Theory of music and musicology Books

Book SynopsisFocuses on the genius of Elliott Smith's 1998 debut that remains his defining album, XO. This book provides a take on this widely beloved album, steering clear of the sensationalist suicide angles that have dogged most analysis of Smith's extraordinary work.Trade Review"It was only a matter of time before a clever publisher realized that there is an audience for whom Exile on Main Street or Electric Ladyland are as significant and worthy of study as The Catcher in the Rye or Middlemarch... freewheeling and eclectic, ranging from minute rock-geek analysis to idiosyncratic personal celebration - The New York Times Book Review Ideal for the rock geek who thinks liner notes just aren't enough - Rolling Stone A brilliant series...each one a word of real love - NME Religious tracts for the nock 'n' roll faithful - Uncut"Table of ContentsAcknowledgements Preface Part One: "Making Something From Nothing" - The "Story" of XO - XO Song by Song Part 2: "Pictures of Me" Sources

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Book SynopsisDespite Warner Brothers Records' conviction that it had mid-wifed the American equivalent of Sgt Pepper's Lonely Hearts Club Band, "Song Cycle" wasn't rock music, and it didn't sell like rock music. This title offers an intelligent take on a classic left-field album.Trade Review"Ideal for the rock geek who thinks liner notes just aren't enough--Rolling Stone One of the coolest publishing imprints on the planet--Bookslut A brilliant series...each one a word of real love - NME"Table of ContentsIntroduction 1. I Came Unto West Hollywood 2. Dreams Are Stillborn in Hollywood 3. Let's Assume That We Form a Company 4. Song Cycle 5. Enveloped 6. To Market To Buy 7. Constant Commentary By the Wayside 8. What Is Up the Canyon Will Eventually Come Down 9. Time Is Not the Main Thought 10. That Brought Us Coots to Hoot Bibliography

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Book SynopsisOne of the finest hip-hop albums ever made, A Tribe Called Quest's debut record took the idea of the boasting hip-hop male and turned it on its head. This book explores the album's creation as well as the impact it had on the author at that time - a 17-year-old high-school geek who was into hip-hop, punk, skateboarding, and Dungeons & Dragons.

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Book SynopsisThis book offers a new practical blueprint for teachers wanting to teach music technology to secondary age students. Authors and veteran music educators Will Kuhn and Ethan Hein give readers all the practical tools they need to open their own electronic music programs.Trade ReviewFeaturing a creative workshop model that goes beyond our traditional music education pedagogy and curriculum, Kuhn & Ethan Hein shape new trends for music teachers to support their own students as successful electronic music makers in multiple settings. Whether learning in PK-12 settings, in school, at home or in the community, Electronic Music School is a must read guide for all worldwide. * Elise Sobol, Director of Music Education, NYU Steinhardt Department of Music and Performing Arts Professions *In today's world, the presence of technology in teaching there has never been more essential tool for connecting, creating, and capturing student work. The integration of technology into the music classroom is no longer a fringe endeavor by a small group of tech geeks - the coming of age of technology in the music classroom has arrived. What Kuhn & Hein have put together in this publication is magnificent - an essential guide to not only how to build a technology-rich learning environment for music - what they call an Electronic Music School - but a well-crafted guide to how to teach in this new environment, why this type of learning is relevant, and practical strategies for continuing to engage students for years to come. Any music educator interested in incorporating more music technology into their instruction should add this book to their professional library immediately. * Jim Frankel, Director, MusicFirst *Table of ContentsPreface: The Music Class at the End of the World Acknowledgements To the Reader Part One: What You Need to Start Your Own Electronic Music School 1. Towards a Creative Music Curriculum 2. An Art Class for Music 3. Understanding What a School Really Wants 4. Tech You'll Need For Your Program 5. Ableton Live And Push Part Two: Creative Electronic Music Projects for the Masses 6. Designing Creative Music Projects for All Types of Students 7. Teaching Recording and Sampling with Audio Projects 8. Teaching Songwriting with MIDI Projects 9. Teaching Creativity with Outside-the-Box Projects 10. Common Issues For Students In Music Lab Lessons 11. Assessing Music Lab Projects 12. Futureproofing, Extending and Moving Beyond Music Lab Projects Part Three: Community Music Culture and Extracurriculars 13. Live Performing and Afterschool Groups 14. Understanding Student Led Groups 15. Virtual Electronic Music School 16. A Rising Tide Index

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

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

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

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Book SynopsisDiscovering Music Theory is a suite of workbooks and corresponding answer books that offers all-round preparation for the updated ABRSM Music Theory exams from 2020, including the new online papers. This full-colour workbook will equip students of all ages with the skills, knowledge and understanding required for the ABRSM Grade 1 Music Theory exam. Written to make theory engaging and relevant to developing musicians of all ages, it offers: - straightforward explanations of all new concepts - progressive exercises to build skills and understanding, step by step - challenge questions to extend learning and develop music-writing skills - helpful tips for how to approach specific exercises - ideas for linking theory to music listening, performing and instrumental/singing lessons - clear signposting and progress reviews throughout - a sample practice exam paper showing you what to expect in the new style of exams from 2020 As well as fully supporting the ABRSM theory syllabus, Discovering Music Theory provides an excellent resource for anyone wishing to develop their music literacy skills, including GCSE and A-Level candidates, and adult learners.

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Book SynopsisDiscovering Music Theory is a suite of workbooks and corresponding answer books that offers all-round preparation for the updated ABRSM Music Theory exams from 2020, including the new online papers. This full-colour workbook will equip students of all ages with the skills, knowledge and understanding required for the ABRSM Grade 3 Music Theory exam. Written to make theory engaging and relevant to developing musicians of all ages, it offers: - straightforward explanations of all new concepts - progressive exercises to build skills and understanding, step by step - challenge questions to extend learning and develop music-writing skills - helpful tips for how to approach specific exercises - ideas for linking theory to music listening, performing and instrumental/singing lessons - clear signposting and progress reviews throughout - a sample practice exam paper showing you what to expect in the new style of exams from 2020 As well as fully supporting the ABRSM theory syllabus, Discovering Music Theory provides an excellent resource for anyone wishing to develop their music literacy skills, including GCSE and A-Level candidates, and adult learners.

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

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

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

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Book SynopsisIt is widely acknowledged that music is of great value for people with learning difficulties. It can be used as a catalyst to help those with special needs acquire and improve basic skills and thereby to communicate better. With clear aims and easy-to-follow instructions, Pied Piper describes 78 enjoyable music activities for groups of children or adults who may have learning difficulties. The emphasis is on using music, rather than learning songs or rhythms, so group members do not need any special skills to be able to participate. Full details are given about any equipment required for the games, as well as suggestions for variations or modifications.The authors are experienced music therapists and have used these activities on numerous occasions. Designed to encourage people to develop their own ideas and musical activities, this collection will be a source of inspiration and practical advice for anyone working with people with a range of special needs including carers and group leaders.Table of ContentsIntroduction. Instruments used in the activities. Acknowledgements. Part one: Activities to develop listening and concentration. 1. Hands up! 2. Find the leader! 3. Where are the bells? 4. Time bomb. 5. Peace-lovers and warriors. 6. Quiet and loud. 7. Back to back. 8. Contrary motion. 9. Bells and tambourines. 10. Musical lines. 11. Sound effects. 12. Motor-biking. 13. Pied piper. 14. Which way? 15. Listen, dance and paint! 16. Listen and remember! 17. Hunt the sweet! 18. Catch a rhythm! 19. Big Ben. 20. Mystery notes. 21. Ding or dong. Part two: Activities to develop a sense of self and awareness of others. 22. Hello. 23. Pop! goes the instrument. 24. Listen and choose! 25. Solo time. 26. Twirling tambourine. 27. Moving mouse. 28. Where shall I play? 29. Scarecrow. 30. Growing flowers. 31. Name game. 32. Circle the drum! 33. Conductor. 34. Clap and tap! 35. Come and get it! 36. Make up your dance! 37. Guess who! 38. The empty chair. Part three: Activities to develop social skills. 39. Swaying hoops. 40. Make me dance! 41. Sending messages. 42. Humpty's downfall. 43. Kings and queens of the bells. 44. All change! 45. Farewell symphony. 46. Dance and change! 47. Roll or throw! 48. What now? 49. Hat dance. 50. Where are you? 51. Watch the cymbal! 52. Heavy or sticky. 53. Listen and walk! 54. I like... 55. Hoop group. 56. Catch my eye! 57. Tap-a-back. 58. Red-handed. 59. Please interrupt! Part four: Activities to develop motor control. 60. Up and down. 61. Clap and sway! 62. Shake it off! 63. Flying saucer. 64. Sleeping music. 65. Musical feet. 66. Sleeping tambourine. 67. Musical hoops. 68. Train journey. 69. Listen and run! 70. Roll to say hello! 71. Copy my dance! 72. Concerto. 73. Breaking the sound barrier. 74. Over the rainbow. 75. Lead the leader! 76. Moving chairs. 77. Mirror image. 78. Dance with a glued foot! Index to aims. Cross-reference table.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Book Synopsis

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Book Synopsis

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Book Synopsis

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