Theory of music and musicology Books

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Trade ReviewSpecialists in English, media, film and television have also been invited to take part in this conversation, which feels authentic to the spirit of Eno ... The book mulls over those necessary questions that anyone thinking about Eno must eventually face. * The Wire *Contributions include meticulous descriptions of compositions; a chapter about Eno’s ambient oeuvre (which quirkily compares him to Tolkien at great length) ... Albiez contributes to the best piece on precursors to Eno’s use of the studio to create new sounds. ... Intellectually stimulating. * Record Collector *The collection’s standouts are Martin James’ pithy, pacy account of Eno’s years in New York (1978-84) … and Hillegonda Rietveld’s coolly attentive reading of the soundtrack to the film The Lovely Bones, in which his “oblique music seems like a ghostly call from the ‘in-between’”. * Times Higher Education *For quite some time, Brian Eno has been jokingly referred to as the ‘professor of pop’. It’s about time, then, that real academics caught up with a body of work that is as perplexing as it is complex. ... Essential reading for all academic listeners. * Times Higher Education ('What are you reading?') *This much needed book explores the many trajectories of Eno’s varied career, and it will engage and excite any music lover, regardless of your opinion of Eno’s work. It’s a richly rewarding collection that deftly explores and unpacks the work of one of popular music’s pioneering figures. ... Oblique Music does an outstanding job of critically capturing both the well-known and less familiar elements of Eno’s work ... [It] provides some thought-provoking material on broader issues such as collaboration, composition, creativity, experimentation, musicianship, technology and more, and as such will stimulate the interest of anyone engaged in music creation and production. This is a book that you will return to time and again — like Eno’s best work, its rewards make themselves most evident after repeated visits. * Dancecult: Journal of Electronic Dance Music Culture *Meticulously written, rich in detail and factually argued ... Anyone who wants to know Eno from the beginning, to understand his experimental strategies in the studio or to study his eternal movement between pop music and free sound, will not be disappointed. * Groove (Bloomsbury translation) *[T]he essays or chapters in this anthology are thoughtful, thought-provoking, informed and interesting ... [and] they come at their subject from an appropriately wide-ranging and inter-disciplinary number of fields ... It’s a lively and varied collection, that leaves room for even more consideration of the elusive, enigmatic and influential Eno. * International Times *[A] series of essays by academics each focussing on an aspect of Eno's work and ideas. ... There's even a chapter about Devo. A fascinating [read]. * Electronic Sound *As producer, musician, theorist, facilitator and more, Brian Eno has left significant traces across popular culture since the 1970s and this wide-ranging volume skillfully brings to light both well-known and more obscure aspects of his work and legacy. * Alexei Monroe, Cultural theorist and author of Interrogation Machine: Laibach & NSK *Few figures in the history of modern music stand up to the kind of wide-ranging, detailed and careful treatment meted out in this brilliant collection. Eno’s expansive repertoire – from glam rock icon to avant-garde composer - constitutes the fertile grounds for what is a learned and lively intervention. Deigned to be a benchmark collection for anyone interested in process-oriented creativity and experimental musicianship, the collection shines a light on Eno’s dynamic craftsmanship. It fills a crucial gap in the field, bestowing on the reader a unique insight into Eno the polymath, singer, collaborator, composer, avant-gardiste, intellectual and self-defined “non-musician”. A richly-informed, lucidly written and rigorously compiled collection that provides new insights with every turn of the page. * Nick Prior, Senior Lecturer and Head of Sociology, University of Edinburgh, Scotland *Table of ContentsIntroduction: Brian Eno: A problem of organization - David Pattie and Sean Albiez PART ONE - Eno: Composer, musician and theorist 1 The Bogus Men: Eno, Ferry and Roxy Music - David Pattie 2 Brian Eno, non- musicianship and the experimental tradition - Cecilia Sun 3 Taking the studio by strategy- David Pattie 4 Between the avant- garde and the popular: The discursive economy of Brian Eno’s musical practices - Chris Atton 5 Yes, but is it music? Brian Eno and the definition of ambient music - Mark Edward Achtermann 6 The Lovely Bones: Music from beyond - Hillegonda C. Rietveld 7 The voice and/of Brian Eno - Sean Albiez PART TWO - The University of Eno: Production and collaborations 8 Before and after Eno: Situating ‘The Recording Studio as Compositional Tool’ - Sean Albiez and Ruth Dockwray 9 Control and surrender: Eno remixed – collaboration and Oblique Strategies - Kingsley Marshall and Rupert Loydell 10 Avant-gardism, ‘Africa’ and appropriation in My Life in the Bush of Ghosts - Elizabeth Ann Lindau 11 Eno and Devo - Jonathan Stewart 12 Another Green World? Eno, Ireland and U2 - Noel McLaughlin 13 Documenting no wave: Brian Eno as urban ethnographer - Martin James Select Discography

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Book SynopsisThe study of the senses has become a rich topic in recent years. Senses of Vibration explores a wide range of sensory experience and makes a decisive new contribution to this growing field by focussing not simply on the senses as such, but on the material experience - vibration - that underpins them. This is the first book to take the theme of vibration as central, offering an interdisciplinary history of the phenomenon and its reverberations in the cultural imaginary. It tracks vibration through the work of a wide range of writers, including physiologists (who thought vibrations in the nerves delivered sensations to the brain), physicists (who claimed that light, heat, electricity and other forms of energy were vibratory), spiritualists (who figured that spiritual energies also existed in vibratory form), and poets and novelists from Coleridge to Dickens and Wells. Senses of Vibration is a work of scholarship that cuts through a range of disciplines and will reverberate for many Trade Review"This book is remarkable not only for the range of its research, extraordinary though that is. It is even more impressive because of its capacity to stir its readers into genuinely imaginative thinking, a rare feat in a work of such scholarship. If we believe Charles Babbage, 'aerial pulses, unseen by the keenest eye' make of the very air around us 'one vast library' of all that has been said and done in the world. Senses of Vibration is certainly a major contribution to that library of the imagination." (Professor Philip Davis, Director of the Centre for Research into Reading, University of Liverpool.)"Table of ContentsAcknowledgements; Introduction; 1.Nervous Motions; 2.Psychophysical Sensations and Spiritual Vibrations; 3.Wires, Rays and Radio Waves; 4.Pathological Motions: Railway Shock, Street Noises, Earthquakes; 5.Sexual Health: Bicycle Spine, Sewing Machines, the Vibrator; Bibliography; Index.

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Book SynopsisEdward Campbell is Lecturer in Music at the University of Aberdeen, UK.Trade ReviewEdward Campbell shows how philosopher Gilles Deleuze, when contemplating music, can steer musicians productively away from their verbal comfort zones. Centring on the contact between Deleuze and Pierre Boulez, Dr Campbell explores and explains some particularly challenging ways of thinking about philosophical and musical modernity. Music after Deleuze proves to be both fascinating and open-ended, and it confirms that the on-going engagement between philosophy and music (non-Western or popular as much as Western and classical) continues to provoke and to intrigue. -- Arnold Whittall, Professor Emeritus of Music Theory & Analysis, King’s College London, UKRanging from music close to Deleuze’s own interests to musics much further away, this concise and useful introduction will be of much benefit, as much to Deleuzians interested in what music might reveal about Deleuze as to musicians keen to discover what Deleuze might have to tell them about music. -- Martin Iddon, Professor of Music and Aesthetics, University of Leeds, UKEdward Campbell’s Music after Deleuze is much more than a primer or introduction. Instead of laboriously dissecting the philosopher’s work or providing complex theoretical commentary, Campbell explains key Deleuzian concepts in clear, accessible language and uses them to think about music in fundamentally new ways. The book covers a great diversity of musical styles and genres, from popular and jazz through the canonic classical repertoire to non-Western and avant-garde, and in each of these areas, Campbell proves an engaging, perceptive and authoritative guide. Offering fresh and illuminating insights at every turn, Music after Deleuze issues a challenge to received wisdom and conventional thinking and presents a way for music studies to revitalise itself. -- Björn Heile, Senior Lecturer in Music, University of Glasgow, UKWith admirable lucidity, Music after Deleuze demonstrates precisely why the ideas of Gilles Deleuze have mattered – and still matter – to many innovative musicians of today, and at the same time how they enable radical rethinking of the familiar musics and musical practices we take for granted. Tracing the diagonal pathways that connect Deleuze with both his precursors in philosophy (Bergson and Husserl) and the leading composer-theorists of the twentieth century (Schoenberg, Messiaen and, above all, Boulez), Edward Campbell shows how music provided the catalyst for a number of his key concepts. In so doing, he opens the way not just for musicians into Deleuze but also for Deleuzians into the music that has shaped, and been shaped by, his groundbreaking philosophy. -- Charles Wilson, Lecturer in Music, Cardiff University, UKMusic After Deleuze is an important and exciting contribution both to Deleuze Studies and the contemporary philosophy of music, addressing a broad range of topics from a Deleuzian standpoint including difference and repetition, improvisation, and the musical work and its semiotics. With erudition and insight, Campbell nimbly describes for readers the many implications of Deleuze's philosophy for the phenomenon of music in general (from Gamelan to Scottish sacred psalms) with special emphasis placed on the modernism of the Schoenberg School and Boulez. -- Nick Nesbitt, Professor of French and Italian, Princeton University, USATable of ContentsAcknowledgements Introduction 1. Music, Difference and Repetition 2. Producing New Music: Rhizomes, Assemblages and Refrains 3. Rethinking Musical Pitch: The Smooth and the Striated 4. Thinking Musical Time 5. A Deleuzian Semiotics of Music Conclusion Notes Bibliography Index

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Trade ReviewResonances offers a conceptually diverse yet simultaneously minutely detailed investigation of noise that draws a line between popular music, cultural and sound studies. … [Reverberations and Resonances] are a significant achievement, a comprehensive collection of thinking to date about where noise fits into our cultural lives, pointing forward towards a fertile development of the field. -- Adam Behr, University of Edinburgh, UK * Popular Music *From overviews of specific artists--Lou Reed, Einsturzende Neubaten, Diamanda Galas, Filthy Turd--to theorizing about the sonics of feminism, computer sounds, turntablism, and composition, this timely book resituates noise not as Jacques Attali’s societal 'herald of change' but as a vital and everyday part of the new media landscape. It’s a great addition to any serious sound scholar’s library. * Gina Arnold, Adjunct Professor of Rhetoric at University of San Francisco and author of Route 666: On The Road To Nirvana * The collection itself is a diverse mix...Resonances is fairly highbrow. The book’s language is intensively scholarly, and its appeal mostly academic. -- Guy Crucianelli * Pop Matters! *The value of this anthology lies in its attempt to be as complete as possible, and its inclusion of perspectives that often go unconsidered. -- Aurelio Cianciotta * Neural (Bloomsbury translation) *In the decade since, a stunning range of new offerings from a variety of publishers has become readily available, and sound studies is a far more expansive discipline. This fact is nowhere more evident than in Bloomsbury Academic’s excellent sound studies catalog ... the scholarship here shows how adept the cultural study of sound can be at unearthing the thorny political and social tensions that define contemporary culture. -- Nicholas C. Laudadio, University of North Carolina Wilmington * Journal of Popular Music Studies *Resonances carries its readers from the ideas of Theodor Adorno to 'Hi-Fi Wives,' Russian punk and 60s rock. If you want to know what Iannis Xenakis, Eric Clapton, and the 'Filthy Turd aesthetic' have in common, this is the book for you! Handsomely illustrated and extensively documented, Resonances is a must-read volume for modernists and postmodern cultural critics alike. -- Michael Saffle * Endorsement *'That’s not music, it’s noise!' The contributors to this book ask us to think again. They reveal that noise can prove as stimulating a part of sonic organization as melody and harmony—the distorted rock guitar being one example among many. These engrossing essays cover a remarkable variety of musical practices, exploring noise as both accident and deliberate design, and building theories about noise that set the agenda for future debate. -- Derek B. Scott, author of Sounds of the Metropolis (2008) and Musical Style and Social Meaning (2010).This collection is a massive achievement in laying the groundwork for a new way of thinking about things musical. Its scope is large - Hendrix, Xenakis, deafness, production aesthetics, pleasure, Russian punk - and essays impress in both their attention to detail and the breadth of their conceptual scope as we move from questions of aesthetics to detailed close reading. It is a study which succeeds as both music scholarship and cultural contextualization, particularly in relation to artists in other media (Ballard, Artaud) and key scholars (Attali, Adorno, Benjamin). And although it is hard to photograph noise, the book's photos find some excellent visual analogues. -- Allan F Moore, Professor of Popular Music, University of Surrey, author of Rock: the Primary Text and Song MeansTable of Contentspart one Noise, Rock and Psychedelia 1 ‘Kick Out the Jams’: Creative Anarchy and Noise in 1960s Rock Sheila Whiteley 2 Recasting Noise: The Lives and Times of Metal Machine Music Nicola Spelman 3 Shoegaze as the Third Wave: Affective Psychedelic Noise, 1965–1991 Benjamin Halligan 4 To Be Played at Maximum Volume: Rock Music as a Disabling (Deafening) Culture George McKay part two Punk Noise: Prehistories and Continuums 5 Sounds Incorporated: Dissonant Sorties into Popular Culture Stephen Mallinder 6 Stairwells of Abjection and Screaming Bodies: Einstürzende Neubauten’s Artaudian Noise Music Jennifer Shryane 7 Make a Joyous Noise: The Pentecostal Nature of American Noise Music Seb Roberts 8 Roars of Discontent: Noise and Disaffection in Two Cases of Russian Punk Yngvar B. Steinholt 9 Noise from Nowhere: Exploring ‘Noisyland’s’ Dark, Noisy and Experimental Music Michael Goddard Archive: Indestructible Energy: Seeing Noise Julie R. Kane part three Noise, Composition and Improvisation 10 Xenakian Sound Synthesis: Its Aesthetics and Influence on ‘Extreme’ Computer Music Christopher Haworth 11 Sound Barriers: The Framing Functions of Noise and Silence Alexis Paterson 12 Listening Aside: An Aesthetics of Distraction in Contemporary Musi David Cecchetto and eldritch Priest 13 Using Noise Techniques to Destabilize Composition and Improvisation Eric Lyon 14 Noise as Mediation: Adorno and the Turntablism of Philip Jeck Erich Hertz part four Approaching Noise Musics 15 Noise as Music: Is There a Historical Continuum? From Historical Roots to Industrial Music Joseph Tham 16 Noise as Material Impact: New Uses of Sound in Noiserelated Movements Rafael Sarpa 17 Into the Full: Strawson, Wyschnegradsky and Acoustic Space in Noise Musics J.-P. Caron 18 Gossips, Sirens, Hi-Fi Wives: Feminizing the Threat of Noise Marie Thompson 19 Beyond Auditive Unpleasantness: An Exploration of Noise in the Work of Filthy Turd James Mooney and Daniel Wilson Bibliography Index

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Book SynopsisVerbal notation has emerged since the 1950s as a prominent medium in the field of experimental music, as well as in related areas of arts practice involving performance and object making. Works created with this type of notation are often referred to by their authors as event scores, prose scores, text scores or instruction scores. Word Events features over 170 scores, many printed here for the first time, representing the works of more than 50 practitioners including George Brecht, John Cage, Cornelius Cardew, Pauline Oliveros, Yoko Ono, Michael Pisaro, Karlheinz Stockhausen, Jennifer Walshe and La Monte Young.The commentaries in the book explore the compositional strategies and performance practice of particular works, contextualised by key essays, including previously hard-to-find texts by Lawrence Halprin and Kenneth Maue, together with many new statements and interviews from composers, artists and performers. This unique and wide-ranging collection of scores anTrade Review"Diverse models of scoring and text-based instructions have animated experiments in music, performance, visual art, dance and poetry for over fifty years. A crucial tool in the emergence of interdisciplinary art practices, verbal notation deftly cuts across genres and categories. Short event scores, long prose pieces and enigmatic statements potentially cue actions from swinging microphones to making a salad to playing a long sustained chord. Key decisions are left to performers, and realizations may be concrete and audible or simply generate a state of awareness. It is the ultimate open form. Combining scores, statements and short critical essays, Word Events brings together classic works with more recent projects that show the continued vitality of this practice. This is a collection we have needed for a long time." - Liz Kotz, Associate Professor of Art History, UC Riverside and author of, Words to Be Looked At: Language in 1960s Art"The 1960s and 1970s were, in the words of composer David Behrman, a time in which 'established techniques were thrown away and the nature of sound was dealt with from scratch.' The five-line staff collapsed under the weight of innovations like indeterminacy, Fluxus, live electronic music, performance art, and sound installations. The verbal score emerged as a pragmatic, egalitarian alternative. Today, with Sound Art ascendant, these scores have a newfound significance for all those concerned with performance outside the continuum of traditionally notated Western music. Sadly, the majority of these self-published documents remain exceedingly difficult to find, despite widespread webification of historical flotsam. In this volume Lely and Saunders have assembled an extraordinary collection of important scores, ranging from the exalted to the ephemeral. The inclusion of commentary by the artists themselves, as well as the first systematic analysis of the various forms of prose score, makes Word Events an invaluable resource for scholars and practicing artists alike." - Nicolas Collins, Professor, Department of Sound, The School of the Art Institute of Chicago, and Editor-in-Chief, Leonardo Music JournalTable of ContentsPart I: On the Role of Grammar in Verbal Notation; Context; Register; Processes; Tense; Modality; Mood; Voice; Circumstances; Part II: Scores, Writings and Commentaries; Robert Ashley; G. Douglas Barrett; Antoine Beuger; George Brecht; Gavin Bryars; John Cage; Cornelius Cardew; Philip Corner; Bill Drummond; Ken Friedman; Malcolm Goldstein; Daniel Goode; Lawrence Halprin; Tom Johnson; Seth Kim-Cohen; Bengt af Klintberg; Alison Knowles; Takehisa Kosugi; Joseph Kudirka; Sol LeWitt; Annea Lockwood; Alvin Lucier; George Maciunas; Benedict Mason; Kenneth Maue; Pauline Oliveros; Michael Parsons; Ben Patterson; Michael Pisaro; Frederic Rzewski; Erik Satie; Craig Shepard; Kunsu Shim; Mieko (Chieko) Shiomi; Hugh Shrapnel; Howard Skempton; Mark So; Karlheinz Stockhausen; Jennifer Walshe; Manfred Werder; John White; Michael Winter; Christian Wolff; Daniel Wolf; Amnon Wolman; Sources; Bibliography.

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Book SynopsisSean Albiez is the Programme Group Leader for Popular Music at Southampton Solent University. He has been an active musician since the mid-1980s, and has published scholarly work about John Lydon, Krautrock, and Madonna. David Pattie is Professor in Drama in the Department of Performing Arts at the University of Chester, where he also taeches on the MA in Popular Music. He is the author of Rock Music in Performance (2007) and The Complete Critical Guide to Samuel Beckett (2001).Trade Review"No one but C-3PO makes love to Kraftwerk. No one liked them much to begin with - certainly not in Germany.Yet they eventually managed to attract sufficient critical mass to create a new star. And everyone else found themselves firmly in orbit.This book of original essays scrutinises their cultural influence from all angles. Here, Kraftwerk are cast as Cousins of Iggy Pop, Duchamp, Gilbert and George, Heirs to Hitler, Stockhausen, Gropius and The Beach Boys. Brothers of Beuys and Bambaataa, Kin to Kiefer, Godfathers of British Pop, Uncles of Rave, Midwives of Detroit Techno, Sperm Donors of Dance - as mysterious and potent as the monoliths in 2001, as daft as Punk, as indispensible to understanding modern culture as Musclebuilding, Warhol, or Strictly Ballroom.If this book were a film, it would move from macro to micro every scene, if it were a meal it would be prepared by Heston Blumenthal. It's a mutation waltz, a stumble rumba, a nimble mambo, a complex minuet - and proof that cultural critics can dance." - John Foxx, synthpop pioneer and multi-media artist"Overall, one comes away from Kraftwerk: Music Non-Stop with the impression of Hutter, Schneider and co creating a multifaceted oeuvre on a par with that of Andy Warhol's, a brief phase from either's artistic corpus capable of generating an entire career for lesser talents."-The Wire‘It is refreshing to encounter Kraftwerk: Music Non-Stop, a new collection of academic essays on the band, which spurns fashion and firmly returns the emphasis to ideas. Editors Sean Albiez and David Pattie have assembled a compendium of rigorously argued and illuminating discussions of the band, one that more than compensates for the shallower latter-day ramifications of what Alex Seago termed in 2004 the "Kraftwerk-Effekt".' -- The Oxonian ReviewTable of ContentsPart One: Music and Contexts; Part Two: Influence.

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Book SynopsisStudents today have grown up in the age of digital technology. As a result, they process information in radically different ways than preceding generations. They like their information fast and consider visual images as important as textual content. In Tonal Counterpoint for the 21st-Century Musician, Teresa Davidian finally provides students a textbook that is quick, direct, and visuala direct reflection of the age in which they live. This book is easy to understand, comprehensive, and distinctly modern in its approach to the study of counterpoint. Written in a style that is clear, simple, and informal writing style, Davidian artfully mixes the history of counterpoint with an outline of its structure, placing musical examples from J. S. Bach side by side with those from The Beatles to illustrate the universality and currency of counterpoint in music analysis and composition.Designed as a single-semester introduction, Tonal Counterpoint brings the study of counterpoint into the preseTrade ReviewStudents today, having grown up in the age of digital technology, like their information fast and consider visual images as important as textual content. In this single-semester introduction, Davidian provides students with a textbook that is a direct reflection of the age in which they live. Throughout, the author explains how the techniques of 18th-century counterpoint still readily apply to how music is composed today. * Teaching Music *Table of ContentsPreface Introduction 1: Melody General Characteristics Melodic Organization Putting It All Together Beyond the Rules Exercises 2: First Species — 1:1 General Characteristics Putting It All Together Conclusion Exercises 3: Second Species — 2:1 General Characteristics How to Construct 2:1 Conclusion Exercises 4: Third Species — 3:1 and 4:1 Three Notes Against One (3:1) Four Notes Against One (4:1) Rhythmic Interplay between the Lines Beyond Third Species Exercises 5: Analyzing and Composing a Simple Piece in Two Parts General Characteristics of Musical Form Analyzing Form Binary Form Composing a Binary-Form Piece Beyond Form and Analysis Exercises 6: Double Counterpoint General Remarks and Principles How to Construct Double Counterpoint Exercises 7: Two-part Canon General Remarks and Principles Common Canons How to Write a Two-Part Canon Canon Transformations Still More Canons Conclusion Exercises 8: J. S. Bach’s Two-part Invention Analyzing Inventions Section 1 Section 2 Concluding Measures Overall Construction Composing Inventions Exercises 9: Counterpoint in Three and Four Parts Back to the Species General Characteristics The Difference between Harmony and Counterpoint How to Construct Species Counterpoint in Three Parts How to Construct Species Counterpoint in Four Parts Beyond Four-Part Counterpoint Exercises 10: Fugue Bach and the Fugue Section 1: Exposition Section 2: Development Final Portion220 Overall Construction Composing Fugues Exercises Bibliography Index

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Book SynopsisRobert Carl is chair of Composition at the Hartt School, University of Hartford. His music is performed worldwide. His first teacher was Jonathan Kramer.Trade ReviewThe value and importance of the book is properly expressed in the conclusion of the preface by Jann Pasler ... Indeed a deep reading of this book will provoke an objective critical relationship towards postmodernism even among those (like myself) who cautiously use this term – if they use it at all. * International Review of the Aesthetics and Sociology of Music *Jonathan Kramer’s Postmodern Music, Postmodern Listening reflects his voracious mind and offers the reader a highly original tour through the philosophy, aesthetics, and analysis of musical postmodernism. The book is both accessible and authoritative, and it fills an important gap in the musical literature. * Fred Lerdahl, Professor of Music, Columbia University, USA *A brilliant “both/and,” inclusive thinker, Jonathan Kramer has always been accessible and engaging, eclectic and learned. As a consummate writer, teacher and composer, he has astutely theorized postmodernism—that slippery, contentious beast—from the evidence of contemporary music itself and from the social values of its listeners, as well as creators. In this multi-layered, innovative study of music in our world of “social saturation”, the postmodern is neither a category nor an era: it is a way of hearing, a musical attitude shared by composers and listeners alike. This captivating book will make you rethink modernism, anti-modernism, and of course postmodernism. * Linda Hutcheon, Professor Emeritus, University of Toronto, Canada *For years Jonathan Kramer has been the leading thinker on the vexed subject of postmodernism in music through his articles and lectures. Now his long-awaited book on the topic is finally posthumously out, and the subtlety and nuance with which he draws a consistent and reasonable argument from so much disparate and seemingly contradictory data is breathtaking. This is likely to be the standard work on musical postmodernism for a long time, and will vastly increase the depth of the discussion. * Kyle Gann, Hawver Professor of Music, Bard College, USA *Table of ContentsEditor’s Introduction by Robert Carl Preface by Jann Pasler Acknowledgements Foreword BOOK 1. IDEAS PART I. CHAPTERS ON POSTMODERN CONCEPTS OF MUSIC Chapter 1: The Nature and Origins of Musical Postmodernism Chapter 2: Postmodernism (Not) Defined Chapter 3: Modernism, Postmodernism, the Avant Garde, and Their Audiences PART II. CHAPTERS ON CONCEPTS OF POSTMODERN MUSIC Chapter 4: Postmodernism and Related Isms in Today’s Music Chapter 5: Unity, Organicism, and Challenges to Their Ubiquity Chapter 6: Beyond Unity Chapter 7: Postmodern Listening Chapter 8: Postmodern Musical Time Chapter 9: Surrealism, Neoclassicism, and Postmodernism PART III. POSTMODERN CHAPTERS ON THE CONCEPT OF MUSIC Chapter 10: Economics, Politics, Technology, and Appropriation Chapter 11: Beyond the Beyond: Postmodernism Exemplified BOOK II. CASE HISTORIES Chapter 12: Postmodernism in the Finale of Mahler's Seventh Symphony Chapter 13: Unity and Disunity in Nielsen’s Sixth Symphony BOOK III. ESSAYS ON POSTMODERNISM AND JONATHAN KRAMER Editor’s note 1. Postmodern Musings, Postmodern Performing by Deborah Bradley-Kramer 2. Are We Postmodern Yet? By Brad Garton 3. Music in the Anthropocene by John Luther Adams 4. On (re-) Hearing Kramer: Five Reactions to Postmodernism Music, Postmodern Listening by John Halle 5. Uncommon Kindness: Reflections on Jonathan Kramer by Duncan Neilson 6. Kramer Post Kramer by Martin Bresnick Biographies Bibliography Index

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Book SynopsisRichard Elliott is Senior Lecturer in Music at Newcastle University, UK.Trade ReviewTaking a literary and musical path – Lear and Carroll, literary modernism, translation, sonic art and pop records - Richard Elliott provides a sensible view of the nonsensical. Formed of much wordy noise, copious theory lightly handled, and palpable fondness in the writing, The Sound of Nonsense is a quietly provocative manifesto on nonsense’s behalf. * Dai Griffiths, Senior Lecturer in Music, Oxford Brookes University, UK *Elliott's Sound of Nonsense is a deliciously noisy book, a lively sonic romp that enjoins its readers to be enjoyed aloud. It chants and enchants us through realms of utterance shaped by astonishingly diverse artists including Lewis Carroll and Hugo Ball, James Joyce and Bob Dylan, Velimir Khlebnikov and Jaap Blonk. Their often only just speakable tones and textures of proto-lexical sounds lure us into that zaum wonderland Paul Schmidt calls "beyonsense". Elliott's masterful, thoroughly useful scholarship is offset by his contagious delight in his subject. Echoes of poetry freed from semantic shackles, of scat, beatbox, and doowop, bounce off the page to activate our readership via the "mixing desk of the ear". This invigorating Sound of Nonsense makes sound sense. * Sally Jane Norman, Director of the New Zealand School of Music/Te Koki - Victoria University Wellington, Aotearoa/New Zealand *There’s no sense like nonsense, and here’s a no-nonsense survey of it, from the simply silly to the profoundly pointed—a guide to the art of nonsense across cultural levels, at once scholarly and entertaining, original and enlightening. * Paul Dutton, Writer and Oral Sound Artist, Canada *Richard Elliott’s The Sound of Nonsense is an exhilarating, well-informed, and very well written book. Elliott shows an easy familiarity with sources in many languages, including Russian. His principal theoretical assertion is that nonsense occurs in the moment “when sense-making is forced into code-switching;” he also offers the suggestion that nonsense as such supports sociality. Although the book appears to be principally about popular culture, it works closely with sound poetry and with recent experimental styles in modern vocal performance, revealing how they blend with the “popular” forms. It is a work that is rewarding not only for its ideas, but for its searching analysis of individual songs and unusual word-sound combinations. A satisfying book. * Irving Massey, Emeritus Professor of English and Comparative Literature, University at Buffalo, USA *A cray and splendiferous example of how sound studies and its necessarily interdisciplinary modes of analysis will lead the way into new intellectual territory. Ranging widely from Lewis Carroll, Hugo Ball, and Gertrude Stein to John Cage, Bob Dylan, and Rahzel, The Sound of Nonsense is much more than a sonic intervention into nonsense scholarship, it is a bridge between music and literature that will open new lines of critical inquiry into the social life of words. Richard Elliott puts the ram in the rama lama ding dong. * J. Griffith Rollefson, author of Flip the Script *Table of ContentsIntroduction 1: The Sound of Nonsense 2: The Sound of the Page 3: Silly Noises 4: Pop Hearts Nonsense Conclusion Bibliography Discography Videography

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Book SynopsisFelipe Trotta is Associate Professor in the Department of Media and Cultural Studies at the Universidade Federal Fluminense, Brazil. He is a musicologist and member of the Latin-America branch of IASPM. He is the author of the books O samba e suas fronteiras [Samba and Its Borders] (2011) and No Ceará não tem disso não: nordestinidade e macheza no forró contemporâneo [There Is No Such a Thing in Ceará: Northeastness and Manhood in Contemporary Forró] (2014), and co-editor (with Martha Ulhoa and Claudia Azevedo) of Made in Brazil: Studies in Popular Music (2015).Trade ReviewIn view of the increasing facilities of its production, circulation and consumption, the mobilizing capacity of music in the contemporary world is becoming increasingly evident. Inspired by the seminal work of Tia DeNora and carrying out extensive fieldwork, Trotta carefully analyses the sensitive aspects and the production of meanings that involve the daily musical and sound experiences researched. Annoying Music Everyday Life is a fundamental work for those who seek to rethink the consequences of living in an increasingly sonorous, musical and, for many, much louder world. * Micael Herschmann, Professor, Communications Department, Federal University of Rio de Janeiro, Brazil *Annoying Music in Everyday Life is more than the engagement with 'bad' music one might expect from its title. Trotta offers a thoughtful, fascinating account of the ways in which music is bound up with nuisance, violence, social conflict and clashes of taste. The book's well-chosen examples range from 19th-century London to 21st-century Rio de Janeiro. Music's capacity to annoy is traced through lively accounts of clashes between neighbours, then explored more abstractly through rich philosophical and political reflection. A gem of a book. * Will Straw, James McGill Professor of Urban Media Studies, McGill University, Canada *Table of ContentsAcknowledgements Introduction 1. Slippery concepts: Music, sound, and noise 2. Private individuals and the music from elsewhere 3. Sharing spaces and sounds in public and private 4. Sound, music and violence 5. What music? Taste, moral and value 6. Regarding the sound of the others Epilogue References Index

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Book SynopsisRui Chaves is a sound artist, performer, and researcher. He has presented his work in several institutions and events throughout the United Kingdom, Brazil, France, Canada, Portugal, and Germany. As a researcher, he is interested in developing accounts of contemporary sound artworks produced within the Global South. Fernando Iazzetta is a Brazilian composer, performer, and Professor of Music and Technology at the University of Sao Paulo, Brazil, as well as the director of NuSomResearch Centre on Sonology. As a researcher he is interested in the investigation of experimental forms of music and sound art.Trade ReviewMaking it Heard is the result of an astounding collaboration of Brazilian sound artists and researchers that undertook a profound analysis and study of historical and contemporary practices of sound art. This volume conveys new ideas for listening and reveals new aesthetic forms due to the geopolitical and social context of Brazil's rich crossbreeding culture. * Manuel Rocha Iturbide, Composer and Sound Artist, Universidad Autonoma Metropolitana, Mexico *I am very glad that a book like this is finally available! Thanks to Rui Chaves, Fernando Iazzetta, and all others involved, we now have a very comprehensive guide to the Brazilian sound art of this century. Dealing with a dense and assorted body of contemporary works, the essays in this book shed light on paradigmatic works and artists and discuss a significant variety of issues tackled by them. I am sure that, through this book, English-speaking readers will have a great opportunity to be introduced to an indispensable part of Brazil's artistic production. * Rodolfo Caesar, Composer and Writer, Universidade Federal do Rio de Janeiro, Brazil *Making It Heard is the first book in English that critically interrogates contemporary sound arts in Brazil and, as such, offers a serious window into sound arts practices outside the dominant European and North American canon. These essays, written by a younger generation of Brazilian artists, academics, and critics are a necessary and welcome addition to international sound art practice and scholarship. * Cathy Lane, Professor of Sound Arts, University of the Arts London, UK, and Director of CRiSAP (Creative Research in Sound Arts Practice) *Table of ContentsList of Figures Foreword: The Clash between Body and Artwork (Ricardo Basbaum, Fluminense Federal University, Brazil) Acknowledgements Introduction (Rui Chaves and Fernando Iazzetta, University of São Paulo, Brazil) Part One: Abre-Alas 1. Sounds from Elsewhere: Episodes for a History of Brazilian Sound Art (Fernando Iazzetta, University of São Paulo, Brazil) 2. Making Oneself Heard in Public, through Art and in Sound-Based Scholarship (Rui Chaves, University of São Paulo, Brazil) Part Two: Bateria 3. Music Is What I Make (Vivian Caccuri, Federal University of Rio de Janeiro, Brazil) 4. Radio Art, Cassette Culture, and Networked Artistic Practices: The International Ra(u)dio Art Show (IRAS) in Recife (Yuri Bruscky, Federal University of Pernambuco, Brazil) Part Three: Barracão 5. Gambiarra’s Perspective (Giuliano Obici, Fluminense Federal University, Brazil) 6. Listening to the Debris: Brazilian Sound Art and the Low-Technology Economy (Andre Damião, University of São Paulo, Brazil) Part Four: Avenida 7. Being in the Field: Process, Narrativity, and Discovery in the Field-Recording Work of Thelmo Cristovam and Alexandre Fenerich (Paulo Dantas, Federal University of the State of Rio de Janeiro, Brazil) 8. Other Paths to Sonic Cartographies: "Mapa Sonoro CWB" and Its Untethered Soundwalks (Thaís Aragão, Federal University of Ceará, Brazil) Part Five: Batucada 9. Out of the Mainstream: Noise and Otherness in the Work of Marie Carangi, Paula Garcia, and Sofia Caesar (Lílian Campesato, University of São Paulo, Brazil) 10. Counter-Tradition: Toward the Black Vanguard of Contemporary Brazil (GG Albuquerque, Federal University of Pernambuco, Brazil) 11. Engaged Sonorities: Politics and Gender in the Work of Vanessa De Michelis (Tânia Mello Neiva, Federal University of Paraíba, Brazil) Afterword: The Audibility of Brazilian Sound Art (Ana M. Ochoa Gautier, Columbia University, USA) List of Contributors Index

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Book SynopsisThis book examines the impact place and displacement can have on the composition and interpretation of Western art music, using as its primary objects of study the work of István Anhalt (1919-2012), György Kurtág (1926-), and Sándor Veress (1907-92). Although all three composers are of Hungarian origin, their careers followed radically different paths. Whereas, Kurtág remained in Budapest for most of his career, Anhalt and Veress left: the former in 1946 and immigrated to Canada and the latter in 1948 and settled in Switzerland. All three composers have had an extraordinary impact in the cultural environments within which their work took place. In the first section, ""Place and Displacement,"" contributors examine what happens when composers and their music migrate in the culturally complex world of the late twentieth century. The past one hundred years produced record numbers of refugees, and this fact is now beginning to resonate in the study of music. As Anhalt himself forcefully asserts, however, not all composers who emigrate should be understood as exiles. The first chapters of this book explore some of the problems and questions surrounding this issue. Essays in the second section, ""Perspectives on Reception, Analysis, and Interpretation,"" look at how performing acts of interpretation on music implies bringing the time, place, and identity of the musician, the analyst, and the teacher to bear on the object of study. Like Kodály, Kurtág considers his work to be ""naturally"" embedded in Hungarian culture, but he is also a quintessentially European artist. Much of his production - he is one of the twentieth century's most prolific composers of vocal music - involves the setting of Hungarian texts, but in the late 1970s his cultural horizons expanded to include texts in Russian, German, French, English, and ancient Greek. The book explores how musicologists' divergent cultural perspectives impinge on the interpretation of this work. The final section, ""The Presence of the Past and Memory in Contemporary Music,"" examines the impact time and memory can have on notions of place and identity in music. All living art taps into the personal and collective past in one way or another. The final four chapters look at various aspects of this relationship.Table of Contents List of Examples List of Plates and Figures List of Tables Acknowledgements Introduction Friedemann Sallis First Word 1 István Anhalt: A Character Sketch John Beckwith (University of Toronto) 2 Kurtág, as I Know Him Gergely Szokolay 3 ""A Kind of Musical Autobiography"": Reading Traces in Sándor Veress's Orbis tonorum Claudio Veress Place and Displacement 4 Of the Centre, Periphery; Exile, Liberation; Home and the Self István Anhalt (Queen's University) 5 István Anhalt's Kingston Triptych Robin Elliott (University of Toronto) 6 István Anhalt's The Tents Of Abraham: Where Music Cannot Heal, Let It Be Restored William Benjamin (University of British Columbia) 7 Which Displacement? Tracing Exile in the Postwar Compositions of István Anhalt and Mátyás Seiber Florian Scheding (University of Southampton) 8 Letters to America Rachel Beckles Willson (Royal Holloway, University of London) 9 Roots and Routes: Travel and Translation in István Anhalt's Operas Gordon Smith (Queen's University) 10 Le fonds István Anhalt (MUS 164) à Bibliothéque et Archives Canada : auto-construction du compositeur et rôle du lieu dans son oeuvre Rachelle Chiasson-Taylor (Bibliothéque et archives Canada) Perspectives on Reception, Analysis, and Interpretation 11 Sewing Earth to Sky: István Anhalt and the Pedagogy of Transformation Austin Clarkson (York University) 12 György Kurtág's Játékok: A ""Voyage"" into the Child's Musical Mind Stefano Melis (Conservatorio di musica ""L. Canepa"" di Sassari) 13 Arracher la figure au figuratif: la musique vocale de György Kurtág Alvaro Oviedo (Université Paris 8, Vincennes Saint-Dénis) 14 Dirges and Ditties: György Kurtág's Latest Settings of Poetry by Anna Akhmatova Julia Galieva-Szokolay (Royal Conservatory of Music, Toronto) 15 Interpreting György Kurtág and George Crumb: Through the Looking Glass Dina Lentsner (Capital University, Columbus, Ohio) The Presence of the Past and Memory in Contemporary Music 16 György Kurtág et Walter Benjamin : considérations sur l'aura dans la musique Jean-Paul Olive (Université Paris 8, Vincennes Saint-Dénis) 17 What Presence of the Past? Artistic Autobiography in György Kurtág's Music Ulrich Mosch (Paul Sacher Foundation) 18 ""Listening to inner voices"": István Anhalt's Sonance•Resonance (Welche Töne?) Alan Gillmor (Carleton University) 19 Music Written from Memory in the Late Work of István Anhalt Friedemann Sallis (University of Calgary) Final Word 20 On Doubleness and Life in Canada: An Interview with István Anhalt The Contributors Index

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Book Synopsis"I remember when I first got to Nashville," says Tom T. Hall. "I would have like to have had a book like this. It would have saved me a lot of time finding answers to questions."To help other songwriters, Tom T. Hall has put the answers in this book. "Songwriting is as much a craft as it is a talent," he says. "In order to write songs, you have to be able to recognize what a song is. You have to recognize the importance of something that is entertaining, and you have to say what you want to say very briefly."In this down-to-earth handbook, the Storyteller teaches the secrets of becoming a successful songwriter. Among the important topics treated are: What is a song and how will I know when I have one? How can I find edeas for songs? How do I combine words with music? What is the Nashville music industry really like? Definitions of terms and expressions used in the music business The Songwriter's Handbook also includes stories of how he wrote some of his own hits, such as "I Flew Over Our House Last Night," "Ravishing Ruby," "I See," and "Old Dogs, Children, and Watermelon Wine." He analyzes the songs, showing how he uses his own rules for successful songwriting. Included in the book are words and music to many of Tom T. Hall's most successful songs along with personal photos. An earlier version of The Songwriter's Handbook was published as How I Write Songs; Why You Can

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Book SynopsisPreeminant gamelan performer and scholar Sumarsam explores the concept of hybridity in performance traditions that have developed in the context of Javanese encounters with the West. Javanese Gamelan and the West studies the meaning, forms, and traditions of the Javanese performing arts as they developed and changed through their contact with Western culture. Authored by a gamelan performer, teacher, and scholar, the book traces the adaptations in gamelan art as a result of Western colonialism in nineteenth-century Java, showing how Western musical and dramatic practices were domesticated by Javanese performers creating hybrid Javanese-Western art forms, such as with the introduction of brass bands in gendhing mares court music and West Javanese tanjidor, and Western theatrical idioms in contemporary wayang puppet plays. The book also examines the presentation of Javanese gamelan to the West, detailing performances in World's Fairs and American academia and considering its influence on Western performing arts and musical and performance studies. The end result is a comprehensive treatment of the formation of modern Javanese gamelan and a fascinating look at how an art form dramatizes changes and developments in a culture. Sumarsam is a University Professor of Music at Wesleyan University. He is the author of Gamelan: Cultural Interaction and Musical Development in Central Java (University of Chicago Press, 1995) and numerous articles in English and Indonesian. As a gamelan musician and a keenamateur dhalang (puppeteer) of Javanese wayang puppet play, he performs, conducts workshops, and lectures throughout the US, Australia, Europe, and Asia.Trade ReviewThis book offers a sweeping overview of Javanese musical and cultural interactions with the rest of the world, providing critique and reconsideration of the prevalent themes and ideas that have fascinated scholars for decades. It will be essential reading, not only for Javanists but for scholars of postcolonialism in general. -- Sarah Weiss, Associate Professor, Department of Music, Yale UniversityTable of ContentsIntroduction Performing Colonialism Performing the Nation-State Opera Diponegoro Deterritorializing and Appropriating Gamelan Cross-Cultural Perspectives on Gamelan Theory: Metaphorical Readings of Gamelan Conclusion Notes Glossary Selected Discography Bibliography

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Book SynopsisThis book is a philosophical tour through the experience of beauty: what it is, and how the composer, performer, and listener all contribute. It explores -- with insight, patience, and humor -- profound issues at the essence of our experience. A student performance of Beethoven's String Quartet No. 10 in E-Flat Major, known as the "Harp," serves as a point of departure and a recurring theme. For the layperson the core of the book is five dialogues betweenIcarus, an inquiring student intensely concerned with fulfilling his highest potential as a musician, and Daedalus, a curmudgeonly, iconoclastic teacher who guides Icarus's search. Three technical articles, geared to the music professional and academic, treat the issues in greater depth. Supplementary online audio files and musical examples. Markand Thakar, music director of the Baltimore Chamber Orchestra, is an internationally renownedpedagogue of conducting. A protégé of the legendary Sergiu Celibidache and former assistant conductor of the New York Philharmonic, Thakar is author of On the Principles and Practice of Conducting (University of RochesterPress, 2016) and Counterpoint: Fundamentals of Music Making (Yale University Press, 1990).Trade ReviewThakar's ideas are valuable, his exposition of them is clear, and the book is supported by materials on his website, including sound files. . . . Would be useful as the main text in an upper-level or graduate seminar, or as a component of a survey of analytical techniques or aesthetics. The consideration of what constitutes musical objects and the transcendent experience of beauty would be of great value to students. The dialogue format provides a model for a healthy mentor/protégé relationship, and, at a time when the outlook frequently seems very dark, Thakar paints a hopeful picture for the future of art music. * MUSIC THEORY ONLINE Full review at: http://www.mtosmt.org/issues/mto.15.21.4/mto.15.21.4.turner.html *A journey to discover where beauty lives in music. . . . It is rare for schooling to be this blissful. --Composer and radio host Kile Smith. See his full posting at http://www.kilesmith.com/2011/04/20/looking-for-the-harp-quartet * . *A thoughtful inquiry into the nature of beauty and the aesthetic experience. . . . Will serve not only those interested in exploring the 'transcendent' aesthetic experience, but also those who labor to embody their art through performance. * CHOICE *A 225-page tour de force. . . . An exercise in academic excellence and a seminal contribution for personal, professional, and academic Classical Music Studies reference collections and supplemental readings lists. * MIDWEST BOOK REVIEW *Markand Thakar's playful Socratic-like dialogue acts out a kind of performer's odyssey toward the ideal performance, toward making one particular strand of Western classical music all that it can be. * SCOTT BURNHAM, PRINCETON UNIVERSITY *Immensely stimulating and rewarding . . . buy a copy and read it twice, not necessarily in rapid succession, and keep it around for the time you may want to reach for it again. * BERKSHIRE REVIEW *Table of ContentsPreface Acknowledgments Note about Online Supporting Material Looking for the "Harp" Quartet Renoir and the Survival of Classical Music: On the Listener's Contribution Let's Be Mookie: On the Composer's Contribution Gurus: On the Performer's Contribution First, Last, and Always Remembrance of Things Future: On the Listener's Contribution Patterns of Energy: On the Composer's Contribution Dynamic Analysis: On the Performer's Contribution Appendix: Forms Notes Bibliography Index

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Book SynopsisQueen Ida. Danny Poullard. Documentary filmmaker Les Blank. Chris Strachwitz and Arhoolie Records. These are names that are familiar to many fans of Cajun music and zydeco, and they have one other thing in common--longtime residence in the San Francisco Bay Area. They are all part of a vibrant scene of dancing and live Louisiana-French music that has evolved over several decades. Cajun and Zydeco Dance Music in Northern California traces how this region of California has been able to develop and sustain dances several times a week with more than a dozen bands. Description of this active regional scene opens into a discussion of several historical trends that have affected life and music in Louisiana and the nation. The book portrays the diversity of people who have come together to adopt Cajun and Creole dance music as a way to cope with a globalized, media-saturated world. Ethnomusicologist Mark F. DeWitt innovatively weaves together interviews with musicians and dancers (some from Louisiana, some not), analysis of popular media, participant observation as a musician and dancer, and historical perspectives from wartime black migration patterns, the civil rights movement, American folk and blues revivals, California counterculture, and the rise of cultural tourism in ""Cajun Country."" In so doing, he reveals the multifaceted appeal of celebrating life on the dance floor, Louisiana-French style.

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