practices that shaped the religious and cultural landscape of medieval Iberia.Trade ReviewThis is a work of prodigious scholarship displaying a mastery of sources and bibliography and bringing together analyses of liturgy and texts as well as of musical form, thus illuminating the exegetical enterprise underlying the Hispanic rite. * Don Randel, President and Professor of Music Emeritus, The University of Chicago *With this exhaustive and authoritative account of the vespertinus genre, Raquel Rojo Carrillo offers fresh insight into the chant of the Old Hispanic rite, revealing its inner workings through painstaking analysis that constitutes a model for future research. * Susan Boynton, Professor of Music, Columbia University *Table of ContentsAcknowledgements Sigla for Hispanic Rite Manuscripts Introduction Chapter 1: The Liturgical Context of the Vespertini Chapter 2: The Vespertinus Texts Chapter 3: The Relationship between Text and Liturgy in the Vespertini Chapter 4: Tracing the Music of a Hispanic Rite Chant Genre Conclusions Bibliography Appendices

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Book SynopsisErard: A Passion for the Piano shows how the Erard piano played an important and often leading role in the history of the instrument, beginning in the late eighteenth century and continuing into the final decades of the nineteenth.Trade ReviewThe infusion of new perspectives and insights into the lives of the Erard brothers and their immediate family does much to position Adelson's new book as a meaningful and valuable contribution to Erard scholarship...Adelson's book, meticulously researched, is an accessible and enticing chronicling of the Erard family and their firm's history. Integrating the contents of a previously undiscovered archive with an already sizeable body of documentary evidence is no small feat. Adelson has produced a work that is deeply informative, yet flows with ease. With this wide appeal, it stands to become the go to volume for gaining understanding of the people and pianos behind the formidable Erard firm. * Elly Langford, The Galpin Society Journal *An excellent and eminently readable book. * Tilman Skowroneck, Eighteenth-Century Music *The text is replete with felicitous wordings ...This also makes it a very enjoyable, pleasant reading! * Marvin J. Ward, CVNC *This is a valuable book for music historians and those interested in the history of the piano and pianism in the 19th century. * K. Boyd, CHOICE Connect, Vol. 59 No. 8 *Drawing on newly-discovered family archives, this vivid and fascinating book combines narrative verve and impeccable scholarship to tell the story of the Érards in an age of revolution and discovery, from Louis XVI to Queen Victoria. Their contributions to the harp and piano are with us today, as is the great music they inspired. * Christopher Clarke, Early keyboard specialist and piano builder *Erard is a valuable, welcome addition to historical business studies. * Pheaross Graham, H-France Review Vol. 23 *Erard: A Passion for the Piano provides an invaluable service in assembling and conveying a considerable wealth of background information concerning the Erard piano business and its historical context, details about the piano itself and Sébastien Erard's contribution to its development are sparse and unreliable. A definitive work on Erard and the piano remains to be written. * Fred Sturm, Notes: the Quarterly Journal of the Music Library Association vol. 80 *Table of ContentsFigures Abbreviations Editorial note Erard family tree Introduction Acknowledgements 1. Making a harpsichord sound like a piano 2. Founding a workshop 3. Square pianos and piano-organs 4. A modern business 5. Harps, the Revolution and London 6. The French grand piano 7. Gifts for Haydn, Beethoven and many others 8. Financial struggles 9. Faster and louder: the double-escapement action 10. Liszt and the introduction of the new piano 11. Piano wars 12. Family strains and secrets 13. Mendelssohn and the Erards 14. Passing the flame 15. Camille Erard and the end of the Erard Empire Afterword Notes Bibliography

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Book SynopsisThe Oxford Handbook of Critical Improvisation Studies gathers contributions from more than sixty authors pioneering new scholarly approaches to improvisation in the arts, humanities, social, and natural sciences.Table of ContentsPreface to Volume I Introduction George E. Lewis and Benjamin Piekut I. Cognitions 1. Cognitive Processes in Musical Improvisation Roger Dean and Freya Bailes 2. The Cognitive Neuroscience of Improvisation Aaron L. Berkowitz 3. Improvisation, Action Understanding, and Music Cognition With and Without Bodies Vijay Iyer 4. The Ghost in the Music, or The Perspective of an Improvising Ant David Borgo II. Critical Theories 5. The Improvisative Tracy McMullen 6. jurisgenerative grammar (for alto) Fred Moten 7. Is Improvisation Present? Michael Gallope 8. Politics as Hypergestural Improvisation in the Age of Mediocracy Yves Citton 9. On the Edge: A Frame of Analysis for Improvisation Davide Sparti 10. The Salmon of Wisdom: On the Consciousness of Self and Other in Improvised Music and In the Language that Sets One Free Alexandre Pierrepont 11. Improvising Yoga Susan Leigh Foster III. Cultural Histories 12. Michel de Montaigne, or Philosophy as Improvisation Timothy Hampton 13. The Improvisation of Poetry, 1750-1850: Oral Performance, Print Culture, and the Modern Homer Angela Esterhammer 14. Germaine de Staël's Corinne, or Italy and the Early Usage of Improvisation in English Erik Simpson 15. Improvisation, Time, and Opportunity in the Rhetorical Tradition Glyn P. Norton 16. Improvisation, Democracy, and Feedback Daniel Belgrad IV. Mobilities 17. Improvised Dance in the Reconstruction of THEM Danielle Goldman 18. Improvising Social Exchange: African American Social Dance Thomas F. DeFrantz 19. Fixing Improvisation: Copyright and African American Vernacular Dancers in the Early Twentieth Century Anthea Kraut 20. Performing Gender, Race, and Power in Improv Comedy Amy Seham 21. Shifting Cultivation as Improvisation Paul Richards V. Organizations 22. Improvisation in Management Paul Ingram and Bill Duggan 23. Free Improvisation as a Path-Dependent Process Jared Burrows and Clyde G. Reed VI. Philosophies 24. Musical Improvisation and the Philosophy of Music Philip Alperson 25. Improvisation and Time-Consciousness Gary Peters 26. Improvising Impromptu, Or, What to Do with a Broken String Lydia Goehr 27. Ensemble Improvisation, Collective Intention, and Group Attention Garry L. Hagberg 28. Interspecies Improvisation David Rothenberg 29. Spiritual Exercises, Improvisation, and Moral Perfectionism: With Special Reference to Sonny Rollins Arnold I. Davidson 30. Improvisation and Ecclesial Ethics Samuel Wells

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Book SynopsisThe Oxford Handbook of Critical Improvisation Studies gathers contributions from more than sixty authors pioneering new scholarly approaches to improvisation in the arts, humanities, social, and natural sciences.Table of ContentsPreface to Volume II Introduction George E. Lewis and Benjamin Piekut I. Cities 1. Improvisation Technology as Mode of Redesigning the Urban Christopher Dell and Ton Matton 2. Lots Will Vary in the Available City David P. Brown 3. Improvising the Future in Post-Katrina New Orleans Eric Porter II. Creativities 4. Billy Connolly, Daniel Barenboim, Willie Wonka, Jazz Bastards, and the Universality of Improvisation Raymond MacDonald and Graeme Wilson 5. A Computationally Motivated Approach to Cognition Studies in Improvisation Brian Magerko 6. A Consciousness-based Look at Spontaneous Creativity Ed Sarath 7. In the Beginning, There Was Improvisation Bruce Ellis Benson III. Musics 8. Landmarks in the Study of Improvisation: Perspectives from Ethnomusicology Bruno Nettl 9. Saving Improvisation: Hummel and the Free Fantasia in the Early Nineteenth Century Dana Gooley 10. Negotiating Freedom and Control in Composition: Improvisation and Its Offshoots, 1950 to 1980 Sabine Feisst 11. Musical Improvisation: Play, Efficacy, and Significance A. J. Racy 12. Improvisation in Freestyle Rap Ellie M. Hisama 13. Speaking of the I-Word Leo Treitler IV. Writings 14. Modernist Improvisations Rob Wallace 15. Diversity and Divergence in the Improvisational Evolution of Literary Genres Jennifer D. Ryan 16. Improvisatory Practices and the Dawn of the New American Cinema Sara Villa 17. Brilliant Corners: Improvisation and Practices of Freedom in Sent for You Yesterday Walton Muyumba 18. Improvisation in Contemporary Experimental Poetry Hazel Smith V. Media 19. Subjective Computing and Improvisation D. Fox Harrell 20. Improvisation and Interaction, Canons and Rules, Emergence and Play Simon Penny 21. Imposture as Improvisation: Living Fiction Antoinette LaFarge 22. Role-Play, Improvisation, and Emergent Authorship Celia Pearce 23. Bodies, Border, Technology: The Promise and Perils of Telematic Improvisation Adriene Jenik 24. She Stuttered: Mapping the Spontaneous Middle Sher Doruff VI. Technologies 25. Live Algorithms for Music: Can Computers Be Improvisers? Michael Young and Tim Blackwell 26. Improvisation of the Masses: Anytime, Anywhere Mobile Music Ge Wang

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Book SynopsisThis is the largest life-and-works of Musorgsky ever to have appeared outside Russia. Musorgsky created stunning masterpieces in such creations as his opera Boris Godunov and piano suite Pictures at an Exhibition - yet his life was tragic. It is this pathetic tale, interlaced with critical discussion of music, that is this book's concern.Trade ReviewThe qualities of clarity and thoroughness familiar to readers of Professor Brown's earlier work are also in evidence here ... his style is straightforward and elegant without pretentiousness, apparently aimed at music lovers as much as those with a scholarly interest. * SEER *... excellent monograph ... David Brown has done an excellent job in treating Musorgsky in such a lively and yet learned manner ... His magisterial study deserves to be purchased by many music lovers who will find the narrative fluent and the musical analysis approachable. It should also attract musicians and musical scholars who will also discover some new ideas, approaches and materials in its pages. * SEER *... a no-holds barred biography ... Brown traces his entire output in a rich historical and social context. He ... gives us a new vision of the composer. * New York Times *... the general reader and specialist alike will value the breadth, clear exposition and enthusiasm in Brown's discussion. * Geoffrey Norris, BBC Music Magazine *Table of ContentsPREFACE ; ILLUSTRATIONS ; APPENDICES ; INDEX

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Book SynopsisThe fundamental changes resulting in the development of the Baroque style around the turn of the 17th century had a profound effect on music theory. This work explores the metamorphosis in England where, because of a traditional emphasis on practicality, there was willingness to accept new ideas.Trade ReviewOn every page a complex network of filiations is traced among many English authors. It is this kind of meticulous research in which Herissone excels, and to which subsequent generations of scholars will gratefully refer ... Her meticulous account is unusually lucid ... There is no comparable account in the English language that offers such a comprehensive and detailed overview of English music theory from the seventeenth century, and her book will surely become the standard reference work on this subject. * Journal of the American Musicological Society *This welcome survey covers a great deal of ground ... Clarity of organization is only the most immediately obvious of the book's strengths. The author scrutinizes all her materials with a critical eye, and charts an astonishing number of disagreements, confusions and self-contradictions. * Early Music *A full and invaluable account of English theoretical writing over the period ... A particularly valuable contribution of the book to English music history is the four full appendices. * Musical Times *Table of ContentsPreface ; Acknowledgements ; List of Plates ; List of Tables ; List of Examples ; Sources ; Time ; Pitch Structure ; Harmony ; Harmonic and Contraptual Compositional rules ; Tonality ; Texture and Form ; Conclusion ; Appendix I: Alphabetical List of Treatises ; Appendix II: Chronological List of Treatises ; Appendix III: Editions of Playford's Introduction to the Skill of Musick ; Appendix IV: Origins of Material ; Bibliography ; Index

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Book SynopsisFrom where, and by what mechanisms, does an individual's musical ability originate? Seeking an answer to this question, this study reviews such central issues as prenatal auditory experience and the developmental progress of a child's changing environment.Table of ContentsChapter 1 - Prenatal auditory experience ; Chapter 2 - Musicality in infancy research: biological and cultural origins of early musicality ; Chapter 3 - Infants' auditory sensitivity towards acoustic parameters of speech and music ; Chapter 4 - Intuitive parenting: a hidden source of musical stimulation in infancy ; Chapter 5 - The development of the perception of time and temporal regulation of action in infants and children ; Chapter 6 - The development of artistic and musical competence ; Chapter 7 - The young performing musician ; Chapter 8 - Linguistic and musical development in preschool and school-age children

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Book SynopsisThis re-evaluation of our thinking about music is in two parts. The first focuses on approaches to musical texts, covering such topics as the relationship of text and context, and concepts of unity and meaning. The second explores and reflects the nature of the discipline of musicology

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Book SynopsisIn a series of intimate conversations with some of the most influential composers of concert music currently working on the American music scene, composer and educator Robert Raines covers subjects ranging from the source of inspiration to work habits, the business of music, and the impact of technology on music and life in the 21st century.Trade ReviewWhat a rare opportunity to eavesdrop on personal conversations with such a diverse and impressive group of American composers. Robert Raines masterfully engages each artist to share insights, reflections, and experiences * a collection that will surely change how you view contemporary composition.Darla S. Hanley, PhD, Dean of the Professional Education Division, Berklee College of Music *This fascinating book will make a valuable addition to a course in contemporary music for music majors and non-majors alike, as well as a springboard for one-on-one discussion in the composition studio. * Peter Spencer, DMA, Professor Emeritus, Music Theory and Composition, Florida State University *Raines (himself a composer) provides an impressive compilation of interviews ... The selected works will be especially useful for those who wish to learn more about 21st-century music. A good resource for those interested in the intersection of creativity and technology. * M. Goldsmith, CHOICE *Table of ContentsForeword ; Introduction ; Ellen Taaffe Zwilich ; Steve Reich ; Christopher Rouse ; Martin Bresnick ; Joan Tower ; William Averitt ; Michael Torke ; Libby Larsen ; Aaron J. Kernis ; Jennifer Higdon ; John Anthony Lennon ; David T. Little ; Kevin Puts ; Michael Daugherty ; Mohammed Fairouz ; Tania Leon ; Bright Sheng ; Ladislav Kubik ; Chen Yi ; Jose Bevia ; Daniel Wohl ; Eve Beglarian ; Glen Branca ; Marcus Roberts ; Luke DuBois ; Greg Wilder ; Pamela Z ; Eric Whitacre ; About Robert Raines ; Index

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Book SynopsisIn Beyond the Score: Music as Performance, author Nicholas Cook supplants the traditional musicological notion of music as writing, asserting instead that it is as performance that music is loved, understood, and consumed. This book reconceives music as an activity through which meaning is generated in real time, as Cook rethinks familiar assumptions and develops new approaches.Table of ContentsContents ; About the companion web site ; List of figures ; List of media examples ; Introduction ; 1 Plato's curse ; Sounded writing ; Performative turns? ; 2 Page and stage ; Theorist's analysis ; Performer's analysis ; Performance analysis ; 3 What the theorist heard ; Affecting the sentiment ; Spoken melody, or sung speech ; Schenker vs. Schenker ; 4 Beyond structure ; Structure in context ; Mozart's miniature theatre ; Rhetoric old and new ; In time and of time ; 5 Close and distant listening ; Reinventing style analysis ; Forensics vs. musicology ; Performing Poland ; The savour of the Slav ; 6 Objective expression ; Nature's nuance ; Phrase arching in history ; Phrase arching in culture ; 7 Playing somethin' ; Referents and reference ; The work as performance ; 8 Social scripts ; An ethnographic turn ; Sociality in sound ; Performing complexity ; 9 The signifying body ; 31 August 1970, 3.30 am ; The white man's black man ; 10 Everything counts ; Pleasures of the body ; Bodies in sound ; Building bridges ; 11 The ghost in the machine ; Music everywhere ; Original and copy ; Signifying sound ; 12 Beyond reproduction ; The best seat in the hall ; Acoustic choreography ; Rethinking the concert ; Making music together ; List of references

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Book SynopsisIn The Oxford Handbook of Philosophy in Music Education, editors Wayne D. Bowman and Ana Lucía Frega have drawn together a variety of philosophical perspectives from a global who's who of scholars. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere. Emphasizing clarify, fairness, rigor, and utility above all,Trade ReviewOf special interest is the inclusion of a variety of practices in music education from a global perspective...Essential. * Choice *Table of ContentsAbout the Contributors ; 1. Introduction ; Wayne Bowman and Ana Lucia Frega ; I. The Nature and Value of Philosophical Inquiry in Music Education ; 2. What Should the Music Education Profession Expect of Philosophy? ; Wayne Bowman and Ana Lucia Frega ; 3. Rethinking Philosophy, Re-Viewing Musical-Emotional Experiences ; David J. Elliott and Marissa Silverman ; 4. Voicing imbas: Performing a Philosophy of Music Education ; Helen Phelan ; 5. Philosophy of Music Education as Art of Life: A Deweyan View ; Lauri Vakeva ; 6. Uncomfortable with Immanence: The Nature and Value of Music and Music Education as Singular or Supplemental ; Bennett Reimer ; II. The Nature and Values of Music ; 7. Learning to Live Music: Musical Education as the Cultivation of a Relationship between Self and Sound ; Randall Pabich ; 8. The Grain of the Music: Does Music Education 'Mean' Something in Japan? ; Tadahiko Imada ; 9. Musical Education: From Identity to Becoming ; Michael Szekely ; 10. Teaching practices in Persian Art Music ; Erum Naqvi ; 11. Understanding Music's Therapeutic Efficacy: Implications for Music Education ; Diane Thram ; III. The Aims of Education ; 12. The Impossible Profession ; Christopher Higgins ; 13. Education in Latin American Music Schools: A Philosophical Perspective ; Luis Alfonso Estrada ; 14. Must Music Education Have an Aim? ; V. A. Howard ; 15. Cultivating Virtuous Character: The Chinese Traditional Perspective of Music Education ; Yuhwen Wang ; 16. Ethical Dimensions of School-Based Music Education ; Thomas A. Regelski ; IV. Philosophical Inquiry Directed to Curricular and Instructional Concerns ; 17. Engaging Student Ownership of Musical Ideas ; Harold Fiske ; 18. Understanding Music as the Philosophical Focus of Music Education ; Keith Swanwick ; 19. Musical Heuristics: Contributions to the Understanding of Musical Creative Processes ; Ricardo Mandolini ; 20. Nurturing the Songcatchers: Philosophical Issues in Creativity and Music Education ; John Kratus ; 21. Avoiding the Dangers of Postmodern Nihilist Curricula in Music Education ; Robert Walker ; V. Challenges to Philosophical Practice in Music Education ; 22. Good for What, Good for Whom?: Decolonizing Music Education Philosophies ; Deborah Bradley ; 23. Place, Music Education, and the Practice and Pegagogy of Philosophy ; Sandra Stauffer ; 24. On Informalities in Music Education ; Estelle Jorgensen ; 25. Music Education for <"All My Relations>" ; Charlene Morton ; VI. Afterword ; 26. But is it philosophy? ; Wayne Bowman and Ana Lucia Frega ; Index

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Book SynopsisVision dominates philosophical thinking about perception, and theorizing about experience in cognitive science has traditionally focused on a visual model. In a radical departure from established practice, Casey O''Callaghan provides a systematic treatment of sound and sound experience, and shows how thinking about audition and appreciating the relationships between multiple sense modalities can enrich our understanding of perception and the mind. Sounds proposes a novel theory of sounds and auditory perception. Against the widely accepted philosophical view that sounds are among the secondary or sensible qualities, O''Callaghan argues that, on any perceptually plausible account, sounds are events. But this does not imply that sounds are waves that propagate through a medium, such as air or water. Rather, sounds are events that take place in one''s environment at or near the objects and happenings that bring them about. This account captures the way in which sounds essentially are creaTrade ReviewReview from previous edition Sounds is impressive. It is carefully argued and well-written. . . . In addition to presenting a novel theory of sounds, he sets a stage on which other theorists must perform by articulating challenges that any account of sounds must meet. This book will be of interest to anyone working in the philosophy of perception. . . . Philosophers have a lot to learn by attending to distinct sense modalities and how they interact, and O'Callaghan's book is an excellent place to start. * John Kulvicki, Mind *The prose and arguments are very clearly framed and the book reads well ... There is much to tweak one's interest. * Don Ihde, International Journal of Philosophical Studies *A great deal of effort has been expended within both of these excellent books in order to contribute to the transformation of the philosophical study of sound and auditory perception ... as an exercise of paradigm-shifting and consciousness-raising, the potential impact of Sounds is huge. * Anthony Gritten, British Journal of Aesthetics, (Review of Sounds and Sounds and Perception) *Table of ContentsPreface ; 1. Sonic realism ; 2. What is a sound? ; 3. The locations of sounds ; 4. The argument from vacuums ; 5. Sounds as events ; 6. Audible qualities ; 7. Sound-related phenomena ; 8. The argument from echoes ; 9. Echoes ; 10. Hearing recorded sounds ; 11. Cross-modal illusions ; References ; Index

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Book SynopsisPeter Kivy presents a fascinating critical examination of the two rival ways of understanding instrumental music. He argues against 'literary' interpretation in terms of representational or narrative content, and defends musical formalism. Along the way he discusses interpretations of a range of works in the canon of absolute music.Trade ReviewAntithetical Arts, like Kivy's earlier books, is a model of clarity and shows great historical sensitivity and engagement with the issues under discussion. * Jeanette Bicknell, Mind *Kivy's writing style happily shares many of the characteristics of good literature - wit, elegance, clarity, clear narrative development and readability. In short, his book, apart from anything else, is a good read. To the aesthetician, it is also of great philosophical interest, amd places the current debates on musical expression within a historical context. * Elisa Galgut, Philosophical Quarterly *Table of ContentsPART I: THE FOUNDING OF FORMALISM; PART II: THE FORTUNES OF FORMALISM; PART III: THE FATE OF FORMALISM

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Book SynopsisThis is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.Table of ContentsIntroduction ; PART ONE: ART AND HISTORY ; 1. Defining Art Historically ; 2. Hybrid Art Forms ; 3. Refining Art Historically ; PART TWO: METAPHYSICS OF ART ; 4. What a Musical Work Is ; 5. Autographic and Allographic Art ; 6. Aesthetic Uniqueness ; 7. Aesthetic Supervenience ; 8. Titles ; 9. Artworks and the Future ; 10. What a Musical Work Is, Again ; PART THREE: MUSICAL MATTERS ; 11. The Concept of Music ; 12. Truth in Music ; 13. Music and Negative Emotion ; 14. Hope in The Hebrides ; 15. Evaluating Musical Performance

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Book SynopsisMusic has a universal and timeless potential to influence how we feel, yet, only recently, have researchers begun to explore and understand the positive effects that music can have on our wellbeing.This book brings together research from a number of disciplines to explore the relationship between music, health and wellbeing.Trade ReviewI really enjoyed this book as an opportunity to learn more about a field that is almost entirely unknown to me. If the book is anything to go by, the future of research into the interplay between music, health and wellbeing promises to be very interesting indeed. * Counselling Resource, Feb 2013 *This book should be of general interest to all psychologists and, specifically, to music therapists and those with an interest in behavioral medicine. This volume is a useful compendium of a vast and diverse body of international research that is beginning to identify the mechanisms by which music has a profound effect on cognitive and emotional states.,, it contains many fascinating ideas. * PsycCritiques *Table of ContentsSECTION 1 INTRODUCTORY CHAPTERS; SECTION 2: COMMUNITY MUSIC AND PUBLIC HEALTH; SECTION 3 CLINICAL AND THERAPEUTIC APPLICATIONS; SECTION 4 EDUCATIONAL CONTEXTS; SECTION 5: EVERYDAY USES

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Book SynopsisWhen we hear music we don't just listen; we move along with it. Hearing in Time explores our innate propensity for rhythmic synchronization, drawing on research in music psychology, neurobiology, music theory, and mathematics. It looks at music from a wide range of musical styles and cultures.Trade ReviewLondon's book clearly provides the single best introduction to, and summary of, a century of psychological and theoretical study into the nature of musical meter and rhythm. For both music scholars and performers, this text offers an unbiased, reliable, and wide-ranging discussion of these important concepts. * Robert Gjerdingen, Music Theory Program, Northwestern University School of Music *Table of ContentsTable of Contents ; Introduction ; Meter as a Kind of Attentional Behavior ; Relevant research on Rhythmic Perception and Production ; The Neurobiology and Development of Rhythm ; Meter-Rhythm Interactions I: Ground Rules ; Metric Representations and Metric Well-Formedness ; Meter-Rhythm Interactions II: Problems ; Metric Flux in Beethoven's Fifth ; Non-Isochronous Meters ; NI-Meters in Theory and Practice ; The Many Meters Hypothesis ; Conclusion ; Notes ; Bibliography ; Index

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Trade Review...useful for students, or specialists exploring outside their disciplines * Danny Lee, www.dannyreviews.com *Table of ContentsChapter 1: Introduction Chapter 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 Appendices Chapter 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 Appendices Chapter 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 Chapter 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 Chapter 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 Chapter 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

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Book SynopsisGeneralized Musical Intervals and Transformations is by far the most significant contribution to the field of systematic music theory in the last half-century, generating the framework for the "transformational theory" movement.Trade ReviewGeneralized Musical Intervals and Transformations, David Lewin's masterpiece, has prompted a twenty-year efflorescence in the field of mathematical and systematic music theory. GMIT leads readers to the head of a series of distinct paths, suggests by example where each path leads, and leaves readers to their own explorations. Many music theorists now spend their careers working out different aspects of the vision presented here; there is plenty and enough to go around. * Richard L. Cohn, Battell Professor of the Theory of Music, Yale University *David Lewin's great gift was his ability to connect sophisticated mathematics to musical experience in ways that were deeply compelling, never losing sight of either the music, or the experience. Together these two volumes display both his theoretical brilliance and his sensitivity to the individuality of musical works. Most significantly, they are imbued with his unflagging dedication to and abiding love for the acts of making and understanding music. * Andrew Mead, Professor of Music, University of Michigan *David Lewin's work is among the most important on music theory in the twentieth century. Through some of the examples of practical applications, Generalized Musical Intervals and Transformations was the inception and theoretical basis of the 'Neo-Riemannian' strand of tonal music theory. In addition, its transformational network analysis paradigm has become part of every music theorist's standard repertory for analysis, and has since been extended by Lewin himself, Klumpenhouwer, Lambert, Stoecker, Headlam, Rahn, and Mazzola among many others. The analytical essays in Musical Form and Transformations illustrate the new analytical paradigm Lewin introduced in Generalized Musical Intervals and Transformations. These seminal works on music theory are essential reading. * John Rahn, Professor of Music, University of Washington *While David Lewin's thought had been animated for decades by some of these books' ideas---the complex significance of interval, the audibility of pitch-class inversional indices, the definition of directed motion more by context than convention---it was their concentrated presentation here that enabled many readers to assimilate them as a 'theory.' The result was a shift in the discipline's conception of its methods, even its goals, to the point where imitation of the books (of their imitable aspects) could become a career path. In a renewed encounter with the originals, we are confronted once more by Lewin's intellectual probity, his intense concern with every construction's relation to hearing (which need not mean anything so simple as that every construction is heard), his fastidious eschewal of hype. With these taken as exemplary, the field would change again. * Joseph Dubiel, Professor of Music, Columbia University *Table of ContentsFOREWORD BY EDWARD GOLLIN; PREFACE; ACKNOWLEDGMENTS; INTRODUCTION; APPENDIX A: MELODIC AND HARMONIC GIS STRUCTURES; SOME NOTES ON THE HISTORY OF TONAL THEORY; APPENDIX B: NON-COMMUTATIVE OCTATONIC GIS STRUCTURES; MORE ON SIMPLY TRANSITIVE GROUPS; INDEX

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Book SynopsisWe'll Meet Again illuminates music's central role in the design and reception of Stanley Kubrick's films. It brings together archival evidence and close analysis to trace the ways music serves as starting point and inspiration throughout Kubrick's working process.Trade ReviewFor years people have been discussing these films' ever-fascinating layers of narrative and imagery. Now McQuiston, fresh from time spent at the recently-opened Kubrick archives in London, joins the conversation with brilliant commentary on the films' sound and music. Kubrick fans will love this book. * James Wierzbicki, author of Film Music: A History *No director was more attentive to music than Stanley Kubrick. And now, here is a thoroughly researched, gracefully written book that does justice to what Kubrick achieved with his music. McQuiston has made an essential contribution to the literature on music and cinema. * Krin Gabbard, author of Hotter Than That: The Trumpet, Jazz, and American Culture *This book tackles the musical aesthetic and practice of one of the most influential filmmakers in the post-classical period. The level of archival detail it engages in is impressive and stands to revise not just our understanding of Kubrick's films but the definition of auteurism and soundtrack compilation practice since the 1960s * Julie Hubbert, Associate Professor of Music, University of South Carolina *Table of ContentsPreface ; Acknowledgements ; List of Illustrations ; Introduction ; PART I THE ANATOMY OF THE KUBRICK SOUNDSCAPE ; 1 Language, Lyrics, Voice and Sound ; 2 Drawing Lines and Crossing Borders: Musical Climates, the Diegetic-Nondiegetic Border and ; Voice-Over Narration ; PART II MUSIC-CINEMATIC TOPICS ; 3 Mysterious Music with Invisible Edges and The Emergence of Musical Form in The Shining ; 4 Reimagining Music in Barry Lyndon ; 5 The Mutual Inscription of Music and Drama ; PART III WE'VE MET BEFORE: FAMILIAR PIECES AND THEIR HISTORIES ; 6 Evolution and Amnesia in the Soundtrack of 2001: A Space Odyssey ; 7 Musical Dialectics and The More Troublesome Beethoven ; 8 Kubrick's Spin on Max Ophuls and the Ineluctable Waltz ; Coda ; Select Bibliography ; Index

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Trade ReviewThis challenging, impressive study implies new ways of thinking about music and listening. No other books cover the same territory. * Choice *This is the first book to place an ecological approach to perception at the core of music theory. The result is that many problems created by the hitherto dominant cognitive approach simply disappear: emotion and meaning emerge as primary attributes of music (as common sense might always have suggested). Clarke's highly approachable book, with its wide range of musical case studies, will prompt both musicians and psychologists to rethink some of their most basic assumptions. * Nicholas Cook, Royal Holloway, University of London *Using a holistic approach to perception, Clarke captures the particularity and import of that unique aspect of musical sound Roland Barthes called 'the grain of the voice.' Through this, he is able to build a rich and textured account of musical meaning equally applicable to W.A. Mozart and P.J. Harvey. This important and innovative book offers a fresh perspective on music cognition that will be much discussed in the years to come. * Lawrence Zbikowski, University of Chicago Department of Music *Table of ContentsIntroduction ; Ch.1 Perception, Ecology, and Music ; Ch. 2 Jimi Hendrix's "Star Spangled Banner" ; Ch. 3 Music, Motion and Subjectivity ; Ch. 4 Subject Position in Music ; Ch.5 Autonomy/Heteronomy and Perceptual Style ; Ch.6 The First Movement of Beethoven's Quartet in A Minor, Op 132 ; Conclusions ; Notes ; References ; Index

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Book SynopsisElements of Sonata Theory is a comprehensive rethinking of the basic principles of sonata form in the decades around 1800. This foundational study outlines a new, up-to-date paradigm for understanding the compositional choices found in the instrumental works of Haydn, Mozart, Beethoven: sonatas, chamber music, symphonies, overtures, and concertos.Trade Reviewwill surely be valued for its encyclopedic compilation of interesting music analytical observations on a wealth of sonata excerpts * Celia Hurwitz-Keefe, Eighteenth-Century Music *Table of Contents1. Contexts ; 2. Sonata Form as a Whole: Foundational Considerations ; 3. The Medial Caesura and the Two-Part Exposition ; 4. The Continuous Exposition ; 5. The Primary Theme ; 6. The Transition (TR) ; 7. The Secondary Theme (S) and Essential Expositional Closure: Initial Considerations ; 8. S-Complications: EEC Deferral and Apparent Double Medial Caesuras (TMB) ; 9. The Closing Zone (C) ; 10. The Development (Developmental Space) ; 11. The Recapitulation (Recapitulatory Space; Recapitulatory Rotation) ; 12. Non-Normative Openings of the Recapitulatory Rotation: Alternatives and Deformations ; 13. Parageneric Spaces: Coda and Introduction ; 14. Sonata Form in Minor Keys ; 15. The Three- and Four-Movement Sonata Cycle ; 16. Sonata Types and the Type 1 Sonata ; 17. The Type 2 Sonata ; 18. Rondos and the Type 4 Sonata ; 19. The Type 5 Sonata: Fundamentals ; 20. The Type 5 Sonata: Mozart's Concertos (R1: The Opening Ritornello) ; 21. The Type 5 Sonata: Mozart's Concertos (Solo and Larger Expositions: Solo 1 + Ritornello 2) ; 22. The Type 5 Sonata: Mozart's Concertos (Development and Recapitulation: From Solo 2 through Ritornello 4) ; Appendix 1. Some Grounding Principles of Sonata Theory ; Appendix 2. Terminology: "Rotation" and "Deformation"

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