Theory of music and musicology Books

Book SynopsisThis engaging and long influential collection of essays looks at the art of singing in its totality. Written in a lively, non-technical style, On the Art of Singing is a comprehensive manual that deals with all aspects of singing, from the physiology and acoustics of the singing voice to career-building. Divided into four main sections -- vocal technique, style and interpretation, professional preparation, and vocal pedagogy - the book''s structure is such that the reader may pick and choose as personal interests and needs dictate. Containing essential information for all singers, including original research on the mechanics of the voice, this book collects in one volume everything that renowned instructor and singer Richard Miller considers essential to the art of vocal performance. To anyone seeking that elusive state of vocal freedom, whether as a singer or instructor of singers, and to anyone else interested in voice, vocal technique or vocal performance, On the Art of Singing willTrade ReviewThe content of the book is commendable, useful and illustrated with plenty of amusing anecdotes. * Elin Harries, Music Teacher, May 1997 *On the Art of Singing is undoubtedly a labour of love, the fruit of years of dedicated training of voices. * Martin Bussey, B J Music 14/3 *Richard Miller's eminence as a vocal pedagogue, is securely rooted in considerable performance experience, masterful teaching and extensive scientific research. Everything presented in this book is excellent, thoroughly researched and practised material. It should be required reading for every singer and teacher. This book is a compendium of authoritative. justified and distilled wisdom. Those of us who have sat humbly at the feet of the master are able to hear his voice clearly speaking and demonstrating throughout this text. Written by a cultured and refined teacher/artist and writer, this is the soundest and liveliest book on vocal pedagogy published recently. * the singer, December/January 1997/1998 *The content of the book is commendable, useful and illustrated with plenty of amusing anecdotes. * Elin Harries, Music Teacher, May 1997 *Table of ContentsIntroduction ; PART I: On Trainining the Singing Voice ; PART II: On Musical Style and Interpretation ; PART III: On Preparation for the Professional Life ; PART IV: On the Singing Voice and Vocal Function ; Index

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Trade ReviewFinally! One book containing our standard song repertoire and much more-- meticulously transcribed and beautifully translated. This is the book we will keep closest at hand and recommend to our students. Times 750, herein lies linguistic access to the lyricism, pathos and drama that is song. * Margo Garrett, Professor of Collaborative Piano and Vocal Arts, The Juilliard School *Table of ContentsTABLE OF CONTENTS ; Italian Pronunciation Guide ; Italian Art Song Lyrics ; German Pronunciation Guide ; German Art Song Lyrics ; French Pronunciation Guide ; French Art Song Lyrics ; Appendix A: ; Comparison of Methodologies for Phonetic Transcription ; Appendix B: ; Guidelines for Transcription: Italian ; Guidelines for Transcription: German ; Guidelines for Transcription: French ; Index of First Lines and Titles ; Bibliography

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Book SynopsisIn this book, Lee Higgins investigates an interventional approach to music making outside of formal teaching and learning situations. Working with historical, ethnographic, and theoretical research, Higgins provides a rich resource for those who practice, advocate, teach, or study community music, music education, music therapy, ethnomusicology, and community cultural development.Trade ReviewHiggins's passion and vision, as well as meticulous scholarship, make him one of the leading advocates for Community Music today. Community Music in Theory and in Practice is a very strong contribution to the field and a valuable resource. As I write this review, I have begun to tease out areas for further dialogue and debate of my own beliefs and indeed, I think that this is the authors greatest gift. * Kari Veblen, International Journal of Community Music *A challenging effort to understand the ideas of community music, that obstinate, creative, critical movement of informal music education and social engagement ... Most interesting is the theoretical discussion, which seeks to move beyond the familiar reading of the music workshop as utopian temporary community. * George McKay, Times Higher Education *Community Music in Theory and Practice represents a major contribution to the field of community music in both setting out the historical development and contemporary scope of the practice of community music and in establishing it as a field for international academic enquiry. ... Higgin's book will undoubtedly serve to enrich the practice of community music, to generate fresh perspectives and to inspire practitioners to 'dream the impossible' into the future. * Kathryn Jourdan, British Journal of Music Education *A compelling and captivating read ... Higgins seeks to provide a comprehensive overview of community music practice globally while also introducing some invigorating new theories about the processes underpinning intimate moments in musical group encounters. There is much in this book to nourish the school based music educator, as well as those involved in developing music educators. * Catherine Pestano, Music Mark *Table of ContentsContents ; 1. Opening ; Part One: Inheritances and Pathways ; 2. Community Arts & Community Cultural Development ; 3. The Growth of Community Music in the UK ; 4. The Peterborough Community Samba Band ; 5. International Perspectives ; 6. Illustrations of Practice ; 7. Crossfields ; Part Two: Interventions and Counterpaths ; 8. Acts of Hospitality ; 9. Approaches to Practice ; 10. Face-to-Face Encounters ; 11. Cultural Democracy Revisited ; 12. Another Opening ; Notes ; References

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Table of ContentsAcknowledgements ; List of contributors ; About the companion web site ; Chapter 1. Introduction (Martin Clayton, Byron Dueck and Laura Leante) ; Chapter 2. Entrainment, ethnography and musical interaction (Martin Clayton) ; Chapter 3. Social co-regulation and communication in North Indian duo performances (Nikki Moran) ; Chapter 4. Groove: temporality, awareness and the feeling of entrainment in jazz performance (Mark Doffman) ; Chapter 5. Performing the Rosary: meanings of time in Afro-Brazilian Congado music (Glaura Lucas) ; Chapter 6. Performance and shame (Andy McGuiness) ; Chapter 7. Rhythm and role recruitment in Manitoban aboriginal vocal and instrumental music (Byron Dueck) ; Chapter 8. Imagery, gesture and listeners' construction of meaning in North Indian classical music (Laura Leante) ; Chapter 9. Embodiment and movement in musical performance (Martin Clayton and Laura Leante) ; References

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Book SynopsisMusic Outside the Lines both successfully reasons that music composition should be at the core of school music curriculum and also provides inservice and pre-service educators with an essential resource and compendium of practical tips and plans for fulfilling this goal.Trade ReviewThis book is unique in helping music educators recognize and appreciate children's remarkable musical intuitions. Maud Hickey teaches us how to nurture children's natural abilities for creative learning as they make music their own. * Jeanne Bamberger, Professor Emeritus of Music and Urban Education, MIT *Music Outside the Lines is an indispensable manual for teachers of K-12 and beyond for the long overdue integration of composition and improvisation in a deep, useful and beneficial level for all music courses. Hickey guides the reader into an irresistible process that is creative at the core. There are easily understandable exercises that will instill confidence in both the instructor and student. Those that go forward with this wonderful guidance will be richly rewarded. * Pauline Oliveros, Professor of Practice, Rensselaer Polytechnic Institute; Executive Director, Deep Listening Institute, Ltd. *Dr. Hickey has produced a superb volume that combines her expertise in children's compositional strategies with practical examples for classroom applications. * Harold F. Abeles, Co-Director, Center for Arts Education Research, Teachers College, Columbia University *I highly recommend this book for pre-service and in-service music educators interested in music composition pedagogy, as well as those more generally interested in effective music teaching and learning. * Music Education Research *Table of ContentsPreface ; Chapter 1 - Introduction ; Chapter 2 - The Issues ; Chapter 3 - Defining, Listening and Exploring ; Chapter 4 - Composition Prompts: freeiration and Identity ; Chapter 5 - Form in Music ; Chapter 6 - Musical Elements ; Chapter 7 - Big Elements ; Notes ; References ; Index

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Book SynopsisThis book demystifies the complex topic of musical interpretation by boiling it down to basic principles in an accessible writing style. The book targets pianists, piano teachers, and piano pedagogy students and incorporates over 200 musical examples from the intermediate and advanced piano repertoire.Trade ReviewI find the book by Deborah Rambo Sinn a most valuable addition to the library of a performer, teacher, and music lover. It is in my opinion a must for any music shelf. * Menahem Pressler, Distinguished Professor of Music, Indiana University, pianist of Beaux-Arts Trio, and soloist *Deborah has written an amazingly thorough compendium of the pianist's interpretive dilemmas. With precision, insight, and a strong dash of unique humor, she has addressed complex issues in a highly understandable way - providing an excellent resource for performers, teachers, and students! * Timothy Shafer, Professor of Piano, Penn State University *A useful and intelligently written book and seems to represent years of accumulated teaching wisdom. Sinn is tireless in the pursuit of solving passages unto the last sixteenth note, and often refreshingly precise in her explanations...Will allow teachers and students to think analytically about common interpretive situations at the piano. * College Music Symposium *A perfect resource book (aka tool) for the studio teacher or for teen and adult students. It is written clearly, without either pretension or condescension and with detail but not great length...You can find a specific piece of advice or answer to a question, or, you can immerse yourself and read the entire book from cover to cover. Since it is intended as a textbook, it is perfect for studio group lessons as well...This book is a keeper! * PianoAddict.com *Table of ContentsAbout the Companion Website ; Musical Examples and Illustrations ; Acknowledgements ; Introduction ; 1. The Score ; 2. Getting Started ; 3. The End ; 4. Dreadful Boxes and Beams ; 5. Voicing from the Bottom Up ; 6. Messy Basses ; 7. Ornamentation: Understanding the Small Print ; 8. Rubato: Stealing as an Art ; 9. Deconstructing Phrases ; 10. Transitions: Getting from Here to There ; 11. "Staccato Means Short" and Other Myths ; 12. Pedaling ; Afterword ; Glossary ; Common Stylized Dances or Dance-Related Forms ; Further Reading ; Index

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Book SynopsisVideo games open portals into fantastical worlds where imaginative play prevails. Sound Play explores the aesthetic, ethical, and sociopolitical stakes of people's engagements with audio phenomena in video games-from sonic violence to synthesized operas, from democratic musical performances to verbal sexual harassment.Trade ReviewAs addictive and energetically conceived as its subject matter, Sound Play enables even non-gamers to navigate the sonic waves and kinetic pleasures of story worlds that challenge us to rethink the complexities of human agency, identity politics, and embodied performance. * Maria Tatar, author of Enchanted Hunters: The Power of Stories in Childhood and editor of The Annotated Brothers Grimm *A major contribution from a bold and brilliant new voice with exceptional interdisciplinary range. Cheng is a serious player: his virtuosic flair is fully matched by his technical rigor and depth of interpretive insight. Sound Play confirms that the New Musicology is truly out of beta. * Kiri Miller, author of Playing Along: Digital Games, YouTube, and Virtual Performance *Compelling from the first page, Sound Play is an engaging and sophisticated study of how audio-whether in the form of music, voices, noises, or effects-crucially shapes our experience of video games, and how gaming deeply informs our engagement with sound. But more than that, William Cheng's excellent new book demonstrates how the interrelation of sound and play in video games challenges us to think deeply about what it means to live in a world in which the virtual and the real are increasingly intertwined. * Mark Katz, author of Capturing Sound: How Technology Has Changed Music and Groove Music: The Art and Culture of the Hip-Hop DJ *Captivating and inspired, probing and nimbly persuasive, playful yet bursting with profound insight, Sound Play is virtually and absolutely indispensable. * Charles Hiroshi Garrett, author of Struggling to Define a Nation: American Music and the Twentieth Century and editor-in-chief of The Grove Dictionary of American Music, 2nd edition *William Cheng tackles the wild west of game audio and conquers it with a combination of academic scrutiny, coupled by a gamer's unadulterated love of the art. Sound Play could very well be a turning point in the history of video game audio: the day when game audio came of age and inherited the mantle of serious art through the lens of scholarly analysis. With Sound Play, game audio finally has the academic credentials it needs to take its place among the other fine arts. * Christopher Tin, Grammy-winning video game music composer *Table of ContentsForeword by Richard Leppert ; Introduction ; Chapter 1: A Tune at the End of the World ; Chapter 2: How Celes Sang ; Chapter 3: Dead Ringers ; Chapter 4: Role-Playing toward a Virtual Musical Democracy ; Chapter 5: The Wizard, the Troll, and the Fortress ; Epilogue ; End Notes ; Works Cited ; Index

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Book SynopsisInteractive Composition empowers readers with the skills and insight needed to compose and perform electronic popular music in a variety of popular styles. This book focuses on the implementation of compositional and production concepts with each chapter culminating in a newly composed piece created by the reader using these concepts.Trade ReviewThe authors' simple and direct approach to teaching how to use these powerful tools within a single environment will empower anyone to experiment with his/her own musical creativity and expressiveness. * Morton Subotnik *Table of ContentsTable of Contents ; Acknowledgments ; Preface ; Chapter 1: Introduction to Interactive Composition ; Chapter 2: Session View ; Chapter 3: Introduction to Max for Live ; Chapter 4: Ambient ; Chapter 5: Pop & Rock Music ; Chapter 6: Electro-acoustic Music ; Chapter 7 - Hip Hop & Trap Music ; Chapter 8 - House Music ; Chapter 9 - Breakbeat/Drum & Bass ; Chapter 10 - Chiptune ; Chapter 11 - Granular Synthesis ; Chapter 12 - Dubstep ; Chapter 13 - Remixing & Loop Sampling ; Chapter 14 - Mastering ; Chapter 15: Analysis of Projects ; Bibliography ; Index

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Trade Review"What a delight! Adrian Daub has written the cultural history of a long-neglected and much-maligned medium of musical performance that at one time was cultivated in just about every bourgeois household. If four-hand piano playing regains renewed interest in our own age of mechanical reproduction, we will have Adrian Daub partly to thank." --Thomas Christensen, Professor of Music and the Humanities, University of Chicago "Adrian Daub is a peerless and stimulating exegete of the 'four-handed monster': he brilliantly and meticulously excavates the cultural, social, and aesthetic traces of a vital nineteenth-century musical practice." --Jeffrey Kallberg, Associate Dean for Arts & Letters and Professor of Music History, University of PennsylvaniaTable of ContentsAcknowledgements ; Introduction ; Chapter 1: The Sonic Hearth and the "Piano Plague" ; Chapter 2: Four-Hand Piano Playing between Parlor Music and the Culture Industry ; Chapter 3: "At Best an Intruder, at Worst a Voyeur": Four-Hand Piano Playing and the Family Unit ; Chapter 4: Four-Handed Monsters ; Chapter 5: The Semantics of the Hand ; Chapter 6: Fordist Chords ; Chapter 7: Musical Platonism: Four-Hand Playing Among the Philosophers ; Chapter 8: Kakanian Variations-Four Hands and the Passing of the Nineteenth Century ; Index

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Book SynopsisThis study examines the social, economic and intellectual factors that caused German musical scholars to support the ideological aims of the Nazis, and argues that many of the ideas that served the regime survived the Nazi period to influence the conception of music history down to the present.

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Book SynopsisIn this practical, stylish, and authoritative book, one of America's most influential musical figures reveals how he learned to compose music for English poetry and prose. Illustrated with numerous examples from his own works, Virgil Thomson's discourses on the union of poetry and music will delight and instruct anyone who composes, performs, or simply listens to vocal music.Trade Review"This delightful and informative book is a triply harmonious meeting of Virgil Thomson’s celebrated words with the meeting of text and music. It is of great value to listeners and performers both, and if it represents a composer’s view, it also manifests the writer’s art."—John Hollander "Rare indeed are musicians who are equally capable of expressing their ideas in a cogent literary manner and to compose music in a distinctive personal style. Virgil Thomson is such a musician. In his Music with Words, he gives the reader an instructive view of the interdependence of music and words with ample illustrations from his own compositions."—Nicolas Slonimsky "Nothing quite like this have ever existed before. Succinct, authoritative, no-nonsense, yet endearing, Virgil Thomson could be talking straight to you in those novel and ordered phrases from his novel and ordered parlor at the Chelsea. How I envy such unflagging, intelligent energy. I mean it complimentarily when I say that some of Virgil Thomson’s opinions jar me. For there is no one with whom I take more pleasure in disagreeing."—Ned Rorem

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Book SynopsisThis comprehensive handbook details the fundamentals and forms of choral composition and expands upon the coverage and number of topics in Archibald T. Early chapters focus on characteristics of voice, notation, text, devices, part writing, a cappella and instrumental accompaniments, and choral forms.Table of ContentsPreface Music Examples Introduction Choral Notation Text and Textual Devices Choral Composition Devices Choral Part Writing, Voicings, Accompaniments and Forms Types of Choruses Soloists with Chorus Keyboard Instruments Chamber and Instrumental Ensembles with Chorus Orchestra with Chorus and Soloists Chorus in Opera, Operetta, Musical Comedy and Music Theater Publication Bibliography Index

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Book SynopsisThis book is Schoenberg's last completed theoretical work and represents his final thoughts on the subject of classical and romantic harmony.

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Book SynopsisEssay on the True Art of Playing Keyboard Instruments is a classic of musical literature in the true sense of the word.

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Book SynopsisThe ensemble series provides students (ages 6-11) with a solid foundation in music theory through the eyes of a violin, viola, cello, and double bass player.This series is designed so that they can be used hand in hand with each other in a beginner ensemble or group lesson.These interactive books use a variation of different methods (traditional, Suzuki, Kodaly, Orff, etc) which allows the students to decide which method best suits the lesson. They also contain a combination of fun, friendly characters (as well as exciting written exercises) that help and capture the interest of the students to learn in an enjoyable way.Level 1 workbook features these concepts and more! INTRODUCTION - String instruments NOTATION - Using the open strings as the main reference, all the notes on the stave and each string, and accidentals PATTERNS - Fingering of each string NOTE & REST VALUES - crotchet, minim, dott

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Book SynopsisTrade ReviewThe section on the ‘academization of hip-hop’ – what the book’s title describes as ‘hip-hop within the academy’ – was promising as it is an area that is rarely well covered compared to the more common emphasis on the convergences of youth, politics and hip-hop. . . .Snell and Söderman are appropriately attuned to the ways in which public education is increasingly inflected by the demands and agendas of the neoliberal state. * Popular Music *Music educators will not be the only ones who benefit from this rounded, wide-ranging and yet focused study on the background, uses, meanings, and educational potential of hip-hop. This very readable account has the rare gift of being both entertaining and scholarly. It gives much food for thought as well as practical advice for teachers, and it represents a much-needed addition to the literature on both hip-hop and music education. -- Lucy Green, Professor of Music Education, UCL Institute of Education, London UKSnell and Söderman’s book is a welcome and timely text that draws attention to hip-hop beyond its most visible, commodified forms in popular culture and that challenges the bases of assumptions made surrounding hip-hop scholarship. The authors approach their subject matter with humility, and in doing so, provide a thought-provoking and valuable collection of essays that will surely appeal to scholars in a range of fields, including popular music studies, ethnomusicology, applied ethnomusicology, music education, and music teacher education. -- Gareth Dylan Smith, Institute of Contemporary Music PerformanceA block party of a book—Snell and Söderman mix and remix educational orthodoxies into a whole new sound. -- Randall Everett Allsup, Teachers College Columbia UniversityTable of ContentsContents Acknowledgments Part 1 Ethnographic Hip-Hop Studies 1 Introduction 2 Young Hip-Hop Musicians Talk About Their Learning and Creative Strategies 3 Towards a Swedish Professional Hip-Hop Identity 4 The Musical Personhood of Three Canadian Turntablists: Implications for Transformative Collaborative Practice in Music Education 5 First Nations Hip-Hop Artists’ Identity and Voice Part 2 Academization of Hip-Hop 6 Introduction to Part 2 7 The Formation of a Scientific Field: Hip-Hop Academicus 8 What is at Stake? How Hip-Hop is Legitimized and Discussed Within University 9 Turntablism: A Vehicle for Connecting Community and School Music Making and Learning Part 3 Educational and Artistic Implications of Hip-Hop 10 Introduction to Part 3 11 Jean Grae and Toni Blackman: An Educational and Aesthetical Conversation with two Female Emcees 12 Folkbildning through Hip-Hop: A Presentation of two Rappers and one Swedish Hip-Hop Organization 13 How Critical Pedagogy and Democratic Theory can inform Teaching Music, and especially, Teaching Hip-Hop 14 The Informal Learning Practices of Hip-Hop Musicians 15 Outroduction: Implications for Music and Music Education Glossary of Terms Bibliography Index About the Authors

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Book SynopsisHave you ever had a classical tune buzzing round your head and not been able to identify it? In The Directory of Classical Themes, with no greater musical knowledge than the ability to hum the tune, you will be able to find it. Denys Parsons discovered that the only necessary feature to distinguish any number of different themes was the up-and-down pattern of the melody. This enabled him to compile a reference work that is incredibly easy to use. Practically every well-known classical theme from the 16th century onwards is found in these pages. It can be used to find the composer, identify the theme and movement of a sonata, symphony or concerto and to check the opus number or key of a work you already know.Trade ReviewAmazing * Andre Previn *makes identification easy even to the musically unsophisticated * SCOTSMAN *

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Book SynopsisProvides the first in-depth exploration of Irish Americans’ use of balladry to portray and comment on virtually every aspect of the American Civil War as witnessed on the front line and home front. Bateson considers the lyrics, themes, and sentiments of songs produced in America but often originating with those born in Ireland and Britain.

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Book SynopsisThis is the first book-length survey of 20th -century British music for solo organ. Beginning with a discussion of British organ music in the last decades of the Victorian era, the book focuses on the pieces that the composers wrote, their musical style, possible influences on the composition of specific works, and the details of their composition. Arranged in chronological order according to date of birth are detailed studies on important composers that made especially significant contributions to organ music including Parry, Stanford, Healey Willan, Herbert Howells, Percy Whitlock, Francis Jackson, Peter Racine Fricker, Arthur Wills, and Kenneth Leighton. Composers'' biographies, the role of organs and organ building developments, influential political and sociological events, and aesthetic aspects of British musical life are also discussed in detail. In the concluding chapter, the author discusses the major phases and achievements of the century and gauges what may lie ahead in theTrade ReviewHardwick's timely survey offers an opinion on the relative virtues of the music in question and this is a welcome critique. * Classical Music *Recommended. * CHOICE *What a welcome arrival...Hardwick is absolutely first-rate in this book and I bow the knee in admiration, awe, and wonder…He covers an incredible amount of music in a relatively short space…I urge you to buy the book, study it, and, above all, play the music that he writes about. * The American Organist *A most welcome volume that fills a long-standing gap in the literature...if you are interested in British organ music and its development over the last 100 years and could only take one book to your desert island, then this would probably be it. * Church Music Quarterly *Each chapter of this wisely conceived book contains gems of information and insights on composers and musical trends that reveal the author's close familiarity with his subject. This comprehensive survey will stand as a definitive work on the topic for many years to come... * The Diapason *Table of ContentsChapter 1 List of Plates Chapter 2 Preface Chapter 3 1 British Organ Music at the Dawn of the Century Chapter 4 2 Hubert Parry Chapter 5 3 Charles Stanford Chapter 6 4 Basil Harwood Chapter 7 5 The Pivotal Role of the Royal College of Music: Walter Alcock and Charles Wood Chapter 8 6 William Faulkes, William Wolstenholme, Alfred Hollins, and Edwin Lemare Chapter 9 7 Ralph Vaughan Williams and Frank Bridge Chapter 10 8 Edward Bairstow Chapter 11 9 John Ireland, William Harris, and Harold Darke Chapter 12 10 Healey Willan Chapter 13 11 Herbert Howells Chapter 14 12 Percy Whitock Chapter 15 13 Celebratory Music Chapter 16 14 New Wine in Old Bottles Chapter 17 15 Three Midcentury Composers of Gebrauchsmusik: Alec Rowley, Eric Thiman, and William Lloyd Webber Chapter 18 16 Francis Jackson Chapter 19 17 Serialism Chapter 20 18 Peter Fricker Chapter 21 19 Arthur Wills Chapter 22 20 Kenneth Leighton Chapter 23 21 Malcolm Williamson Chapter 24 22 Avant-Garde Program Music after 1950 Chapter 25 23 Maxwell Davies Chapter 26 24 William Mathias Chapter 27 25 Alan Ridout Chapter 28 26 Roman Catholic Organ Music and Colin Mawby Chapter 29 27 The Path Taken in the Twentieth Century and a Look at What May Lie Ahead Chapter 30 Catalogue of Works Chapter 31 Music Acknowledgments Chapter 32 Bibliography Chapter 33 Index Chapter 34 About the Author

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Book SynopsisFoundations of Diatonic Theory: A Mathematically Based Approach to Music Fundamentals is an introductory, undergraduate-level textbook that provides an easy entry point into the challenging field of diatonic set theory, a division of music theory that applies the techniques of discrete mathematics to the properties of diatonic scales. After introducing mathematical concepts that relate directly to music theory, the text concentrates on these mathematical relationships, firmly establishing a link between introductory pedagogy and recent scholarship in music theory. It then relates concepts in diatonic set theory directly to the study of music fundamentals through pedagogical exercises and instructions. Ideal for introductory music majors, the book requires only a general knowledge of mathematics, and the exercises are provided with solutions and detailed explanations. With its basic description of musical elements, this textbook is suitable for courses in music fundamentals, music theoTrade ReviewNot only does Foundations of Diatonic Theory accomplish its stated goals, but it does so in such a masterful way, and with such a refreshing approach, that after reading it, any course on music fundamentals, music and mathematics, or diatonic set theory taught without its perspective would feel incomplete. * GAMUT: Online Journal of the Music Theory Society of the Mid-Atlantic *Because of its innovative approach, Foundations of Diatonic Theory will come as a breath of fresh air for those who decide to incorporate it into fundamentals courses. It would also provide courses on music and mathematics, and on diatonic set theory, with a way of getting into the material that encourages students to think critically—a most desirable quality in a text, as critical thinking should be demanded of the student by any graduate or upper-division undergraduate course. If Johnson’s Montessori-style approach is contagious among the next generation of textbook authors, the benefits to theory students and instructors alike could be enormous. * GAMUT: Online Journal of the Music Theory Society of the Mid-Atlantic *Table of ContentsPart 1 Preface Part 2 Introduction Chapter 3 1. Spatial Relations and Musical Structures Chapter 4 2. Interval Patterns and Musical Structures Chapter 5 3. Triads and Seventh Chords and Their Structures Part 6 Conclusion Part 7 For Further Study Part 8 Notes Part 9 Sources Cited Part 10 Index

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Book SynopsisIn SÃmi Musical Performance and the Politics of Indigeneity in Northern Europe, ethnomusicologist Thomas Hilder offers the first book-length study of this diverse and dynamic music scene and its intersection with the politics of indigeneity.Trade ReviewThomas R. Hidler provides a critical analysis of the political, cultural, and social transformations in the non-Western, Nordic, Sámi indigenous community. . . .This book is well-written and organized cohesively, as one chapter leads seamlessly into another. It will be a valuable addition to the fields of European studies, ethnomusicology, and identity studies. * Journal of Folklore Research *This fundamental book, rich in information, insight, and interpretation, is long overdue. . . .This study is written with respect: it is based on long-term engagement with Sámi musicians and music events, learning appropriate languages, and listening carefully to contemporary Sámi concerns. Hilder’s book is a must for those studying the Sámi. It is also insightful reading for those interested in the politics of indigeneity and music. * Yearbook for Traditional Music *Table of ContentsAcknowledgments Chapter 1: Sámi Musical Performance: An Introduction Chapter 2: Performing Sápmi Chapter 3: Reconceptualizing Time Chapter 4: Voicing Nature Chapter 5: Transmitting Culture Chapter 6: Aspiring Cosmopolitanism Epilogue Glossary Notes Bibliography Index

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Book SynopsisTrade ReviewMorricone is a distinguished Italian film composer with more than 400 scores to his credit, including The Untouchables, Fistful of Dollars, and Ripley's Game. Miceli is a musicologist. Their book–a series of insightful/inspiring lectures on the uses/aesthetics of cinema scores–constitutes a short course in the rigors of film music composition. The authors mix examples and caveats to young composers, saying that a course cannot teach film composition. Attention to synesthesia--partnering of sounds and colors–is a necessity, and irrational choices should be eschewed ('the most inadmissible thing is to resort to asynchronism or incoherent juxtapositions'). Discussion of the process–consultations, directors, viewings, style, and premix/final mix–are intercut with 'seminars' about solving specific problems; the authors use experimental film edits to stimulate youthful composers' imaginations. Morricone argues for strict attention to the psychological dimensions of the film's characters; he provides examples from Hitchcock (Morricone's metacinematician), Ridley Scott, and the Traviani brothers. Morricone's observations include the ideas that mediated scenes (in which music carries character reactions) are essential and that 'tone color is one of a film composer's most important means of expression.' Summing Up: Highly recommended. Upper-division undergraduates through faculty/professionals. * CHOICE *

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Book SynopsisLooks at the phenomenon of noise in music, from experimental music of the early 20th century to the Japanese noise music and glitch electronica. This work situates different musics in their cultural and historical context, and analyses them in terms of cultural aesthetics.Trade ReviewCan silence be "noisy"? Why do punk banks downplay their musical abilities? What do 37 minutes of ceaseless feedback and squawking birds tell us about the human experience? Calling upon the work of noted cultural critics like Jean Baudrillard, George Bataille and Theodor Adorno, philosophy and visual culture professor Paul Hegarty delves into these questions while tracing the history of "noise" (defined at different times as "intrusive, unwanted," "lacking skill, not being appropriate" and "a threatening emptiness") from the beginnings of the 18th century concert hall music to avant-garde movements like musique concrete and free jazz to Japanese noise rocker Merzbow. Ironically, it is John Cage's notorious 4'33", in which an audience sits through four and a half minutes of "silence," that represents the beginning of noise music proper for Hegarty; the "music" made up entirely of incidental theater sounds (audience members coughing, the A/C's hum), represents perfectly the tension between the "desirable" sound (properly played musical notes) and undesirable "noise" that makes up all noise music, from Satie to punk. Hegarty does an admirable job unpacking diverse genres of music, and his descriptions of the most bizarre pieces can be great fun to read ("clatters and reverbed chickeny sounds...come in over low throbs"). Though his style tends toward the academic (the "dialectic of Enlightenment" and Heidegger appear frequently), Hegarty's wit and knowledge make this an engaging read. * Publishers Weekly *In this rigorously researched deconstruction of noise, Paul Hegarty explains how the concept is entirely contingent upon social norms and how its inevitable emergence into music, which is simply organized noise, unfolded. Hegarty begins by arguing for the concept of noise as a socially undesirable them to the musical elites us. He then leads us on a dense yet speedy tour of pivotal moments in the evolution of noise into a component of music, focusing on salient benchmarks the Italian Futurists, recording technology, Fluxus, John Cage, Merzbow and hip-hop. By the time Hegarty arrives at modern manifestations of noise, genre neophytes will consider themselves experts. But be warned: This is not a pop history. It's an academic survey with a distinct poststructuralist ?avor, an informative read, but not a particularly fun one, unless of course you read Derrida for giggles. -- P * Paste Magazine / July 2007 *An intertwined crash course in outsider music and cultural studies, Paul Hegarty's dense new survey, Noise/Music: A History, traces noise music's avant-garde and experimental roots-from Futurism, Fluxus, and musique concrète to 1970s progressive rock and punk-and examines its more recent incarnations.One noise-engaging genre is jazz, the subject of Hegarty's most compelling chapter, in which he investigates Adorno's infamous dismissal of the form in a 1936 essay...Hegarty also offers a fresh analysis of free jazz's abstractions, tying the subgenre's oscillation between form and content, its 'attack on tonality,' and its 'introduction of non-musical noises' to Bataille's concept of the 'formless.' The book's selected discography..should satisfy both the curious and the "extreme" enthusiast...it's a reminder that there's 'no sound, no noise, no silence,' without our active participation. * Bookforum Sept. 2007 *Fear of music "Noise and its relationship to music - and noise as music - is a suitably chaotic and mercurial subject with much hissing feedback. According to author Paul Hegarty in Noise/Music, A History (Continuum, 232 pages, $22.95), noise is "defined by what it is not" and "a resistance, but also defined by what society resists." In his phenomenal study, he provides a history and a sense of that contradiction. Until now, most investigations into noise and music have been chiefly concerned with chronicling early innovators like John Cage or Karlheinz Stockhausen, but usually at the cost of the last 30 years being framed as aftershocks of modernism and not developments in their own right. Noise, in Hegarty's estimation, has evolved far beyond, as a resource and into an aesthetic philosophy. This could placate all denominations - from bearded improvisers to black-clad nihilists - and feels more correct than any linear conception of successive avant-gardes following one another. Exhaustive without being exhausting, Hegarty lucidly works his way through the last 100 years of music and untangles dogmas and ideologies ranging from Theodor Adorno's immensely flawed approach to jazz to the valorization of ineptitude by punks and composers alike. Hegarty refreshingly places his history around recent noise - as he says "noise itself constantly dissipates ... noise music must also be thought of as constantly failing - failing to stay noise or acceptable practice." This approach is open enough for sudden leaps and insight. For every obsessive exegesis on Merzbow, there's his consideration of Public Enemy as an industrial band or his original take on the minimalist jams of garage and Kraut-rock bands: "the long tracks of proto-punk are a direct erasing of the meandering 'expressions' musicians were doing more and more, live and on album. It is not enough just to reject the long form (as the Ramones would do); it is far more effective to wreck the purpose of it through the form itself." Any disruption, in other words, can be noise - such as Eric Satie's tranquil pianos works - when considered as "a rebellion against the growing complexity of classical music in the late 19th and early 20th century." Noise, as music, is any moment when all structure and notions of beauty are called into question. As a whole we need noise, and any adventurous listener needs Hegarty's book. Wonderfully written, even the footnotes are a treasure trove (like this great working definition of prog: "the narcissism of brilliance signifying itself") and more than just another music theory book, it acts as a secret philosophical treatise on the calamities of the 20th century and the intensities of now. * Eye Weekly *...a personal meditation on how various aesthetic, socio-political and philosophical approaches and ideas can be applied to music and sound. Noise/Music is a brave attempt to grapple with an impossible subject as one could reasonably hope for. There's some brilliant writing linking notions of 'ineptitude' and late 70s punk, and Hegarty if one of very few writers able to get to grips with Merzbow's work without simply dwelling on its sonic extremity. * The Wire *A brave attempt to grapple with an impossible subject as one could reasonably hope for...Some brilliant writing. -- The Wire, October 2007In his book Noise/Music: A History, Irish philosopher and educator Paul Hegarty examines the phenomenon of noise as music. Aimed at anyone interested in the avant-garde (and especially modern music that's dissonant and challenging), this book provides a historical overview that begins with the Italian Futurist movement, touches on composers from Edgard Verese to Pauline Oliveros, and progresses to bands like Throbbing Gristle and Severed Heads. Although Hegart's approach is musically (and geographically) all over the map, it's a fascinating read and offers a wealth of information and perspective on the subject. -- Geary Yelton, Electronic MusicianMention in Today's Books / BookweekThe A-ListPaul Hegarty's Noise/Music is one of the more provocative books I've read this past year. When I first encountered the book, I assumed-like many readers-that it would be a book about a genre that has come to be known as "noise music," which evolved in Japan in the 1990s but has subsequently become a world-wide phenomenon. While "noise music" does in fact get addressed in the latter part of the book, Hegarty's book is actually about something much larger; it is a socio-musicological examination of the ever-changing threshold of tolerance between music and noise in a wide variety of musical genres during the 20th century. * newmusicbox.com *An interesting historical look at the interplay of the two, from the avant-garde compositions of John Cage and Pauline Oliveros to the ear-scraping experiments of Merzbow and the Boredoms, and the technology that empowers and hinders music making. -- Roy Christopher, author of Follow for Now: Interviews with Frieneds and Heroes.Review in Oxford Journal, May 2010. A fascinating read from an exhaustive expert on the subject, Noise/Music is incredibly appealing. * Under the Radar Magazine *Noise/Music is a provocative historiography of noise's contribution/damage to music. -- Adam Green * The Slow Review *There's some brilliant writing... Hegarty is one of the few writers able to get to grips with Merzbrow's work. -- Keith Moline * The Wire *The dad cliche 'that's not music, that's just noise' gets a thorough intellectual going-over in this fascinating book. * Record Collector *The author writes eloquently and with considerable insight about progressive rock, industrial music, power, electronics, Japanese Noise (Merzbow gets an entire chapter), and Public Enemy. Not only does he present an airtight café for that last's inclusion in the noise canon, in lamenting raps' passage from instrument of confrontation to tool of capital, he mirrors the feelings of countless hip-hop heads in their late teens and early twenties...the book works well as an introduction to 20th-century philosophy for noise fiends. -- Rod Smith * Rain Taxi *In his book Noise/Music: A History, Irish philosopher and educator Paul Hegarty examines the phenomenon of noise as music. Aimed at anyone interested in the avant-garde (and especially modern music that's dissonant and challenging), the book provides a historical overview that begins with the Italian Futurist movement, touches on composers from Edgard Varèse to Pauline Oliveros, and progresses to bands like Throbbing Gristle and Severed Heads. Although Hegarty's approach is musically (and geographically) all over the map, it's a fascinating read and offers a wealth of information and perspective on the subject. * Electronic Musician *Table of Contents1. Introduction: Noise in Music; 2. Electricity; 3. Free; 4. Industry; 5. Inept; 6. Power; 7. Japan; 8. Merzbow; 9. Electronic; 10. Quiet; 11. Conclusion.

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Book SynopsisJohann Sebastian Bach's the "St Matthew Passion" stands as a singular expression of religious sensibility. Highlighting the inspiration Bach drew from opera, this book illuminates the hybrid forms that comprise the work, thereby clarifying many of the composer's dramatic strategies.Trade Review'I must admit to delighting in the 129 pages of this extremly readable book ... I thoroughly recommend anybody to whom the St. Matthew Passion is a problem to spend £9.99 on this beautifully common sense book.' Musical Opinion, March 2009"Bach's St Matthew Passion is the ultimate depiction of the torture and (attempted) murder of Jesus Christ: the most beautiful, the most harrowing and the most innovative." -Damian Thompson, The Telegraph, April 2009"Victor Lederer's 132-page guide, the first in Continuum's Magnum Opus series, not only puts the music in historical and theological context; it also draws your attention to crucial but easy-to-miss details in the score." -Damian Thompson, The Telegraph, April 2009"One of this book's many virtues is that it unfolds at roughly the same pace as the St Matthew Passion itself." -Damian Thompson, The Telegraph, April 2009"a user-friendly resource for the keen novice, it is also nuanced enough for the more knowledgeable reader." "The book has the added interest of concluding with discussion of the work's performance history and the merits of various recordings. Written in clean , clear prose, this is recommended reading for anyone interested in delving into this great work" Classical Music, 11 April 2009 -- Ruth Garner

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Book SynopsisTraces the interactions and mutual influences of art and music. This book presents a narrative of late-Modern/Postmodern artistic practice, connecting familiar events, figures and works to less-familiar precedents and antecedents from within their own fields and from across the aisle.Trade Review"...some useful arguments. And sound art certainly need arguments." The Wire, February 2010"Kim-Cohen's book develops a number of significant arguments concerning sound's status in the art world."SpringerinReviewed in Year's Work in Critical and Cultural TheoryTable of Contentsi. Introduction; ii. Noise and Its Opposite; iii. Sectarianism in the Sensorium; iv. Settling the Score; v. The Technological Ontological; vi. Rock and Roll Aesthetics; vii. The Blink of an Ear; viii. Postscript: A Tentative Definition of Sound Art.

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Book SynopsisPart of "The Continuum Aesthetics" series, this book offers a different exploration of the key concepts and arguments in musical aesthetics. It looks at: the experience of listening; rhythm and musical movement; what modernism has meant for musical aesthetics; the relation of music to other 'sound arts'; improvisation and composition; and more.Trade Review'A gifted philosopher, music critic and jazz performer, Andy Hamilton has produced a book which leaves neither the philosophy nor the music out. He guides us deftly through the aesthetics of Kant and Adorno without neglecting the reality of music as sound and rhythm, improvisation and composition, showing in an unusually open-minded, lively way - and in philosophical depth - how aesthetic experience is universal and human.' Professor John Skorupski, St Andrews University, UK'An innovative, cross-disciplinary contribution to the philosophy of music, weaving Adorno's Critical Theory with Analytic aesthetics.' Professor Max Paddison, Durham University, UK.'With a fine eye for argument, for teasing out and testing key assumptions within the philosophy of music, Andy Hamilton's Aesthetics And Music charts a knife-edge course between scholarship, clear and penetrating thinking, and above all sound intuitions.' Stephen Robinson, The Wire, December 2007'Aesthetics and Music is a rich and interesting study. Hamilton's approach is innovative ... [the book] should be recommended to anyone interested in the philosophy of music.' Stephen Davies, University of Auckland, Analysis'A deeply informed author thinking hard about the musical matters which he considers - with justification - to be the most important... a lively and stimulating contribution to a number of debates.' M.W. Rowe, British Journal of Aesthetics'Hamilton has read widely, listened hard and had his own practical engagement with music as a jazz pianist, and there is much to be learned from his argument ... The range of Hamilton's interests, and his familiarity with modern, postmodern, and post-postmodern culture, help to support an argument that is far more interesting in its detail than can be conveyed in a short review. There is a freshness in his approach, and a pleasing disregard for pedantic controversies, that will surely attract new readers to a subject that has not always been as well served by its practitioners as it is served by Hamilton.' Roger Scruton, MIND"The value of Aesthetics and Music lies in its producing the groundwork needed to present modern jazz as music worthy of Analytic philosophical treatment." Reviewed by Andrew McGettigan in Radical Philosophy, July 2008"Andy Hamilton's Aesthetics and Music is an unusual concoction: one part history of the aesthetics of music, one part review of recent work in the Analytic philosophy of music, and one part original contribution to musical aesthetics...Hamilton's respect for and sincere interest in improvised music, experimentalism, and sound-art is model for future writers on the philosophy of music." - Brian Kane, Current Musicology, No. 85, Spring 2008Reviewed in Dagens Nyheter, Sweden - Jan 2008'Hamilton's is a distinctive philosophical voice, and Aesthetics and Music is a lively and stimulating contribution to a number of important debates.' - British Journal of AestheticsTable of Contents1. Aesthetics and music in ancient Greece; 2. The concept of music; 3. The aesthetic of form, the aesthetic of expression, and "Absolute Music": Aesthetics of music in the late 18th and 19th centuries 4. The sound of music; 5. Rhythm and time; 6. Adorno and modernism: Music as autonomous and "social fact" 7. Improvisation and composition.

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Book SynopsisDiscussion of original performance conventions of Bach's sacred works - cantatas, Passions, masses - by practising musician and director of Taverner choir.What type of choir did Bach have in mind as he created his cantatas, Passions and Masses? How many singers were at his disposal in Leipzig, and in what ways did he deploy them in his own music? Seeking to understand the verymedium of Bach's incomparable choral output, Andrew Parrott investigates a wide range of sources: Bach's own writings, and the scores and parts he used in performance, but also a variety of theoretical, pictorial and archival documents, together with the musical testimony of the composer's forerunners and contemporaries. Many of the findings shed a surprising, even disturbing, light on conventions we have long taken for granted. A whole world away from, say, the typical oratorio choir of Handel's London with which we are reasonably familiar, the essential Bach choir was in fact an expert vocal quartet (or quintet), whose members were also responsible for all solos and duets. (In a mere handful of Bach's works, this solo team was selectively supported by a second rank of singers - also one per part - whose contribution was all but optional). Parrott shows that this use of aone-per-part choir was mainstream practice in the Lutheran Germany of Bach's time: Bach chose to use single voices not because a larger group was unavailable, but because they were the natural vehicle of elaborate concerted music. As one of several valuable appendices, this book includes the text of Joshua Rifkin's explosive 1981 lecture, never before published, which first set out this line of thinking and launched a controversy that is long overduefor resolution. ANDREW PARROTT has made a close study of historical performing practices in the music of six centuries, and for over twenty-five years he has been putting research into practice with his own professional ensembles, the Taverner Consort, Taverner Players and Taverner Choir.Trade ReviewThis utterly fascinating and ultimately convincing book can only do his cause good in the best of all possible years. -- Simon Hughes * INTERNATIONAL RECORD REVIEW *As restated here (...with additional material and with admirable clarity), the arguments are utterly convincing... The book is a pleasure to read, fluently written and clearly set out with many illustrations and musical examples. * EARLY MUSIC REVIEW *A brilliant piece of research...a superb book - and it is going to lead us all to think more carefully about how we approach the performance of Bach. -- DAVID HILL * WINCHESTER CATHEDRAL *I was gripped by this book; it is compulsive reading. If you profess the faith of Bach you simply cannot afford to be without it. * CLASSICAL MUSIC *Highly recommended for anyone interested in Bach's vocal works. -- Yo Tomita * MUSICAL TIMES *Utterly fascinating and ultimately convincing. * GRAMOPHONE *A work of careful and judicious scholarship. * OXFORD TIMES *What Parrott has delivered is a document which will itself no doubt be a subject of study in years to come. -- Andrew Manze * TLS *Table of ContentsBach as cantor and "Director Musices" in Leipzig; repertoire; concertists and ripienists; copies and copy-sharing; Bach's use of ripienists; the "Entwurff"; additional resources; instrument/singer ratios; balance. Appendices: Bach's written undertakings to the Leipzig Town Council (1723); Bach's audition reports (1729); the "Entwurff" (1730), text and translation; some contemporary accounts of concerted music-making; sources of Bach's vocal ensemble music; Bach's chorus (1981), Joshua Rifkin; 20th-century commentaries on Bach's choir.

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Book Synopsis

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Book Synopsis

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Book SynopsisFor those who want to learn the inner workings of music without as author Dave Stewart notes getting bogged down in a lot of fearsome technicalities this is an enlightening exploration of the theory and practice of music. Picking up where ÊThe Musician''s Guide to Reading & Writing MusicÊ leaves off Stewart uses the same amusing style clear examples and practical advice to encourage readers not just to read music but to write some of their own. The book sheds light on tonality chord sequences scales and modes tempo rhythm improvisation and composition chords and chord voicings MIDI and more. 128 pages 6 1/8Í x 9 1/4Í

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