Theory of music and musicology Books

Book SynopsisThe first publication and exploration of a pathbreaking treatise on what would become a crucial element in the music of Stravinsky and Ravel: the octatonic scale. In 1879, French amateur composer Edmond de Polignac (1834-1901) painstakingly devised a new way to create melodies and harmonies using a scale that alternated half and whole steps. This scale -- known today as octatonic -- was animportant element in the music of Liszt and Rimsky-Korsakov, and would later figure prominently in the works of Ravel, Stravinsky, and many others. Sylvia Kahan, author of Music's Modern Muse: A Life of Winnaretta Singer, Princesse de Polignac, here publishes the Prince's octatonic treatise for the first time -- in both the original French and in English translation -- and comments extensively on what the treatise, and the Prince's little-known compositions, reveal about musical thought in late nineteenth-century Paris. Given his aristocratic lineage, Polignac might seem an unlikely precursor of musical modernism, yet he was known as an advocate of "advanced ideas." Late in life, he married wealthy heiress Winnaretta Singer, who sponsored prestigious public concerts of her husband's bold works, interpreted by the greatest musical artists in Paris. Debussy and Fauré were admirers of Polignac's music, especially the 1879 octatonic oratorio Pilate livre le Christ (Pontius Pilate Hands Christ Over). Marcel Proust lauded his compositions and the "essence of genius of their author." In Search of New Scales is based on bibliographic material in private archives, as well as letters and other documents in the Bibliothèque Nationale de France. Sylvia Kahan's new book will become a permanent point of reference for all future studies of post-Romantic and twentieth-century composition. Sylvia Kahan is Professor of Music at the Graduate Center and College of Staten Island, City University of New York. Her previous book, Music's Modern Muse, was published by the University of Rochester Press in hardcover and paperback.Trade ReviewKahan's musical analysis, and her publication and translation of Polignac's treatise alone are sufficient to position this volume as an important addition to octatonic scholarship. * MUSIC AND LETTERS *A fascinating, well-researched book--the product of an imaginative research project, . . . supplying a previously 'missing link' within the nineteenth-century history and theory of octatonicism. -- Deborah Mawer * JOURNAL OF MUSIC THEORY *One can only admire the mammoth research that S. Kahan has carried out regarding [Polignac's] life. . . . Polignac surveys the possibilities of a new musical language more deeply than did his contemporaries. . . . I should emphasize how excellent the translation is of Polignac's treatise. . . . The numerous musical examples have been set with great skill. -- René Champigny * REVUE DE MUSICOLOGIE *Fulsome indexes [in this book and Kahan's 'Music's Modern Muse'] make them easy to dip in and out of. . . . Real digestible coffee table books. -- Anthony Gritten * TEMPO *A compelling amalgam of biography, history, music theory, and cultural studies -- -- Joseph N. Straus, author of Stravinsky's Late Music and Remaking the Past: Musical Modernism and the Influence of the Tonal TraditionKahan's elegant transcription and translation of Polignac's octatonic treatise brings to light a new document that will prove important not only for the history of music theory but also for a richer understanding of the story of musical modernism in fin-de-siècle Paris. -- -- Jonathan Cross, Professor of Musicology, University of OxfordTells a history-altering story . . . Kahan's presentation and commentary are superior to those of Polignac's own. . . . The [musico-]theoretical equivalent of a page-turner. . . . Will force scholars to rethink the current understanding of the octatonic and its dissemination in France. -- Mark McFarland * MUSIC LIBRARY ASSOCIATION NOTES *Historical musicology at its best. . . . Deftly situates Polignac's work in both chronological and intellectual history. [Kahan] reads Polignac's text closely and provides expert editorial clarity to bring to life a document of great historical significance. In doing so, she pushes the theoretical explication of the octatonic scale from 1963 back to 1888. -- Benjamin Ayotte * NINETEENTH-CENTURY MUSIC REVIEW *Table of ContentsIntroduction: Edmond de Polignac and the Discovery of Octatonicism Ch. 1: Childhood and Education (1834-1859) Ch. 2: A Young Composer (1859-1877) Ch. 3: Scales A, B, C: Polignac's Invention of Octatonicism (1877-1879) Ch. 4: "Nothing of the Usual Tonality" (1880-1888) Ch. 5: The Unexpected Woman (1889-1894) Ch. 6: Alexandre de Bertha and the Guerre des gammes (1894-1896) Ch. 7: Years of Plenty (1894-1899) Ch. 8: Endings and Echoes (1900-) Ch. 9: Edmond de Polignac's Octatonic Music Afterword Preface to Polignac's Octatonic Treatise Polignac's Octatonic Treatise, "A Study on the Alternating Sequences of Whole Steps and Half Steps, (and on the Scale Known as Major-Minor)" Edmond de Polignac, "Etude sur les successions alternantes de tons et demi-tons (Et sur la gamme dite majeure-mineure)"

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Book SynopsisOffers readers new ways of conceptualizing music and new insights into music created in Russia. Since its original publication in 1983, Russian Theoretical Thought in Music has become the standard English-language source of information about music theory as it developed in Russia. Because of the distance of culture and language, music theory developed there largely independent of the traditions of Western Europe. Over the decades of Soviet rule, those traditions flourished and were refined even further into a fascinating world of ideas. Exploring this world offers the reader new ways of conceptualizing music and new insights into music created in Russia. This compelling volume includes Ellon Carpenter's overview of the development of music theory in Russia, followed by a look into the ideas of six particularly important theorists. Nicolas Schidlovsky examines the theoretical underpinnings of Russian Orthodox chant; Gordon McQuere probes the remarkable ideas of Boleslav Yavorsky and the seminal contribution of Boris Asafiev; and Roy Guenther explores the analytical system of Varvara Dernova. Contributors: Ellon D. Carpenter, Allen Forte, Roy G. Guenther, Gordon D. McQuere, and Nicolas Schidlovsky. Gordon McQuere is Professor of Music and Dean of the College of Arts and Sciences at Washburn University.Table of ContentsIntroduction - Allen Forte Russian Music Theory: A Conspectus - Ellon D. Carpenter Sources of Russian Chant Theory - Nicolas Schidlovsky The Theories of Boleslav Yavorsky - Gordon D. McQuere Varvara Dernova's System of Analysis of the Music of Skryabin - Roy J. Guenther Boris Asafiev and Musical Form as a Process - Gordon D. McQuere The Contributions of Taneev, Catoire, Conus, Garbuzov, Mazel, and Tiulin - Ellon D. Carpenter

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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 SynopsisDrawing on extensive fieldwork, explores the contemporary pop music scene in this little understood Southeast Asian country. Burma's Pop Music Industry is the first book to explore the contemporary pop music industry in a country that is little known or understood in the West. Based on years of fieldwork in Burma/Myanmar, Heather MacLachlan's work explores the ways in which aspiring musical artists are forging a place within the highly repressive social and political context that is Burma today. It deals sensitively with issues such as negotiating local and global styles,performance contexts and practices, and, more importantly, with ethical issues such as the anonymity of informants and the place of Western ethnomusicologists in countries outside the West. Drawn from interviews conducted from 2007 through 2009 with Burmese composers, performers, producers, concert promoters, journalists, recording engineers, radio station employees, music teachers, and censors in Yangon -- Burma's largest city and the locus of all pop music production -- Burma's Pop Music Industry represents a significant contribution both to popular music studies and to Southeast Asian studies. Heather MacLachlan is Assistant Professor of Music, University of Dayton.Trade ReviewA major contribution on a number of fronts. . . drawing on thorough ethnographic work. . . Should figure in the research and teaching of popular music and culture in Asia. * JOURNAL OF ASIAN STUDIES *Burma's Pop Music Industry is significant. . . MacLachlan's analysis is perfectly situated. * JOURNAL OF POPULAR MUSIC STUDIES *Table of ContentsIntroduction The Creators of Burmese Pop Music The Sound of Burmese Pop Songs Learning Music in Burma Today Six Facets of the Burmese Pop Music Industry Musicians and the Censors: The Negotiation of Power Conclusion: The Significance of the Burmese Perspective Notes Bibliography Index

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Book SynopsisPresents current analytic views by established scholars of the traditional tonal repertoire, with essays on works by Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms. Bach to Brahms presents current analytic views on the traditional tonal repertoire, with essays on works by Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms. The fifteen essays, written by well-established scholars of this repertoire, are divided into three groups, two of which focus primarily on elements of musical design (formal, metric, and tonal organization) and voice leading at multiple levels of structure. The third groupof essays focuses on musical motives from different perspectives. The result is a volume of integrated studies on the music of the common-practice period, a body of music that remains at the core of modern concert and classroom repertoire. Contributors: Eytan Agmon, David Beach, Charles Burkhart, L. Poundie Burstein, Yosef Goldenberg, Timothy L. Jackson, William Kinderman, Joel Lester, Boyd Pomeroy, John Rink, Frank Samarotto, Lauri Suurpää, Naphtali Wagner, Eric Wen, Channan Willner. David Beach is professor emeritus and former dean of the Faculty of Music, University of Toronto. Yosef Goldenberg teaches at the Hebrew University of Jerusalem and at the Jerusalem Academy of Music and Dance, where he also serves as head librarian.Trade ReviewWINNER of the 2016 Outstanding Multi-Author Publication Award * SOCIETY OF MUSIC THEORY *Table of ContentsIntroduction Strolling through a Haydn Divertimento with Two Heinrichs Ritornelli or Soli: Which Did Mozart Write First in the Opening Movement of His Violin Concerto K. 207? Outer Form, Inner Form, and Other Musical Narratives in Beethoven's Opus 14, No. 2 Temporal Poise and Oblique Dynamic in the First Movement of Beethoven's "Archduke" Trio Chopin as an Interpreter of Mozart: The Variations Opus 2 and Don Giovanni The First Movement of Brahms's Fourth Symphony Revisited: A Study of the Fanfare and the "Cloud of Mystery" "Capricious Play": Veiled Cyclic Relations in Brahms's Ballades Op. 10 and Fantasies Op. 116 Chopin's Study in Syncopation A Sharp Practice, A Natural Alternative: The Transition into the Recapitulation in the First Movement of Beethoven's "Hammerklavier" Sonata Ernst Oster's Vision of Hidden Repetitions and Motivic Enlargements in J. S. Bach's Short Keyboard Works The "Pseudo-Einsatz" in Two Handel Fugues: Heinrich Schenker's Analytical Work with Reinhard Oppel Formal Fusion and Its Effect on Voice-Leading Structure: The First Movement of Beethoven's Opus 132 Revisited Indistinct Formal Functions and Conflicting Temporal Processes in the Second Movement of Brahms's Third Symphony The Interaction of Structure and Design in the Opening Movements of Schubert's Piano Trios in B-flat Major (D. 898) and E-flat Major (D. 929) The Suspenseful Structure of Brahms's C-Major Capriccio, Op. 76, No. 8: A Schenkerian Hearing List of Contributors Index

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Book SynopsisThe first systematic study to address the character and scope of American popular music in India during British rule. American Popular Music in Britain's Raj is the first systematic study of the character and scope of American popular music in India during British rule. Drawing on ethnographic and archival research, it examines blackface minstrel shows, ragtime, jazz, and representations of Hollywood film music in Bombay cabarets and Hindi film songs, identifying key musical moments in the development of these styles between the mid-nineteenth and mid-twentieth centuries. The book describes the entertainment idioms and frameworks that supported the growth of these imported styles; further, it surveys a variety of historical contexts under colonialism that influenced their meaning and commercial value. Focusing on Calcutta (modern Kolkata), Lucknow, and Bombay (modern Mumbai), Bradley Shope traces the movement of this music between the United States, England, and India, and addresses a variety of groups and communities, including the US military in Calcutta during World War II, Anglo-Indians in Lucknow in the 1930s and 1940s, and British residents across North India in the nineteenth and twentieth centuries. Bradley G. Shope is assistant professor of music at Texas A&M University-Corpus Christi.Table of ContentsList of Figures Acknowledgments Introduction Entertainment Globalization, 1850s to 1910s Technologies, Exoticism, and Entrepreneurs, 1920s and 1930s Calcutta in the War The Case of Lucknow Cabaret Sequences in Hindi Films Afterword Notes Bibliography Filmography and Discography Index

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Book SynopsisDisplays the range and diversity of Schenkerian studies today in fifteen essays covering music from Bach through Debussy and Strauss. Explorations in Schenkerian Analysis is a collection of fifteen essays dedicated to the memory of Edward Laufer, an influential advocate of Schenker's method. The chapters are presented in chronological order by composer, opening with Charles Burkhart's contribution, which is presented as a letter to Edward Laufer (written before his death), and ending with excerpts from Stephen Slottow's 2003 interview with Laufer (in an appendix). Whilethe unifying focus is Schenkerian analysis, there is considerable variety in the approaches taken by the contributors. There is also variety in the composers represented, ranging from Bach to Debussy and Strauss. The volume thusdisplays the scope and diversity of Schenkerian studies today. CONTRIBUTORS: Mark Anson-Cartwright, David Beach, Matthew Brown, Charles Burkhart, L. Poundie Burstein, Timothy L. Jackson, Roger Kamien, Leslie Kinton, SuYin Mak, Ryan McClelland, Don McLean, Boyd Pomeroy, William Rothstein, Frank Samarotto, Stephen Slottow, Lauri Suurpää David Beach is professor emeritus and former dean of the Faculty of Music, University of Toronto. SuYin Mak is associate professor of music at the Chinese University of Hong Kong.Trade Review[E]xpands the literature on Schenker studies in important and fascinating ways. It belongs on the bookshelf of any Schenkerian but would also be a wonderful resource for intermediate and advanced classes in Schenkerian analysis. * NOTES: JOURNAL OF THE MUSIC LIBRARY ASSOCIATION *The analyses in the book are of a high quality [and treat] form and structure, the role of motif (a trademark of Laufer), and the relationship between voice-leading structure and musical meaning. Just as aspects of form and design can influence voice-leading structures, Schenkerian studies such as these have much to contribute to form studies. A welcome contribution to the Schenkerian analytical corpus. * MUSIC & LETTERS *Table of ContentsPreface A Letter about the C-Major Fugue from The Well-Tempered Clavier, Book 1 - Charles Burkhart The Opening Tonal Complex of Bach's St. Matthew Passion: A Linear View - Mark Anson-Cartwright Recurrence and Fantasy in C. P. E. Bach's Rondo in G Major - Frank Samarotto Voice-Leading Procedures in Galant Expositions - L. Poundie Burstein The First Movements of Anton Eberl's Symphonies in E-flat Major and D Minor, and Beethoven's Eroica: Toward "New" Sonata Forms? - Timothy Jackson Schubert's "Unfinished" Symphony: Analytical Observations - David W. Beach Structural and Form-Functional Ambiguities in the First Movement of Schubert's Octet in F Major, D. 803 - Su Yin Mak The Form of Chopin's Prelude in B-flat Major, Op. 28, No. 21 - Roger Kamien "All That Is Solid Melts into Air": Schumann's Overture to Manfred - William Rothstein Endings without Resolution: The Slow Movement and Finale of Schumann's Second Symphony - Lauri Suurpää Half-Diminished-Seventh Openings in Brahms's Lieder - Ryan McClelland Motivic Enlargement in Dvorák's Symphony Op. 70 - Leslie Kinton Deliverance and Compositional Design in the "Libera me" of Verdi's Messa da Requiem - Donald R. McLean Polyphony and Cacophony? A Schenkerian Reading of Strauss's "Dance of the Seven Veils" - Matthew Brown A Force of Nature: Debussy and the Chromatically Displaced Dominant - Boyd Pomeroy Appendix: An Interview with Edward Laufer - Stephen Slottow

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Book SynopsisShowcases the energy and diversity of the young field of music semiology, appealing to readers who want to explore the meaning of music in our lives. The Dawn of Music Semiology showcases the work of nine leading musicologists, inspired by the work of Jean-Jacques Nattiez, the founding father of music semiology. Now entering its fifth decade as Nattiez enters his eighth,music semiology, or music semiotics, is still a young, vibrant field, and this book reflects its energy and diversity. It appeals to readers wanting to explore the meaning of music in our lives and to understand the ways of appreciating the complexities that lie behind its simple beauty and direct impact on us. Following a preface by Pierre Boulez and an introduction by the editors, nine chapters discuss the latest thinking about general considerations such as music and gesture, the psychology of music, and the role of ethnotheory. The volume offers new research on topics as diverse as modeling folk polyphony, spatialization in the Darmstadt repertoire, Schenker's theory of musical content, compositional modernism from Wagner to Boulez, current music theory terminology, and Maderna's use of folk music in serial composition. CONTRIBUTORS: Kofi Agawu, Simha Arom, Rossana Dalmonte, Irène Deliège, Jonathan Dunsby, Jonathan Goldman, Nicolas Meeùs, Jean Molino, Arnold Whittall Jonathan Dunsby is Professor of Music Theory at the Eastman School of Music, University of Rochester. Jonathan Goldman is Professor of Musicology at the University of Montreal.Trade ReviewOver the past forty years, [Nattiez] has been one of the leading figures in musicology. The nine essays gathered in this volume are signed by eminent individuals whose renown in the academic world is at times comparable to that of Nattiez himself. The texts are preceded by a posthumous foreword by Pierre Boulez. The various chapters maintain a high level of quality that fully matches the reputation of their authors. * REVUE DE MUSICOLOGIE *An ambitious and valuable set of contributions.Agawu's 'Against Ethnotheory' offers a compelling and eloquent critique of the will to difference upon which he claims ethnotheory is founded. Jonathan Goldman's [chapter] stands out through its eloquent prose, clarity of purpose, and thorough grounding. Irène Deliège's empirical study of segmentation and perception of musical form by musicians and nonmusicians is to be applauded for bringing together traditionally separated disciplines with much potential for mutual enrichment...[As the book's title suggests,] perhaps we have turned around to behold not the sunrise itself but the vast landscape that it illuminates. * CANADIAN ASSOCIATION OF MUSIC LIBRARIES REVIEW. *The Dawn of Semiology was a finalist for the Opus book prize (Canada). * . *[T]his book is a welcome and substantial contribution to semiological and semiology-inspired research, and a fitting veneration of its honoree's life's work (so far). * CANADIAN ASSOCIATION OF MUSIC LIBRARIES REVIEW *Table of ContentsForeword: About Jean-Jacques Nattiez - Pierre Boulez Acknowledgments Introduction - Jonathan Dunsby and Jonathan Goldman Music and Gesture - Jean Molino Music Semiology in the Mind of the Musician - Jonathan Dunsby Against Ethnotheory - Kofi Agawu From Georgian to Medieval Polyphonies: Analysis and Modeling - Simha Arom Schenker's Inhalt, Schenkerian Semiotics: A Preliminary Study - Nicolas Meeùs Music under the Sign of Modernism: From Wagner to Boulez, and Britten - Arnold Whittall Musical Borrowings in the Works of Bruno Maderna - Rossana Dalmonte Of Doubles, Groups, and Rhymes: A Seriation of Works for Spatialized Orchestral Groups (1958-60) - Jonathan Goldman The Psychological Organization of Music Listening: From Spontaneous to Learned Perceptive Processes - Irène Deliège Selected Bibliography of Works by Jean-Jacques Nattiez List of Contributors Index Tabula Gratulatoria

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Book SynopsisInvestigates the significance of a range of digital technologies in contemporary Indigenous musical performance, exploring interdisciplinary issues of music production, representation, and transmission. The essays in this volume offer rich and diverse perspectives on the encounter between Indigenous music and digital technologies. They explore how digital media -- whether on CD, VCD, the Internet, mobile technology, or in the studio -- have transformed and become part of the fabric of Indigenous cultural expression across the globe. Communication technologies have long been tools for nation building and imperial expansion, but these studies reveal how over recent decades digital media have become a creative and political resource for Indigenous peoples, often nurturing cultural revival, assisting activism, and complicating earlier hegemonic power structures. Bringing together thework of scholars and musicians across five continents, the volume addresses timely issues of transnationalism and sovereignty, production and consumption, archives and transmission, subjectivity and ownership, and virtuality and the posthuman. Music, Indigeneity, Digital Media is essential reading for scholars working on topics in ethnomusicology, Indigeneity, and media studies while also offering useful resources for Indigenous musicians and activists. The volume provides new perspectives on Indigenous music, refreshes and extends debates about digital culture, and points to how digital media shape what it means to be Indigenous in the twenty-first century. Contributors: Linda Barwick, Beverley Diamond, Thomas R. Hilder, Fiorella Montero-Diaz, John-Carlos Perea, Henry Stobart, Shzr Ee Tan, Russell Wallace Thomas R. Hilder is postdoctoral fellow in musicology at the University of Bergen. Henry Stobart is reader in music at Royal Holloway, University of London. Shzr Ee Tan is senior lecturer at Royal Holloway, University of London.Trade Review[A]n important new source for ethnomusicologists, media studies scholars, and any scholars and practitioners working in Indigenous studies. It is a richly documented volume, with a range of significant sources in the chapter endnotes lists, as well as in a helpful selected bibliography at the end of the volume. . . . I strongly recommend this book. Collectively and individually, the authors articulate important new perspectives within which to view how music, Indigeneity and digital media interact, thereby inspiring scholars of multiple disciplines and interests to discover new pathways of understanding around Indigenous ways of knowing. -- Gordon E. Smith * CANADIAN ASSOCIATION OF MUSIC LIBRARIES *Table of ContentsMusic, Indigeneity, Digital Media: An Introduction Taiwan's Aboriginal Music on the Internet Recording Technology, Traditioning, and Urban American Indian Powwow Performance YouTubing the "Other": Lima's Upper Classes and Andean Imaginaries An Interview with Russell Wallace Mixing It Up: A Comparative Approach to Sámi Audio Production Creative Pragmatism: Competency and Aesthetics in Bolivian Indigenous Music Video (VCD) Production Keepsakes and Surrogates: Hijacking Music Technology at Wadeye (Northwest Australia) The Politics of Virtuality: Sámi Cultural Simulation through Digital Musical Media Selected Bibliography List of Contributors Index

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Book SynopsisA new theory of musical analysis from an award-winning author, with six detailed analyses of works from Beethoven to today. This book introduces a theory of music analysis that one can use to explore aspects of segmentation and associative organization in a wide range of repertoire including Western classical music from the Baroque to the present, withpotential applications to jazz and popular music, and some non-Western musics. Rather than a methodology, the theory provides analysts with precise language and a broad, flexible conceptual framework through which they can formulate and investigate questions of interest and develop their own interpretations of individual pieces and passages. The theory begins with a basic distinction among three domains of musical experience and discourse about it: the sonic (psychoacoustic); the contextual (or associative, sparked by varying degrees of repetition); and the structural (guided by a specific theory of musical structure or syntax invoked by the analyst). A comprehensive presentationof the theory, with copious musical illustrations, is balanced with close analyses of works by Beethoven, Debussy, Nancarrow, Riley, Feldman, and Morris. Dora A. Hanninen is professor of music theory at the Universityof Maryland. She received the 2010 Outstanding Publication Award from the Society for Music Theory.Trade ReviewThe tremendous range of application shows without a doubt that this book achieves its goal of opening new lines of inquiry for individual pieces, repertoires, and issues in contemporary music theory. * JOURNAL OF MUSIC THEORY *The book addresses music theorists, analysts, and musicologists. Could serve as a main reference item in analysis courses. Encompasses a wide range of Western music traditions from the baroque onward. This feature is one among its several qualities of methodological flexibility. Exquisite presentation. Indispensable to the analyst in search of advancing or developing theoretical frameworks. -- Dimitris Exarchos * MUSIC LIBRARY ASSOCIATION NOTES *Rarely does a book come along that is both brilliant and unlike anything else in our field. Rather than offering another new methodology, A Theory of Music Analysis constructs a general framework on which we can locate (and better understand) most of the analytical utterances we make. Replete with diverse and sensitive musical analyses, this is an important work for anyone who engages in music-theoretical pursuits. -- Michael Buchler, Florida State University College of MusicTable of ContentsA Theory of Music Analysis Orientations, Criteria, Segments Associative Sets and Associative Organization Beethoven, Piano Sonata No. 2 in A Major, Op. 2, No. 2, I Debussy, "Harmonie du soir," Cinq poèmes de Baudelaire, No. 2 Nancarrow, Study No. 37: Calibrated Canons, Changeable Landscapes Riley, In C: Configurations and Landscape Studies of Select Plots Feldman, Palais de Mari: Pattern and Design in a Changing Landscape Morris, Nine Piano Pieces: Between Moment and Memory-Reflectionson and among the Nine Further Considerations and Extended Applications Notes Glossary Bibliography Index

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Book SynopsisExamines how the Kawuugulu Clan-Royal Musical Ensemble uses musical performance and storytelling to manage, structure, model, and legitimize power relations among the Baganda people of south-central Uganda. Tuning the Kingdom draws on oral and written accounts, archival research, and musical analysis to examine how the Kawuugulu Clan-Royal Musical Ensemble of the Kingdom of Buganda (arguably the kingdom's oldest and longest-surviving performance ensemble) has historically managed, structured, modeled, and legitimized power relations among the Baganda people of south-central Uganda. Damascus Kafumbe argues that the ensemble sustains a complex sociopolitical hierarchy, interweaving and maintaining a delicate balance between kin and clan ties and royal prerogatives through musical performance and storytelling that integrates human and nonhuman stories. He describes this phenomenonas "tuning the kingdom," and he compares it to the process of tensioning or stretching Kiganda drums, which are always moving in and out of tune. Even as Kawuugulu continues to adapt to the rapidly changing world around it, Tuning the Kingdom documents how Kawuugulu has historically articulated and embodied principles of the three inextricably related domains that serve as the backbone of Kiganda politics: kinship, clanship, and kingship. Winner of the 2020 Kwabena Nketia Book Prize of the African and African Diasporic Music Section of the Society for Ethnomusicology and Honorable Mention for the 2019 Ogot Book Prize of the African Studies Association Damascus Kafumbe is Assistant Professor of Music at Middlebury College.Trade ReviewKafumbe's monograph stands as a rich case study for Africanist scholars of ethnomusicology . . . [and] shows how East African social institutions of ancient provenance . . . play important roles in contemporary social and political organization in postcolonial and contemporary East Africa. -- Christina Quigley * AFRICAN STUDIES QUARTERLY *[O]ffers a valuable insider perspective of not only the tradition of Kawuugulu, but of the other performative aspects of the kingdom of Buganda writ large. The author succeeds in showing how Kawuugulu drumming, dancing, and storytelling are inextricably linked to one another as well as to social and political life in Buganda as they embody, express, model, and structure the everyday actions and relationships of its people. * JOURNAL OF FOLKLORE RESEARCH *There is no other book I know that does the work of this one. It is beautiful, rich in ethnographic materials, and an important intervention in the contemporary study of African music-making and meanings. -- Carol Muller, University of PennsylvaniaA monumental contribution to the undocumented history and performative expression of the Baganda's kinship, clanship, and kingship institutions, Tuning the Kingdom unveils a narrative of the Kiganda monarchy as it is archived in the performance practice and storytelling of Kawuugulu music and dance. The author's maternal ties to the clan in charge of the ensemble offer him access to privileged knowledge that would be inaccessible to any other scholar. This book exemplifies how ethnomusicology can help form a springboard upon which to retrieve hidden knowledge of a culture. -- Sylvia A. Nannyonga-Tamusuza, author of Baakisimba: Gender in the Music and Dance of the Baganda People of UgandaThis is an important book. The Kawuugulu royal drums of the Buganda kingdom of Uganda carry great significance not only within the kingdom, but also for the fields of ethnomusicology and African studies. Any African court tradition that has survived into the twenty-first century merits this kind of scholarly documentation and investigation. This royal drum tradition is especially significant, given its age (at least several centuries), its role in Baganda society, and the fact that it survived political suppression from 1966-93. The author has done an immaculate job in documenting and analyzing the history and importance of the tradition within Baganda social life. -- Eric Charry, Wesleyan UniversityTable of ContentsIntroduction The Kawuugulu Clan-Royal Music and Dance Ensemble Kawuugulu and Intra-Clan Politics Kawuugulu and Royal Politics Kawuugulu and Inter-Clan Politics Conclusion: A Performative Constitution

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Book SynopsisA rich interdisciplinary exploration of the world of Sara Levy, a Jewish salonnière and skilled performing musician in late eighteenth-century Berlin, and her impact on the Bach revival, German-Jewish life, and Enlightenment culture. Sara Levy née Itzig (1761-1854), a salonnière, skilled performing musician, and active participant in enlightened Prussian Jewish society, played a powerful role in shaping the dynamic cultural world of late eighteenth- and earlynineteenth-century Berlin. A patron and collector of music, she studied harpsichord with Wilhelm Friedemann Bach (1710-84) and commissioned musical compositions from both Friedemann and his brother Carl Philipp Emanuel Bach (1714-88). Archival evidence demonstrates Levy's position as an essential link in the transmission of the music of their father, Johann Sebastian Bach (1685-1750), and as a catalyst for the "Bach revival" of the early nineteenth century, which was led by her great-nephew Felix Mendelssohn. Sara Levy's World: Gender, Judaism, and the Bach Tradition in Enlightenment Berlin represents the first scholarly exploration of the cultural, political, and aesthetic contexts that shaped Levy's world. Bringing together leading scholars from the fields of musicology, Jewish Studies, history, literary studies, gender studies, and philosophy, this volume presents cutting-edge, multidisciplinary research on the numerous mutually reinforcing aspects of Levy's life and work. Contributors: Rebecca Cypess, Marjanne E. Goozé, Barbara Hahn, Martha B. Helfer, Natalie Naimark-Goldberg, Elias Sacks, Yael Sela, Nancy Sinkoff, George B. Stauffer, Christoph Wolff, Steven Zohn Rebecca Cypess is Associate Professor of Music at Rutgers University. Nancy Sinkoff is Associate Professor of Jewish Studies and History and Director ofthe Center for European Studies at Rutgers University.Trade ReviewWINNER of the 2019 Book Prize from the Jewish Music and Jewish Studies Group of the American Musicological Society * . *Enrich[es] our broader understanding of Levy's place in the cultural life of Berlin over the half-century in which she was active as a patron, performer and collector. There is much to admire in these essays, and it is to be hoped that they stimulate further collaborations between historians and musicologists in the area of eighteenth- and nineteenth-century Jewish studies. * AD PARNASSUM *Broadly interdisciplinary, the new publication comprises an introduction and nine essays that engagingly treat topics in musicology, gender studies, Jewish studies and philosophy, and provide a rich variety of perspectives that inform and cross fertilize each other. . . . Remind[s] us that there is still much history to be rediscovered and reclaimed. Well edited and handsomely produced, . . . highly recommended reading for the new light it shines on an unjustly neglected area of German music history, [with] broad significance for several fields. -- R. Larry Todd * NINETEENTH-CENTURY MUSIC REVIEW *This well-written, insightful, interdisciplinary, and excellent work is an effort to explore the facets of Sara Levy's complex world and in so doing bring that remarkable woman from the margins of intellectual and cultural history. A great boon to the book is online access to the recording In Sara Levy's Salon, which includes music for solo keyboard collected, commissioned, underwritten, and perhaps played by Levy. This book is highly recommended and will be of great interest to feminist, cultural, and social historians; Jewish studies scholars and musicologists; and more generally to academics, musicians, and educated laymen. * NOTES, JOURNAL OF THE MUSIC LIBRARY ASSOCIATION *Sara Itzig Levy (1761-1854)...made important contributions to her time as a performer, music collector, salon hostess, and patron . . . Scholars gathered from many fields illuminate her life and interests. The book communicates well. . . . Anyone interested in the topics this collection covers, including music and female musicians, poetry, Enlightenment aesthetics and philosophy, and ethnic identity and assimilation, will want to have this work. * AMERICAN RECORD GUIDE *Sara Levy's World is a model of cohesion. [It] enacts an extended answer to a "what if" question of musicology: What if music history were not the history of musical works in contexts (producing "composer and his world" volumes) but rather of worlds in which music played a substantive part? A consequence we find in this volume is a figure-ground reversal: rather than Levy contributing to Bach's legacy, Bach contributed to Levy's salon, to her and others' "selfhood as a woman, a musician, a Jew, and an enlightened person" (12). This multifaceted selfhood lies at the heart of the volume, which through its interdisciplinary unity in multiplicity brings Sara Levy's world to life. -- Deirdre Loughridge * WOMEN AND MUSIC *Table of ContentsIntroduction: Experiencing Sara Levy's World Part One: Portrait of a Jewish Female Artist: Music, Identity, Image What Was the Berlin Jewish Salon Around 1800? Sara Levy's Musical Salon and Her Bach Collection Remaining Within the Fold: The Cultural and Social World of Sara Levy Women's Voices in Bach's Musical World: Christiane Mariane von Ziegler and Faustina Bordoni Part Two: Music, Aesthetics, and Philosophy: Jews and Christians in Sara Levy's World Lessing and the Limits of Enlightenment Poetry, Music, and the Limits of Harmony: Mendelssohn's Aesthetic Critique of Christianity Longing for the Sublime: Jewish Self-Consciousness and the St. Matthew Passion in Biedermeier Berlin Part Three: Studies in Sara Levy's Collection Duets in the Collection of Sara Levy and the Ideal of "Unity in Multiplicity" The Sociability of Salon Culture and Carl Philipp Emanuel Bach's Quartets Appendix: The Salonnière and the Diplomat: Letters from Sara Levy to Karl Gustav von Brinckmann Bibliography List of Contributors Index

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Book SynopsisDemonstrates the profound impact of The Poems of Ossian on composers of the Romantic Era and later: Beethoven, Schubert, Mendelssohn, Brahms, Massenet, and many others. Beyond Fingal's Cave: Ossian in the Musical Imagination is the first study in English of musical compositions inspired by the poems published in the 1760s and attributed to a purported ancient Scottish bard named Ossian. From around 1780 onwards, the poems stimulated poets, artists, and composers in Europe as well as North America to break away from the formality of the Enlightenment. The admiration for Ossian's poems -shared by Napoleon, Goethe, and Thomas Jefferson - was an important stimulus in the development of Romanticism and the music that was a central part of it. More important still was the view of the German cultural philosopher Johann Gottfried Herder, who saw past the controversy over the poems' authenticity to the traditional elements in these heroic poems and their mood of lament. James Porter's long-awaited book traces the traditional sources used by James Macpherson for his epoch-making prose poems and examines crucial works by composers such as Beethoven, Schubert, Mendelssohn, Brahms, and Massenet. Many other relatively unknown composers were also moved to write operas, cantatas, songs, and instrumental pieces, some of which have proven to be powerfully evocative and well worth performing and recording.Trade ReviewIllustrates, through the continuing popularity of Ossian throughout the eighteenth and nineteenth centuries, the influence of folk legend on art-culture and popular culture. * JOURNAL OF FOLKLORE RESEARCH *Beyond Fingal's Cave: Ossian in the Musical Imagination is destined to become the definitive scholarly handbook on the most influential cultural obsession of Europe and the United States around the turn of the nineteenth century. Sweeping in scope and inclusive of vernacular as well as concert repertoires, Porter's book situates the cult of Ossian in a 'landscape of feeling' that arose out of the Burkean dichotomy between the sublime and the beautiful, while also interrogating the themes of power and subjugation. -- John Michael Cooper, author of Mendelssohn, Goethe, and the Walpurgis NightPorter discloses an intricate network of international lines of influence linking Scotland to the musical cultures of Britain, France, Germany, Italy, Russia, and America. His study brings to light unsung composers, some of whom were women. Porter makes the most persuasive case for Beethoven himself. Most riveting...is his excursus on Mendelssohn. Porter's intimate knowledge of the source material enables him to gauge the relative degree and success of each...blend of the old and the new. * EIGHTEENTH-CENTURY STUDIES *To say that the coverage and scope is impressive is almost an understatement. A thoroughly scholarly work, the monograph would find a welcome place in any university or conservatoire collection. -- Karen E. McAulay * BRIO *In the musical arena, the [Ossian] poems inspired uncountable compositions in the most varied genres, from opera to piano cycle and from overture to symphony. Porter's descriptions are vivid and well written. His knowledge of the [scholarly] literature goes deep. Porter's study is exemplary in its depth and nuance. * DIE MUSIKFORSCHUNG *Authoritative and imaginative. Technical analysis is a huge strength throughout. Beyond Fingal's Cave shows exactly why the impact of Macpherson's Ossian transcends genre, period, nation, and performance styles. This book is a scholarly tour de force, erudite and analytically fearless. It is a splendid addition to the growing body of scholarship on Ossian. -- Valentina Bold * EIGHTEENTH-CENTURY SCOTLAND *Offers fresh consideration of the relevance and immediacy of Ossian. The book accomplishes its task admirably. The book covers music from roughly 1770 to the present. Despite this enormous scope, its strength is consistent. Throughout the volume, Porter makes compelling key-related observations. What most impresses me about Porter's book...is how it...make[s] a case for the value of the music he describes. -- Sarah Clemmens Waltz * JOURNAL OF MUSICOLOGICAL RESEARCH *A fascinating and comprehensive survey. Clear notes on individual responses across most of the nations of Western Europe demonstrate the author's command of the material. -- Jane Pettegree * Soundyngs: Conversations on the History of Scottish Music *Table of ContentsNote to the Reader Battling Critics, Engaging Composers: Ossian's Spell On Macpherson's Native Heath: Primary Sources A Culture without Writing, Settings without A Score, Haydn without Copyright, and Two Oscars on Stage "A Musical Piece": Harriet Wainewright's Opera, Comàla (1792) Between Gluck and Berlioz: Méhul's Uthal (1806) Fingallo e Comala (1805) and Ardano e Dartula (1825): The Ossianic Operas of Stefano Pavesi From Venice to Lisbon and St. Petersburg: Calto, Clato, Aganadeca, Gaulo ed Oitona and Two Fingals Beethoven's Ossianic Manner, or, Where Scholars Fear to Tread Excursus: Mendelssohn Waives the Rules: "Overture to the Isles of Fingal" and an "Unfinished" Coda The Maiden Bereft: "Colma" from Rust (1780) to Schubert (1816) Scènes lyriques sans frontières: Louis Théodore Gouvy's Le dernier Hymne d'Ossian (1858) and Lucien Hillemacher's Fingal (1880) Ossian in Symbolic Conflict: Bernhard Hopffer's Darthula's Grabesgesang (1878), Jules Bordier's Un rêve d'Ossian (1885), and Paul Umlauft's Agandecca (1890) The Musical Stages of "Darthula": From Thomas Linley Jr (ca.1775) to Arnold Schoenberg (1903) and Armin Knab (1906) Cantatas as Drama: Joseph Jongen's Comala (1897), Jørgen Malling's Kyvala (1902) and Liza Lehmann's Leaves from Ossian (1909) Symphonic Poem and Orchestral Fantasy: Alexandre Levy's Comala (1890), and Charles Villiers Stanford's Lament for the Son of Ossian (1903) Neo-Romanticism in Britain and America: John Laurence Seymour's "Shilric's Song" (from Six Ossianic Odes), and Cedric Thorpe Davie's cantata, Dirge for Cuchullin (both 1936) Modernity, Modernism and Ossian: Erik Chisholm's Night Song of the Bards (1944-51), James MacMillan's The Death of Oscar (2013), and Jean Guillou's Ballade Ossianique No. 2: Les Chants de Selma (1971, rev. 2005) Afterword: The "Half-Viewless Harp" - Secondary Resonances of Ossian Appendix 1:Title Page and Dedication of Harriet Wainewright's Comàla Appendix 2: French and German Texts of Gouvy's Le dernier Hymne d'Ossian Appendix 3: Texts for Erik Chisholm's Night Song of the Bards Appendix 4: Provisional List of Musical Compositions Based on the Poems of Ossian Notes Selected Bibliography

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Book SynopsisExamines Liszt's piano arrangements of music originally created for other instruments, especially the symphony orchestra and the Hungarian Gypsy band. Liszt's adaptation of existing music is staggering in its quantity, scope, and variety of technique. He often viewed the model work as a source that he strove to improve, rival, and even surpass. Liszt's Representation of Instrumental Sounds on the Piano: Colors in Black and White provides a comprehensive survey of Liszt's reworking of instrumental music on the piano, particularly his emulation of tone colors and idiomatic gestures. The book relatesLiszt's sonic reproductions to the widespread nineteenth-century interest in visual-art reproduction. Hyun Joo Kim illustrates Liszt's diverse approaches to the integrity of the music in a detailed, vivid, and insightful manner through close study of his arrangements of Beethoven's symphonies and Rossini's Guillaume Tell Overture, his two-piano arrangements of his own symphonic poems such as Mazeppa and Hunnenschlacht, and his Hungarian Rhapsodies. By examining orchestral music and Hungarian Gypsy-style music as sources of Liszt's sound representations, this book reveals Liszt's musical discourse as straddling the musical, cultural, and aesthetic divides between mainstream and peripheral, art and folk, serious and popular. HYUN JOO KIM holds a PhD from Indiana University and is an independent scholar in Seoul, South Korea.Trade Review[Kim d]raws on an astounding range of sources for her analysis, always rooted in historical sources (art criticism, music reviews, Liszt's correspondence and notes, and more) and convincing theoretical analysis. Chapter 5 is most interesting to me, because it adds to the ever-present scholarly discussion about folk music['s influence on composers]. Kim offers a valuable discussion of the cimbalom and its similarities to the fortepiano's sound. Even more valuable, Kim's analysis suggests that 'folk' and 'art' overlapped often. This chapter will help people performing Liszt's Hungarian Rhapsodies on the piano. There are a lot of pictures and musical examples that make it easier to follow along. * AMERICAN RECORD GUIDE. *Liszt's Representation of Instrumental Sounds on the Piano: Colors in Black and White is a detailed study of Liszt's orchestral transcriptions. This book includes valuable insights into his evocation of the cimbalom in the Hungarian Rhapsodies and, more importantly, links Liszt's own conceptions about his music to complementary concerns shared by contemporary visual artists. Hyun Joo Kim joins the ranks of great scholars who can describe musical instruments and aspects of performance with scholarly rigor in precise, elegant writing. -- -- Rob Haskins, University of New HampshireCan an arrangement become as vibrant and alive as the original? This is one of the queries that H. J. Kim, musicologist of Indiana University, sheds light on in a convincing way in her book. The book's contents and its clear organization make this volume exemplary. Offers inspiring ideas[,] . . . it deserves to be read, especially by musicologists and musicians interested in the flourishing field of Liszt research. * MIN-AD: ISRAEL STUDIES IN MUSICOLOGY ONLINE *Kim is particularly keen to highlight the timbral dimensions of Liszt's arrangements, and thus brings analytical and hermeneutic techniques from musicology and art history to bear on his early partitions de piano, his symphonic poems, and his "Hungarian Gypsy-style" music. Kim's excellent coverage...reinforces the ingenuity with which Liszt was able to make the "sacred texts" of Beethoven and Berlioz his own. Kim ultimately expands Liszt's legacy, adding "translator" to his list of enviable accolades as pianist-composer. * STUDIA MUSICOLOGICA *Table of ContentsIntroduction Approaching the Reproductive Arts "Partitions de Piano" Between "Text" and "Event": Liszt's Guillaume Tell Overture Translating the Orchestra: Liszt's Two-Piano Arrangements of His Symphonic Poems Interpretive Fidelity to Gypsy Creativity: Representations of Hungarian-Gypsy Cimbalom Playing Conclusions: Recurring Techniques and Aesthetics Appendix: Liszt's Preface to his Piano Arrangements of Beethoven's Fifth and Sixth Symphonies in the Breitkopf & Härtel's edition, 1840 Bibliography

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Book SynopsisA synchronic study that highlights the importance of printed packaging, rather than notes on the page, to the complex relationship between composers, publishers, and consumers of music. Why dedicate music? What did dedications mean to their readers and writers, especially after 1785, when more works were offered to fellow composers as well as to patrons? Borrowing from book history and sociological theory, Dedicating Music, 1785-1850 is a large-scale study of patterns of dedications. Emily H. Green argues that the kinds of offerings printed in the late eighteenth through mid-nineteenth centuries reflect a changing financial and aesthetic landscape in which patronage was waning and independent artistry surging. Dedications labeled written music as a gift while presenting composers with an opportunity for self-promotion. They also contributed to a new kind ofbranding of music by communicating composers' friendships and artistic allegiances.. Dedicating Music considers dedications issued in print between 1785 and 1850 in sets of overlapping corpuses: offerings to peers (as in Mozart's string quartets dedicated to Haydn); to patrons (as in Ignaz Pleyel's string quartets for Count Erdödy); to friends (as in Ferdinand Ries's offerings for Beethoven); and dedications issued by publishers (as in Beethoven's song "In questa tomba oscura," included in publisher Tranquillo Mollo's collection offered to Prince Lobkowitz). The result is a synchronic study that highlights the importance of printed packaging, rather than notes onthe page, to the complex relationship between composers, publishers, and consumers of music. EMILY H. GREEN is Assistant Professor of Music at George Mason University. The University of Rochester Press gratefully acknowledges generous support from the Claire and Barry Brook Endowment of the American Musicological Society and the AMS 75 PAYS Endowment of the American Musicological Society, both funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.Trade ReviewDedicating Music, 1785-1850 is the first full-length study to demonstrate-persuasively and in depth-that the practice of dedicating music was part of the complex and largely overlooked 'economy of the gift' during the transition to nineteenth-century industrial capitalism. Looking not only at dedications and dedicatees, but also at related practices like advertising and layout, Green heightens our awareness of the significance of texts 'beyond the notes' in the phenomenon of printed music, and indeed persuades us of the need to pay closer attention to the material practices that surround music-making. Highly recommended. -- David Gramit, University of AlbertaDedicating Music deserves the broadest readership...An unusual, thought-provoking, and far-reaching piece of work that will be of substantial interest to students and scholars of the eighteenth and nineteenth centuries, and to anyone curious about cultures of printing, publishing, and authorship in music. Tantalizing historical trends emerge from these reams of hard data. Consider that 90 percent of the works dedicated by Mozart had women dedicatees. The author and press are to be applauded. -- Frederick Reece * JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY *[...] Dedicating Music steers clear of intellectual currents that encourage entertaining how objects might have (or be narrated into having) lives of their own. Dedications emerge from this study as sites of composers', publishers', and consumers' shifting desires and capacities, making this a book from which scholars not only of music but of any artistic medium can gain insight into the significance of a work's paratextual packaging and the process of transition from patronage system to market economy. -- Deirdre Loughridge * Eighteen Century Studies *Green addresses different kinds of dedications and, quite astutely, she considers how these categories overlap. Demonstrates how interrogating a quotidian practice can help us to develop a fuller picture of eighteenth- and nineteenth-century music culture. * MUSIC & LETTERS *Table of ContentsEncountering Dedications PART 1. MAINTAINING EARLY-MODERN MODELS Gifting a Commodity Selling a Gift PART 2. COMMODIFYING THE COMPOSER Sociability and Celebrity Influence, Arrangement, and Authorship Epilogue Appendix Bibliography

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Book SynopsisReveals how Aaron Copland's complex relationship with the music of Gustav Mahler shaped his vision for American music in the twentieth century. The iconic American composer Aaron Copland (1900-1990) is often credited with creating an unmistakably American musical style, a style free from the powerful sway of the European classics that long dominated the art-music scene inthe United States. Yet Copland was strongly attracted to the music of the late-romantic Austrian composer Gustav Mahler (1860-1911), whose monumental symphonies and powerful songs have captivated and challenged American audiencesfor more than a century. Drawing extensively on archival and musical materials, Aaron Copland and the American Legacy of Gustav Mahler offers the first detailed exploration of Copland's multifaceted relationshipwith Mahler's music and its lasting consequences for music in America. Matthew Mugmon demonstrates that Copland, inspired by Mahler's example, blended modernism and romanticism in shaping a vision for American music in the twentieth century, and that he did so through his multiple roles as composer, teacher, critic, and orchestral tastemaker. Copland's career-long engagement with Mahler's music, as Mugmon compellingly illustrates, intersected with Copland's own Jewish identity and with his links to such towering figures in American music as Nadia Boulanger, Serge Koussevitzky, and Leonard Bernstein. MATTHEW MUGMON is Associate Professor of Music at the University of Arizona.Trade ReviewIlluminating, thought provoking...well researched... it is certainly a very welcome addition to academic treatments of Copland's life and works as it fills a void that has not really been dealt with in the past...essential reading for Copland fans and scholars. * AARON-COPLAND.COM *Mugmon builds his argument superbly...there are revelations: Boulanger's attempt to make the French look objectively at an Austro-German in the spirit of post-war internationalism; Koussevitzky's championship of the Ninth Symphony (Copland's favourite purely orchestral Mahler) which involved grievous cuts; and how Bernstein virtually plagiarised Copland for his own educational projects.Fascinating and very much worth the general reader's time. * BBC MUSIC MAGAZINE *'Based upon extensive archival research, this book offers many fresh insights into American concert music from the 1930s to the 1960s, especially regarding Copland's role in promoting the music of Gustav Mahler in the United States. Matthew Mugmon has approached this significant topic with considerable savvy and integrity. -- Paul Laird, professor of musicology, University of Kansas'Persuasively argued and engagingly written, Matthew Mugmon's Aaron Copland and the American Legacy of Gustav Mahler sheds considerable light not only on Copland's artistic indebtedness to Mahler, but also on his important role as and advocate for Mahler's music in the United States. -- Howard Pollack, John and Rebecca Moores Professor of Music, University of HoustonThe relative brevity of [this] book belies the complexity and thoroughness of the discussion. Conversational in tone, Mugmon's contribution represents a very enjoyable and well-documented contextualized musicological look at Mahler's growing legacy in 20th-century American musical culture through the career of Aaron Copland. A fine addition to any music library, it counts as an essential for scholars of 20th-century American music. -- Gary Galván * Music Reference Services Quarterly *Table of ContentsIntroduction Mahler and Copland in New York Mahler in Nadia Boulanger's Studio and Beyond Copland in Defense of Mahler Mahler in Copland's Jewish Romanticism Mahler's Idiom in Copland's "American" Sound Copland, Koussevitzky, Mahler, and the Canon Copland's Role in Bernstein's Mahler Advocacy Conclusion Bibliography

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Book SynopsisA pathbreaking study of the Parisian press's attempts to claim Richard Wagner's place in French history and imagination during the unstable and conflict-ridden years of the Third Reich. Richard Wagner was a polarizing figure in France from the time that he first entered French musical life in the mid nineteenth century. Critics employed him to symbolize everything from democratic revolution to authoritarian antisemitism. During periods of Franco-German conflict, such as the Franco-Prussian War and World War I, Wagner was associated in France with German nationalism and chauvinism. This association has led to the assumption that, with the advent of the Third Reich, the French once again rejected Wagner. Drawing on hundreds of press sources and employing close readings, this book seeks to explain a paradox: as the German threat grew more tangible from 1933, the Parisian press insisted on seeing in Wagner a universality that transcended his Germanness. Repudiating the notion that Wagner stood for Germany, French critics attempted to reclaim his role in their own national history and imagination. Claiming Wagner for France: Music and Politics in the Parisian Press, 1933-1944 reveals how the concept of a universal Wagner, which was used to challenge the Nazis in the 1930s, was gradually transformed into the infamous collaborationist rhetoric promoted by the Vichy government and exploited by the Nazis between 1940 and 1944. Rachel Orzech's study offers a close examination of Wagner's place in France's cultural landscape at this time, contributing to our understanding of how the French grappled with one of the most challenging periods in their history.Trade ReviewA major contribution to our understanding of Wagner reception in France, Franco-German cultural relations during the 1930s, and musical life during the Occupation. -- Marie-Pier Leduc * REVUE MUSICALE OICRM *Table of ContentsAcknowledgments Contents List of Figures Note on Translations and Referencing of Press Sources Introduction 1. A Universal Art: The Cinquantenaire, 1933 2. Ambassador of Peace: Rapprochement and Wagner, 1933-1939 3. Art and Patrie: The Bayreuth Festival, 1933-1943 4. A Sensitive Question: From Drôle de Guerre to Resistance, 1939-1944 5. Staging Collaboration: The Paris Opéra, 1939-1944 Conclusion: From Universalism to Collaboration Bibliography Index

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Book SynopsisA long-needed overview of, and guide to, the principles behind the treatises on music theory written in ancient Greece and Rome and continuing through the Middle Ages. Long recognized as a foundation of musical composition, criticism, pedagogy, and appreciation, the literature of ancient and medieval music theory has maintained its strong position in the academic curriculum up to the present day. Now blessed with fine English translations of many of the ancient and medieval authors, modern students of music theory have advantages that their predecessors lacked just a few generations ago. Yet the ancient writings by themselves do not yield to easy comprehension. They need expository help. In this collection of fifteen topical essays, the author offers a contribution to that educational goal. Covering a dense theoretical literature from the classical period of ancient Greece to the sixteenth century of the Common Era, these essays present a detailed examination of subjects of concern not only to specialists in the history of theory, but to scholars of the general history ofancient Greek music and the liturgical plainchant of the medieval West. More than just a collection of specialized studies or a syllabus of obligatory learning, these essays present a persistent reflection on the timelessness of theoretical questions that engaged our musical forebears and that still engage us today. The author's approach is perennialist. It teaches us things about our musical heritage that never go away.Trade ReviewGreek and Latin Music Theory constitutes a thematically coherent assemblage curated through the expertise and personal interests of a master pedagogue, a treasury stuffed with an assortment of useful aids-tables, definitions, notes, and excerpts from primary sources. . . . The collection will be an especially valuable resource for graduate seminars and for non-specialists wishing to gain their bearings in some core principles undergirding ancient and medieval melodic theory. -- Elizabeth Lyon Hall * Journal of Music Theory *Table of ContentsIntroduction Part I: The Ancient Greek Tradition in Practice and Theory The Ancient Harmoniai The Tonoi Alypian Notation Part II: Mathematical Foundations Pythagorean Harmonic Ratios from the Octave to the Comma by Continuous Subtraction Boethius's Error in the De institutione musica 4.6 Aristoxenus's Proof That the Perfect Fourth Is the Sum of Two Tones and a Semitone Aristoxenus's Anticipation of the Logarithmic Logic of Musical Cognition The Three Mathematical Means in the Theories of Euclid, Boethius, Glarean, and Zarlino Guido and the Monochord Part III: Emerging Theories of the Ecclesiastical Modes Transposition and the Doctrine of Modal Affinity The Misunderstood Confinalis Reading the First Quidam of the Alia musica The Prologus in tonarium of Bern of Reichenau: A Translation Reading Hermannus Idealist and Empirical Perspectives in Theories of the Ecclesiastical Modes Glossary of Terms Notes Bibliography Index

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Book SynopsisHere translated for the first time, Jean-Jacques Nattiez's widely hailed comparative guide to the techniques of music analysis focuses on a single vivid passage from Wagner's Tristan and Isolde. The field of musicology has in recent decades branched out to incorporate methods from a wide range of other fields. But, when scholars examine a musical work, to what extent should they emphasize immanent (purely internal) features, and to what extent historical, cultural, psychological, or aesthetic networks of meanings associated with those features? Finally, what specific analytical method should be chosen, given that various methods can lead to seemingly incompatible results? Jean-Jacques Nattiez, a renowned figure in music theory, musicology, and ethnomusicology, here examines numerous contending approaches that have been applied to the English-horn melody heard in Wagner's Tristan and Isolde. His aim is to offer thereby a methodological guide and compendium that will allow specialists and students alike to navigate the multiplicity of theoretical orientations in musicology. Analytical models proposed by Heinrich Schenker, Nicolas Ruwet, Leonard B. Meyer, Fred Lerdahl, and other notable figures in the field of music analysis are discussed. Some of the analytical sketches by these scholars were previously unpublished and are presented to the public for the first time in the present book. The author also considers insights from the fields of psychology and psychoanalysis. An examination of Wagner's wide-ranging musical sources (Venetian gondolier songs and Swiss shepherd songs) leads to acutely relevant passages in writings by Rousseau, Goethe, and Schopenhauer. The book culminates in Nattiez's own interpretation of the relationship between vocal and instrumental music in Tristan and Isolde. Jean-Jacques Nattiez is professor emeritus of musicology at the Université de Montréal.Table of ContentsForeword by Pierre Boulez Preface Introduction: The English Horn Solo, My Approach, and Models of Analysis and Musical Meaning PART I: IMMANENT ANALYSIS OF THE ENGLISH HORN SOLO'S MUSICAL STRUCTURES Linear Analyses Formenlehre Analyses Paradigmatic Analyses PART II: ESTHETIC ANALYSIS Performances as Initial Esthesic Analyses Esthesic Analysis of the Solo's Immanent Structures Esthesic Analysis of the Solo's Semantic Associations PART III: POIETIC ANALYSIS Musical Sources for the Solo The Solo's Composition: Sketches and the Creative Process PART IV: HERMENEUTICS The Shepherd's Melody at Risk of Psychoanalysis The Shepherd's Melody and the English Horn in Tristan "This Shepherd's Metaphysical Melody" Conclusion: The Validity of Structural Analyses and Interpretations Bibliography Index

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Book SynopsisExamines how musicians navigated their everyday lives, grappling with the intercultural tensions and commercial pressures that were so pronounced on the salsa sceneTrade Review"[Washburne] offers a no-holds-barred, insider glimpse at 'how salsa was made' in New York City in the 1990s. By challenging conventional narratives about salsa's development and taking on contentious issues in its history, including drugs, violence and illegitimate business practices, Sounding Salsa should make a lot of folks look twice at a critical yet neglected moment in the industry's development. Washburne's ethnography of behind-the-scenes backstories, documented from his own vantage point on the bandstand, is the best quick read I've found on the industry's history and inner workings, supplemented by deep industry knowledge that fills in many ellipses in histories written mainly from the point of view of the consumer/ critic. While it offers musicological explanations on salsa's nuts and bolts technical aspects, such as clave, it's also an accessible guide to newcomers who may have wondered: What are those instruments? And why are all those guys wearing the same suits?" - IndyWeeks, 31st December 2008 "Washburne does a good job of chronicling the second-generation surge of the popular Latin dance music salsa in the US, which occurred in New York City in the 1990s. The author bases his discussion on an impressive ethnographic methodology and on his own involvement with salsa as a performer. He introduces the reader to the major figures in the movement, provides glimpses of the music itself, and describes the broader cultural and sociological issues that affected the art form and its practitioners. The introduction provides a good overview of the historical development of salsa in the 1960s-70s and establishes a context for the discussion that follows." Choice "[Washburne] offers a no-holds-barred, insider glimpse at 'how salsa was made' in New York City in the 1990s. By challenging conventional narratives about salsa's development and taking on contentious issues in its history, including drugs, violence and illegitimate business practices, Sounding Salsa should make a lot of folks look twice at a critical yet neglected moment in the industry's development. Washburne's ethnography of behind-the-scenes backstories, documented from his own vantage point on the bandstand, is the best quick read I've found on the industry's history and inner workings, supplemented by deep industry knowledge that fills in many ellipses in histories written mainly from the point of view of the consumer/ critic. While it offers musicological explanations on salsa's nuts and bolts technical aspects, such as clave, it's also an accessible guide to newcomers who may have wondered: What are those instruments? And why are all those guys wearing the same suits?" IndyWeek "Washburne is a very fine and respected jazz trombonist... [Sounding Salsa] is a well-researched and assiduously documented work of history, written by an ethnomusicologist with impeccable academic credentials... It would be hard to imagine a person better qualified on the subject... His standing as a professional salsero gives him access to information denied other researchers. And he takes advantage, gleaning enough material to tell a fascinating tale... The book's most illuminating passages center on the musicians' own observations and comments, made directly to Washburne and salted liberally throughout the text. Such intimate reflections would only have been revealed to someone who'd earned their deepest trust and respect--another musician, for instance."-Jazz Notes, Spring 2009 "A professional trombonist, Washburne writes from the vantage point of a practising musician as well as a scholar, offering a dynamic view of salsa as seen from the bandstand over an eighteen-year period during which he played with key orchestras of Tito Puento, Ray Barreto, Celia Cruz, Pete 'El Conde' Rodriguez and Hector Lavoe, among many others... Apart from its undoubted academic merits, the book convinces through its insider-out perspective, incisive and evocative scenarios, and the way analysis and theory are embedded within its ethnography. In six highly readable chapters, the salsa scene in all its richnesss is described, unpicked, critiqued and celebrated...Washburne has written a book that is as entertaining, informative, and provocative as it is ground-breaking." Popular Music, May 2009 "Washburne provides a micro-level, ethnographic view...[that] will be of direct interest to folklorists... The book gives a nuts-and-bolts description of what it means to record and perform in a salsa band, and it also relates some inside stories that have become legend to those in the scene... The book really breaks new ground...when Washburne discusses violence, drugs, and gender within the salsa scene... While a range of approaches to salsa can be found in the many works on the subject, very few have offered such a rich insider's perspective. Washburne's book is a welcome addition to the conversation." The Journal of American Folklore, Fall 2009Table of ContentsTable of Contents: Acknowledgements Introduction: Salsa in New York; 1: Salsa Bands and the performance of Pueble; 2: "The music is so good but the scene is pure dues!": Salsa Musicians; 3: "Play like there's a gun to your head!": The Aesthetics and Performance Practice of Sounding Violence in Salsa; 4: New York Salsa and Drugs: Aesthetics, Performance Practice, Governmental Policy, and the Illicit Drug Trade; 5: La India and the Masquerading of Gender on the Salsa Scene; 6: "They are going to hear this in Puerto Rico. It has got to be good!": The Sound and Style of Salsa

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Book SynopsisFrom a small mountain town in West Virginia, elder fiddler Melvin Wine has influenced musicians and music enthusiasts far beyond his homeplace. Music, community, and tradition permeate all aspects of life in this rural region. Fiddling Way Out Yonder: The Life and Music of Melvin Wine shows how in Wine's playing and teaching all three have created a vital and enduring legacy. As a musician, Wine has been honored nationally for his musical skills and his leadership role in an American musical tradition. A farmer, a coal miner, a father of ten children, and a deeply religious man, he has played music influenced by the hard lessons of his own experience and shaped a musical tradition even while passing it on to others. Fiddling Way Out Yonder examines the fiddler, his music, and its context from a variety of perspectives. Many rousing fiddlers came from isolated mountain regions like Wine's home stomp. The book makes a point to address the broad historical issues related both to North American fiddling and to Wine's personal history. Wine (b.1 909) has spent almost all of his life in rural Braxton County, an area where the fiddle and dance traditions that were strong during his childhood and early adult life continue to be active today. Utilizing models from folklore studies and ethnomusicology, Fiddling Way Out Yonder discusses how community life and educational environment have affected Wine's music and his approaches to performance. Such a unique fiddler deserves close stylistic scrutiny. The book reveals Wine's particular tunings, his ways of holding the instrument, his licks, his bowing techniques and patterns, his tune categories, and his favorite keys. The book includes transcriptions and analyses of ten of Wine's tunes, some of which are linked to minstrelsy, ballad singing traditions, and gospel music. Narratives discuss the background of each tune and how it has fit into Wine's life. This biography heralds a musician who wants both to communicate the spirit of his mountains and to sway an audience into having an old-fashioned good time. Drew Beisswenger is a music librarian at Southwest Missouri State University.

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Book SynopsisThe Brazilian berimbau, a musical bow, is most commonly associated with the energetic martial art/dance/game of capoeira. This study explores the berimbau's stature from the 1950s to the present in diverse musical genres including bossa nova, samba-reggae, MPB (Popular Brazilian Music), electronic dance music, Brazilian art music, and more. Berimbau music spans oral and recorded historical traditions, connects Latin America to Africa, juxtaposes the sacred and profane, and unites nationally constructed notions of Brazilian identity across seemingly impenetrable barriers.The Berimbau: Soul of Brazilian Music is the first work that considers the berimbau beyond the context of capoeira, and explores the bow's emergence as a national symbol. Throughout, this book engages and analyzes intersections of musical traditions in the Black Atlantic, North American popular music, and the rise of global jazz. This book is an accessible introduction to Brazilian music for musicians, Latin American scholars, capoeira practitioners, and other people who are interested in Brazil's music and culture.

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Book SynopsisThe Fellowship Independent Baptist Church near Stanley, Virginia, was a group of fundamental Christian believers broadly representative of southern Appalachian belief and practice. Jeff Todd Titon worked with this Baptist community for more than ten years in his attempt to determine the nature of language in the practice of their religion. He traces specialized vocabulary and its applications through the acts of being saved, praying, preaching, teaching, and in particular singing. Titon argues that religious language is performed and the context of its occurrence is crucial to our understanding and to a holistic view of not only religious practice but of folklife and ethnomusicology. Titon’s monumental study of The Fellowship Independence Baptist Church produced not only the first edition book but also an album and documentary film.In this second edition of Powerhouse for God, Titon revisits The Fellowship Independent Baptist Church nearly four decades later. Brother John Sherfey, the charismatic preacher steeped in Appalachian tradition has passed away and left his congregation to his son, Donnie, to lead. While Appalachian Virginia has changed markedly over the decades, the town of Stanley and the Fellowship Church have not. Titon relates this rarity in his new Afterword: a church founded on Biblical literalism and untouched by modern progressivism in an area of Appalachia that has seen an evolution in population, industry, and immigration.Titon’s unforgettable study of folklife, musicology, and Appalachian religion is available for a new generation of scholars to build upon.

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Book SynopsisAn iconic symbol and sound of the Lucumí/Santería religion, Afro-Cuban batá are talking drums that express the epic mythological narratives of the West African Yoruba deities known as orisha. By imitating aspects of speech and song, and by metaphorically referencing salient attributes of the deities, batá drummers facilitate the communal praising of orisha in a music ritual known as a toque de santo.In The Artistry of Afro-Cuban Batá Drumming, Kenneth Schweitzer blends musical transcription, musical analysis, interviews, ethnographic descriptions, and observations from his own experience as a ritual drummer to highlight the complex variables at work during a live Lucumí performance.Integral in enabling trance possessions by the orisha, by far the most dramatic expressions of Lucumí faith, batá drummers are also entrusted with controlling the overall ebb and flow of the four- to six-hour toque de santo. During these events, batá drummers combine their knowledge of ritual with an extensive repertoire of rhythms and songs. Musicians focus on the many thematic acts that unfold both concurrently and in quick succession. In addition to creating an emotionally charged environment, playing salute rhythms for the orisha, and supporting the playful song competitions that erupt between singers, batá drummers are equally dedicated to nurturing their own drumming community by creating a variety of opportunities for the musicians to grow artistically and creatively.

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Book SynopsisThe first modern English edition of Richard Wagner's essays on conducting, extensively annotated, with a critical essay on Wagner as conductor: his aesthetic, practices, vocabulary, and impact. Richard Wagner was one of the leading conductors of his time. Through his disciples Hans von Bülow, Hans Richter, Anton Seidl, Felix Mottl, Arthur Nikisch, and their many notable protégés, a Wagnerian art of interpretation became the norm in Europe and America until well into the twentieth century. Wagner's essays on conducting had an even longer impact, and were upheld as central to their art by later generations of conductors from Mahler to Strauss, Furtwängler, Böhm, Scherchen, and beyond. This is the first complete, modern translation of Wagner's conducting essays to appear in English, and the first-ever edition to offer extensive annotations explaining their reception and impact. The accompanying critical essay offers a detailed analysis of Wagner's conducting practices, his innovations in tempo and the art of transition, his creation of a new vocabulary to describe his art, and his success in establishing a school of conductors to promote his works and his aesthetic. A digital edition of this book is openly available thanks to generous support from the Swiss National Science Foundation.Trade ReviewWalton's new translation and investigation should become the standard edition for all students of conducting. More widely, this book will also be of interest to any musician or scholar engaged in performances of Wagner's works or in 19th-century performance practices as a whole. -- Michael Graham * Wagner Society of Scotland *Walton has performed an invaluable service to those seeking enlightenment concerning many aspects of der Meister von Bayreuth. This volume contains translations and abundant annotations of four of Wagner's prose works relating to conducting. Of equal importance are 21 fascinating essays illuminating Wagner's incarnations as conductor, musicologist, and writer. . . . With its insights, this book will enhance our perception of this seminal figure as well as being a pleasure to read. -- Ira Leiberman * Wagner Notes *[Walton] has succeeded admirably [in his new translation]. "On Performing Beethoven's Ninth Symphony" contains detailed performance suggestions, with music examples. The real meat of this book is Walton's own 136-page scholarly essay, "Richard Wagner and the Art of Conducting." Brilliantly written and based on thorough research,...it discusses the genesis and early reception of Wagner's writings on conducting...[which] made his ideas widely known and tremendously influential. * AMERICAN RECORD GUIDE *Christopher Walton has produced something splendid here: a book that is at once of the highest scholarly quality, written with an intimate understanding of both music and music-making. A comprehensive portrayal of Wagner as conductor, blended with [the] history of conducting from its beginnings until well into the twentieth century. Reading Chris Walton is always a pleasure. -- Nicholas Vazsonyi * WAGNERSPECTRUM *Chris Walton . . . has brought together all of Wagner's writings on conducting in a new transIation, complementing them with an extended critical and contextual essay of his own. Walton traces in interesting detail the influence of Wagner's essays on the leading conductors of subsequent generations, especially in the matter of tempo variation within symphonic movements. As Walton convincingly shows, the music and conducting of effect [rather than self-restraint] was to win the day. -- Nicholas Spice * LONDON REVIEW OF BOOKS *Table of ContentsIntroduction PART I: RICHARD WAGNER'S WRITINGS ON CONDUCTING Reminiscences of Spontini Report on the Performance of Beethoven's Ninth Symphony in Dresden in 1846 About Conducting On Performing Beethoven's Ninth Symphony PART II: CRITICAL ESSAY Richard Wagner and the Art of Conducting

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Book SynopsisGuides modern performers and scholars through the intricacies of German Baroque metric theory, via analyses of treatises and organ music by J.S. Bach and other leading composers, such as Buxtehude, Bruhns, and Weckman. Before the advent of the metronome ca. 1800, there was little in the way of a standardized, commonly accessible method for precisely communicating how fast musical compositions should be performed. Instead of absolute time (that is, plottable on a metronome), Baroque musicians developed notational cues for relative speed: this was accomplished primarily through combinations of time signatures and note values. Julia Dokter's Tempo and Tactus in the German Baroque helps decode these tempo cues for modern performers. Part 1 investigates metric theory in music treatises from roughly 1600 to 1790. Parts 2 and 3 explore the organ scores of pivotal composers such as J. S. Bach, Dieterich Buxtehude, Matthias Weckman, and Nicolaus Bruhns, and present case studies demonstrating how Baroque tempo indications may interact in performance situations. Readers will discover how Baroque musicians modified the Renaissance mensural system to incorporate tempo shifts; how the various duple, triple, and compound meters interrelated; how the technical display of stylus phantasticus writing affected tempo; how tempo words (such as allegro) functioned; and how the choice of performing forces-chorus, solo keyboard, and so on-could affect the way tempo was notated. By addressing questions of tempo fundamental to German Baroque music, this book lays important groundwork for organists and for performers of other instrumental music of this period.Trade ReviewThis is a book that many of us have been waiting for: one that tackles the frustrating problem of tempo and meter in the Baroque era with scrupulous scholarship, a clear-eyed sense of limits, and the perspective of a practicing musician. Her book is very relevant to interpreting the music of Johann Sebastian Bach. Her concern is with relative tempo, which allows a range of reasonable tempi for any given work. There is so much information here concerning specific meters and their historical development that anyone who can digest it all will approach the music of the German Baroque with new understanding, conviction, and a sense of freedom. -- Raymond Erickson * EARLY MUSIC AMERICA *Table of ContentsNotes to the Reader Introduction The Foundation of German Baroque Tempo Theory: Michael Praetorius Duple Meter Triple and Compound Meter: Proportional Relationships "2" and Blackened/Whitened Notation Beat Patterns and Tempo Source Excerpts Tempo Words The Functional Equivalency of Integer Valor Duple Meters in Later Seventeenth-Century Organ Music Stylus Phantasticus Differentiations Between Various Integer Valor Duple Meters in Johann Sebastian Bach's Music The Large Allabreve and the Kirnbergian Small Allabreve Triple Meter and Tempo Words Case Studies Final Remarks, Summary, and Synthesis

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Book SynopsisFourteen revealing essays by a prominent Berlioz authority on some of the composer's acclaimed compositions (the Symphonie fantastique, Les Nuits d'été, Les Troyens) and writings (the celebrated Mémoires). Written for both music lovers and scholars, these essays probe some of Berlioz's major works, including the Symphonie fantastique (the period of whose genesis is newly explored), Les Nuits d'été (whose origins are newly clarified by a revelation regarding Berlioz's possible muse), the Symphonie militaire (whose existence is examined in the period before it became the Symphonie funèbre et triomphale), Les Troyens (whose epilogue is seen as a paean to Napoléon III), and Béatrice et Bénédict (whose text reveals extraordinary understanding of the original play). The essays consider anew Berlioz's relationships with Franz Liszt (with whom the composer shared intimate details of his marriage to Harriet Smithson) and Richard Wagner (by whom the Frenchman was both charmed and alarmed), his travels in Germany (revealed as having had a specifically administrative purpose), his appreciation of English literature and Shakespeare (on whose work he was considered an expert), his modus operandi in composing the Mémoires, and his major twentieth-century biographers. Of conspicuous concern are the "politics" of a man sometimes erroneously viewed as distant from the political arena. This book is openly available in digital format, under Creative Commons license CC BY-NC-ND, thanks to generous funding from The New Berlioz Edition Trust.Trade Review[This] product of four decades of scholarly work... provides useful and interesting enrichments to present-day Berlioz research; and it caps, in sure-handed fashion, the academic career of one of that field's great specialists. Always interestingly and in a closely argued manner, Bloom does not shy from offering speculation. One of this book's strong points is the sense that one gets of Bloom's deep knowledge of sources. -- Matthieu Cailliez * Music & Musical Performance: An International Journal *Table of ContentsPrologue: From Early Recognition to Lasting Renown 1 Berlioz in the Year of the Symphonie fantastique 2 Berlioz and the Translators 3 Berlioz and Liszt in the Locker Room 4 Berlioz's Directorship of the Théâtre-Italien 5 The Local Politics of Berlioz's Symphonie militaire 6 In the Shadows of Les Nuits d'été 7 Berlioz, Delacroix, and La Mort d'Ophélie 8 Berlioz's "Mission" to Germany: A Revealing Document Recovered 9 Berlioz and Wagner: Épisodes de la vie des artistes 10 Imperialism and the Ending of Les Troyens 11 Berlioz's "To be or not to be" 12 Berlioz, Béatrice, and Much Ado About Nothing 13 Berlioz Writing the Life of Berlioz Epilogue: Berlioz and the B's: Boschot, Barzun, and Beyond Notes Bibliography Index

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Book SynopsisFocusing on runyege, the main traditional performance genre of the Banyoro and Batooro people, this book explores the entanglement of traditional music, dance, and theater with gender and postcolonialism in Western Uganda. Drawing on archival research and extensive fieldwork in the regions of Bunyoro and Tooro, Linda Cimardi examines the connection between traditional performing arts and gender in western Uganda. The book focuses on runyege, the main genre of the Banyoro and Batooro people, exploring its different components of singing, instrument playing, dancing, and acting and identifying their complex relationships to gender models and expressions. Today mainly performed at Ugandan school festivals and by semiprofessional ensembles, repertoires like runyege adhere to stage conventions that have developed over several decades. Some of these conventions are powerful devices allowing the actors involved (performers, teachers, students, adjudicators, and audiences) to collectively shape an image of local culture grounded in a gender binary that is perceived as traditional. At the same time, stage conventions are exploited by some performers to negotiate their gender identities and expressions in unconventional ways, thus challenging hegemonic gender models. Moving between analysis of historical recordings, oral accounts, and present-day fieldwork data and experiences, the book engages in a comprehensive analysis of the postcolonial entanglement of arts and gender. Audio and video recordings presented in the book can be accessed on the book's companion website, http://hdl.handle.net/1802/37373.Table of ContentsList of Illustrations Foreword by Samuel Kahunde Acknowledgments Note on Language Note on the Musical Examples Note on Online Audio and Video Material Prelude: Encountering Local Culture in Western Uganda Introduction: Approaching Gender and Performing Arts in Bunyoro and Tooro 1 "Traditional Dance Preserves Culture and Shows People How to Behave": Runyege, MDD, and Gender 2 Singing Marriage, Runyege, and Labor 3 "Women Aren't Supposed to": Instrument Playing in the Past and Today 4 Shaking the Hips, Stamping the Feet: The Runyege Dance 5 Narrating and Representing Local Culture: Theater in Songs and Dances 6 Trans-Performing and Morality in Cultural Groups Postlude: Gendering Culture Appendix I. Glossary of Terms in Runyoro-Rutooro Appendix II. Historical Recordings from Bunyoro and Tooro Author's Interviews References Index

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Book SynopsisDemonstrates the profound impact of The Poems of Ossian on composers of the Romantic Era and later: Beethoven, Schubert, Mendelssohn, Brahms, Massenet, and many others. Beyond Fingal's Cave: Ossian in the Musical Imagination is the first study in English of musical compositions inspired by the poems published in the 1760s and attributed to a purported ancient Scottish bard named Ossian. From around 1780 onwards, the poems stimulated poets, artists, and composers in Europe as well as North America to break away from the formality of the Enlightenment. The admiration for Ossian's poems -shared by Napoleon, Goethe, and Thomas Jefferson - was an important stimulus in the development of Romanticism and the music that was a central part of it. More important still was the view of the German cultural philosopher Johann Gottfried Herder, who saw past the controversy over the poems' authenticity to the traditional elements in these heroic poems and their mood of lament. James Porter's long-awaited book traces the traditional sources used by James Macpherson for his epoch-making prose poems and examines crucial works by composers such as Beethoven, Schubert, Mendelssohn, Brahms, and Massenet. Many other relatively unknown composers were also moved to write operas, cantatas, songs, and instrumental pieces, some of which have proven to be powerfully evocative and well worth performing and recording.Trade ReviewIllustrates, through the continuing popularity of Ossian throughout the eighteenth and nineteenth centuries, the influence of folk legend on art-culture and popular culture. * JOURNAL OF FOLKLORE RESEARCH *Beyond Fingal's Cave: Ossian in the Musical Imagination is destined to become the definitive scholarly handbook on the most influential cultural obsession of Europe and the United States around the turn of the nineteenth century. Sweeping in scope and inclusive of vernacular as well as concert repertoires, Porter's book situates the cult of Ossian in a 'landscape of feeling' that arose out of the Burkean dichotomy between the sublime and the beautiful, while also interrogating the themes of power and subjugation. -- John Michael Cooper, author of Mendelssohn, Goethe, and the Walpurgis NightPorter discloses an intricate network of international lines of influence linking Scotland to the musical cultures of Britain, France, Germany, Italy, Russia, and America. His study brings to light unsung composers, some of whom were women. Porter makes the most persuasive case for Beethoven himself. Most riveting...is his excursus on Mendelssohn. Porter's intimate knowledge of the source material enables him to gauge the relative degree and success of each...blend of the old and the new. * EIGHTEENTH-CENTURY STUDIES *To say that the coverage and scope is impressive is almost an understatement. A thoroughly scholarly work, the monograph would find a welcome place in any university or conservatoire collection. -- Karen E. McAulay * BRIO *In the musical arena, the [Ossian] poems inspired uncountable compositions in the most varied genres, from opera to piano cycle and from overture to symphony. Porter's descriptions are vivid and well written. His knowledge of the [scholarly] literature goes deep. Porter's study is exemplary in its depth and nuance. * DIE MUSIKFORSCHUNG *Authoritative and imaginative. Technical analysis is a huge strength throughout. Beyond Fingal's Cave shows exactly why the impact of Macpherson's Ossian transcends genre, period, nation, and performance styles. This book is a scholarly tour de force, erudite and analytically fearless. It is a splendid addition to the growing body of scholarship on Ossian. -- Valentina Bold * EIGHTEENTH-CENTURY SCOTLAND *Offers fresh consideration of the relevance and immediacy of Ossian. The book accomplishes its task admirably. The book covers music from roughly 1770 to the present. Despite this enormous scope, its strength is consistent. Throughout the volume, Porter makes compelling key-related observations. What most impresses me about Porter's book...is how it...make[s] a case for the value of the music he describes. -- Sarah Clemmens Waltz * JOURNAL OF MUSICOLOGICAL RESEARCH *A fascinating and comprehensive survey. Clear notes on individual responses across most of the nations of Western Europe demonstrate the author's command of the material. -- Jane Pettegree * Soundyngs: Conversations on the History of Scottish Music *Table of ContentsNote to the Reader Battling Critics, Engaging Composers: Ossian's Spell On Macpherson's Native Heath: Primary Sources A Culture without Writing, Settings without A Score, Haydn without Copyright, and Two Oscars on Stage "A Musical Piece": Harriet Wainewright's Opera, Comàla (1792) Between Gluck and Berlioz: Méhul's Uthal (1806) Fingallo e Comala (1805) and Ardano e Dartula (1825): The Ossianic Operas of Stefano Pavesi From Venice to Lisbon and St. Petersburg: Calto, Clato, Aganadeca, Gaulo ed Oitona and Two Fingals Beethoven's Ossianic Manner, or, Where Scholars Fear to Tread Excursus: Mendelssohn Waives the Rules: "Overture to the Isles of Fingal" and an "Unfinished" Coda The Maiden Bereft: "Colma" from Rust (1780) to Schubert (1816) Scènes lyriques sans frontières: Louis Théodore Gouvy's Le dernier Hymne d'Ossian (1858) and Lucien Hillemacher's Fingal (1880) Ossian in Symbolic Conflict: Bernhard Hopffer's Darthula's Grabesgesang (1878), Jules Bordier's Un rêve d'Ossian (1885), and Paul Umlauft's Agandecca (1890) The Musical Stages of "Darthula": From Thomas Linley Jr (ca.1775) to Arnold Schoenberg (1903) and Armin Knab (1906) Cantatas as Drama: Joseph Jongen's Comala (1897), Jørgen Malling's Kyvala (1902) and Liza Lehmann's Leaves from Ossian (1909) Symphonic Poem and Orchestral Fantasy: Alexandre Levy's Comala (1890), and Charles Villiers Stanford's Lament for the Son of Ossian (1903) Neo-Romanticism in Britain and America: John Laurence Seymour's "Shilric's Song" (from Six Ossianic Odes), and Cedric Thorpe Davie's cantata, Dirge for Cuchullin (both 1936) Modernity, Modernism and Ossian: Erik Chisholm's Night Song of the Bards (1944-51), James MacMillan's The Death of Oscar (2013), and Jean Guillou's Ballade Ossianique No. 2: Les Chants de Selma (1971, rev. 2005) Afterword: The "Half-Viewless Harp" - Secondary Resonances of Ossian Appendix 1:Title Page and Dedication of Harriet Wainewright's Comàla Appendix 2: French and German Texts of Gouvy's Le dernier Hymne d'Ossian Appendix 3: Texts for Erik Chisholm's Night Song of the Bards Appendix 4: Provisional List of Musical Compositions Based on the Poems of Ossian Notes Selected Bibliography

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Book SynopsisReveals the brilliant musical and pedagogical thinking of the famed eighteenth- and early nineteenth-century Neapolitan composer and teacher of royal students. Giovanni Paisiello (1740-1816) was one of the most important composers of opera in the eighteenth century. His operas were performed throughout Europe, and his fame led to appointments as a maestro di cappella and composer at prominent European courts. This book is the first study to address his work as a teacher of composition and what we would today call music theory. The practice of partimento (figured or unfigured bass lines) was an integral part of the training of musicians at the renowned conservatories in eighteenth-century Naples. By employing these often-unprepossessing partimento bass lines, young musicians learned the techniques of variation, improvisation, and composition while seated at the harpsichord. Paisiello's Regole per bene accompagnare il Partimento (Rules for Harpsichordists; 1782) survives in both autograph and printed forms. It contains forty-six partimenti that have long been considered the core of his pedagogic oeuvre. However, two recently discovered manuscripts contain a further forty-one unknown partimenti, notated as two- and three-part disposizioni (realizations). The present study offers numerous insights gleaned from the surviving sources and bolsters our understanding of how to perform the music of Paisiello and his contemporaries: music that has often survived in an incomplete form. These findings are relevant not just for keyboard players but also for singers, instrumentalists, and anyone interested in the inner workings of eighteenth- and early nineteenth-century music.Table of ContentsPreface and Acknowledgments Preliminary Remarks Abbreviations Illustrations Introduction Chapter 1 Giovanni Paisiello, Composer and Teacher Chapter 2 The Sources Chapter 3 Instruction at the Conservatories Chapter 4 Paisiello's Regole (1782) Chapter 5 Practical Examples from Paisiello's Circle Chapter 6 The Practical Application of Partimenti Today Afterword Appendix I Incipits and Sources for the Partimenti of Giovanni Paisiello Appendix II Concordance for the Sources of Giovanni Paisiello's Partimenti Appendix III Disposizioni à 2 and Disposizioni à 3 on Partimento Gj2319 by Giovanni Paisiello Appendix IV Partimenti from Giovanni Paisiello's Regole (1782) Appendix V Historical Realizations of Partimenti by Francesco Durante from The Vessella Manuscript and The Gallipoli Manuscript Appendix VI "Preludio" and "Rondò" in B-flat major by Giovanni Paisiello, both in the Original Version and in a Suggested Variation by This Author Appendix VII Emanuele Imbimbo: Observations sur l'enseignement mutuel (1821) Appendix VIII A Solfeggio Attributed to Giovanni Paisiello in its Original Version and with a Varied Upper Voice by This Author Appendix IX Giovanni Paisiello, Regole per bene accompagnare il Partimento, St. Petersburg, 1782 Appendix X Newly Discovered Partimenti by Giovanni PaisielloPrimary sources Manuscripts Publications Bibliography Electronic Resources Index

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Book SynopsisThe first full-length study of the musical pasts of Asafo warrior associations based on the author's "ways of walking" with local scholars along the Ghanaian littoral. What is Asafo ndwom (music)? How and when is it performed? What is the state of this warrrior tradition that once served as the bedrock of the Akan, Ewe, and Ga societies in Ghana? How does Asafo enact the past and serve as an archive for the people? In an attempt to answer these questions, Walking with Asafo in Ghana investigates the musical pasts of Asafo. The book is an ethnography of walking, organized into eight chapters. Each chapter ends with a piece of creative writing in the author's "ethnographic voice," in which she sums up the main ideas. It is Aduonum's attempt at an anticolonial and decolonialist African musicology, one that subverts and decenters white racial framing of research, analysis, and presentation, disrupting how Euro-American concepts frame our ways of telling and experiencing ndwom. Aduonum's goal on this trajectory is to tell her story, create something new, and chart a new path. Through this fluid and complex book, she repositions African Elders' knowledge as "epistemologies of decolonization and de-coloniality" and centers the stories shared by local Fante scholars. The text is polyvocal, multimodal, multiperspective, performative, reflexive, and dialogic, informed by the structure of Asafo ndwom, appellations, proverbs, her mentors' tellings, and "embodied" calling and responding. It is a performative scholarly discourse, ndwom-based: a performance. As a celebration of Asafo, those warriors who insisted their lives matter, the text is meant to be read and performed. This book is openly available in digital formats thanks to a generous grant from the Andrew W. Mellon Foundation.Table of ContentsNkankyee | Summoning Asafo Introduction Part 1. Walking into the Past 1. Walking for Asafo: Entangled Meanings, Abakosem Awakenings 2. Knocking: History Walking 3. Memory Walking: A Haptic Way of Knowing Part II. Walking with Women 4. Walking with Women at Kokoado Hill and Kormantse Seaside 5. "It was Too Sweet!" Walking with Two Kormantse Women Part III. Walking with Asafo Music 6. The Listening and Musicking Walk 7. "Kenkan Makes it Sweet": Walking with Asafo Ndwom 8. Anammͻn: Shadows in the Field, Leaving Footprints Nkekaho | Re-Invocation References Index

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Book SynopsisOffers expansive and intersecting understandings of erotic subjectivity, intimacy, and trauma in performance ethnography and in institutional and disciplinary settings. Focused on research within Africa and the African diaspora, contributors to this volume think through the painful iterations of trauma, systemic racism, and the vestiges of colonial oppression as well as the processes of healing and emancipation that emerge from wounded states. Their chapters explore an acoustemology of intimacy, woman-centered eroticism generated through musical performance, desire and longing in ethnographic knowledge production, and listening as intimacy. On the other end of the spectrum, authors engage with and question the fetishization of race in jazz; examine conceptions of vulgarity and profanity in movement and dance-ethnography; and address pain, trauma, and violation, whether physical, spiritual, intellectual, or political. Authors in this volume strive toward empathetic, ethical, and creative ethnographic engagements that summon vulnerability and healing. They propose pathways to aesthetic, discursive transformation by reorienting conceptions of knowledge as emergent, performative, and sonically enabled. The resulting book explores sensory knowledge that is frequently left unacknowledged in ethnographic work, advancing conversations about performed sonic and somatic modalities through which we navigate our entanglements as engaged scholars.Table of ContentsForeword: Let It Get Into You Deborah Kapchan Acknowledgements Introduction: On Intimate Entanglements Sidra Lawrence 1. Yusef's Breath: Jazz Love, Cross-Racial Identification, and Paying Dues Tracy McMullen 2. Three Reflections, with Epilogue Steven Cornelius 3. Modulating Flawed Bodies: Intimate Acoustemologies, Chronic Pain, and Ethnographic Pianism Mark Lomanno 4. Performing Desire: Race, Sex, and the Ethnographic Encounter Sidra Lawrence 5. Thick Descriptions Catherine M. Appert 6. Entering the Lives of Others: Entangled Intimacies, Trauma, and Performance Ama Oforiwaa Aduonum 7. Ethnomusicological Empathy: Excavating a Black Graduate Student's Heartland Danielle Davis 8. Ethnomusicological Becoming: Deep Listening as Erotics in the Field Carol Muller 9. Mirror Dancing in Congo: Reflections on Fieldwork as Blanche Neige Lesley N. Braun 10. Ethnography and Its Double(s): Theorizing the Personal with Jews in Ghana Michelle Kisliuk Notes on Contributors Index

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Book SynopsisScholars explore from many fresh angles the interweavings of two of the richest strands of human culture - music and esotericism - with examples from the medieval period to the modern age. Music and esotericism are two responses to the intuition that the world holds hidden order, beauty, and power. Those who compose, perform, and listen to music have often noted that music can be a bridge between sensory and transcendent realms. Such renowned writers as Boethius expanded the definition of music to encompass not only sounded music but also the harmonic fabric of human and cosmic life. Those who engage in pursuits called "esoteric," from ancient astrology, magic, and alchemy to recent and more novel forms of spirituality, have also remarked on the relevance of music to their quests. Esotericists have composed music in order to convey esoteric meaning, performed music to create esoteric influences, and listened to music to raise their esoteric awareness. The academic study of esotericism is a young field, and few researchers have probed the rich interface between the musical and esoteric domains. In Explorations in Music and Esotericism, scholars from numerous fields introduce the history of esotericism and current debates about its definition and extent. The book's sixteen chapters present rich instances of connections between music and esotericism, organized with reference to four aspects of esotericism: as a form of thought; as the keeping and revealing of secrets; as an identity; and as a signifier. Edited by Marjorie Roth and Leonard George. Contributors: Elizabeth Abbate, Malachai Komanoff Bandy, Adam Bregman, Charles E. Brewer, Benjamin Dobbs, Anna Gawboy, Pasquale Giaquinto, Adam Knight Gilbert, Joscelyn Godwin, Virginia Christy Lamothe, Andrew Owen, Christopher Scheer, Codee Ann Spinner, Woodrow Steinken, and Daphne Tan.Trade ReviewThe serious study of esotericism among contemporary academics...has been a welcome shift in the musicological landscape. [This book] reminds us that the esoteric is something more than marginal: it too is part of our cultural heritage. * MUSICAL OPINION QUARTERLY *Table of ContentsForeword Joscelyn Godwin Acknowledgments Introduction: The Muzzled Muse Leonard George and Marjorie Roth * Part One: Esotericism as a Form of Thought 1. The Hermaphroditic Nature of the mi-fa Complex Adam Bregman 2. Athanasius Kircher and the Nature of Ecstatic Listening Charles Brewer 3. Claude Bragdon's Images of the Seven Degrees of the Scale Joscelyn Godwin 4. Music Analysis as Esoteric Activity: Viktor Zuckerkandl at Eranos Daphne Tan * * Part Two: Esotericism as the Keeping and Revealing of Secrets 5. Concealment Revealed: Sound and Symbol in Ockeghem's Missa Quinti toni and Missa Prolationum Adam Knight Gilbert 6. Air and Eros: Musician as Demiurge in Renaissance Magic Leonard George 7. "De septenario illo et sacro numero": The Divine Septenarius in Baryphonus and Grimm's Pleiades musicae Benjamin Dobbs 8. The Hoard and the Grail: A Wagnerian Conspiracy in Five Parts Woodrow Steinken * * * Part Three: Esotericism as an Identity 9. Tommaso Campanella, the Barberini Palace, and the Soul's Perception of Music Virginia Christy Lamothe 10. Sonic Symbolism: Matthew Cooke's Music for the Scottish Rite Craft Degrees Andrew Owen 11. New American Eden: Katherine Tingley in Lomaland Christopher M. Scheer 12. Theosophy and the Esoteric Roots of Sun Ra's Afrofuturism Anna Gawboy * * * * Part Four: Esotericism as a Signifier 13. "Im Himmel und auf Erden": Geometry, Alchemy, and Rosicrucian Symbol in Buxtehude's Herr, wenn ich nur dich hab' (BUXWV 38) Malachai Komanoff Bandy 14. (In)Audible Sound and Spiritualist Acoustemologies Codee Ann Spinner 15. As Above, So Below: Magic Squares and Immutable Laws of Nature in Webern's Opus 24 Elizabeth Abbate 16. The Osiris-Light in Nino Rota's Music Pasquale Giaquinto Contributors to This Volume Index

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Book SynopsisThe first biography of the composer Gérard Grisey shows how the artist's sensuality and rigor came together to form the musical genre known as spectralism. The French composer Gérard Grisey (1946-98) changed the course of music history with his small but potent output. Labeled "spectral" music, his compositions looked to the physics of sound and the capacities of human perception for material and inspiration. Born in Belfort, Grisey was the son of a French Resistance veteran turned car mechanic and a homemaker. His first instrument was as humble as his background: the accordion. But Grisey rose from his provincial background to the heights of his profession. This first biography of Grisey traces his journey from rigid Catholicism to broader mysticism; his studies in Olivier Messiaen's legendary composition class; the development of the first "spectral" works in the 1970s; Grisey's stint teaching at the University of California at Berkeley, during which he suffered severe depression; the development of his late, post-spectral style; and his untimely death at the age of 52, shortly after completing his masterpiece on death, the Four Songs for Crossing the Threshold. Drawing on original archival research, interviews with more than fifty of Grisey's colleagues, friends, and lovers, and the study of previously overlooked sketches, this biography shows the delirium and form at the heart of Grisey's life and art—the structured sensuality that allowed him to revolutionize the music of the twentieth century.Table of ContentsAcknowledgments 1. The Lost Voice (1946-1961) 2. The Carnal Shell (1961-1965) 3. The Rhythm of Love (1965-1967) 4. Exchange Beyond Language (1968-1970) 5. The Silence that Attracts (1970-1972) 6. The Sensual Embrace (1972-1974) 7. Ultimate Fusion (1974-1978) 8. Astarte (1978-1979) 9. Extreme Pleasure, Extreme Pain (1980-1982) 10. The Grains of Sound (1982-1986) 11. Absolute Love (1986-1988) 12. Seduced by the Star (1988-1991) 13. Suggestions of the Infinite (1991-1996) 14. Nut (1996-1998) 15. Berceuse Bibliography Index

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Book SynopsisIlluminates how voice, faith, and hearing become intertwined with technologies of sound reproduction and mobility amid the rapidly transforming religious landscape of China's ethnic borderland. The twentieth-century expansion of Protestantism among the upland peoples in the China-Southeast Asia borderlands has catalyzed a profound sociocultural change in the region. In Faith by Aurality in China's Ethnic Borderland, Ying Diao finds important sonic evidence for this religious revolution in the rapidly transforming region of northwest Yunnan, presenting a compelling account of the region's Christian minority and highlighting the importance of aurality in this group's response to Christianity and other modernizing projects. Diao documents a range of sounded religious practices by the Lisu, an indigenous yet historically migratory people, to examine how participatory music production, circulation, and consumption become integral to indigenous perception and experience of faith. Weaving together evidence from multisite fieldwork, archival records, and audiovisual media, Diao demonstrates a nuanced understanding of people of faith at the margins, one centered on the sensual and material dimensions of religion and on the intertwining of local agency and external hegemonic forces. The resulting book provides historical and contextual information that enriches anthropological, ethnomusicological, and historical scholarship on global Christianity while showing how sound can be an ambivalent but fruitful avenue through which ways of faith are constructed in a context where religion remains voiceless.Table of ContentsAcknowledgments Notes on Romanization and Terminology Introduction 1. Becoming the Faithful: Cleanliness and Conversion 2. Hearing the Return of Faith: Radio and Listening Audience 3. Producing Gospel Songs: Studio and Media Practitioners 4. Faces and Places: Sounds That Recognize 5. Traces of Faith: Sound Artifacts and Infrastructures 6. Performing Recorded Songs: Religiosity by Body 7. Hidden Faith: Sanitizing the Voice Conclusion: Faith on the New Frontier Appendix 1: Glossary of Old Lisu Appendix 2: Glossary of Chinese Characters References Index

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Book SynopsisStravinsky's influence on Debussy in 1910-13, rarely discussed, is demonstrated here in the many modernistic features of such works as the Preludes Book II, Khamma, and Jeux.This book reassesses the relationship between Debussy and Stravinsky, two of the most important composers of the early twentieth century. When the Russian composer traveled to France in 1910 to attend the premiere of his first ballet, The Firebird, he was invited to dine at the French composer's house, and a photo of the two commemorates the beginning of their friendship. Stravinsky was already acquainted with many of Debussy's earlier works, and Debussy was introduced to the Russian composer's first three ballets between 1910 and 1913. Stravinsky's early works contain Debussy-like passages, as in the opening measures of his opera The Nightingale, which echoes the opening measures of Debussy's "Nuages." As author Mark McFarland here shows, however, the adoption on Debussy's part of characteristics from Stravinsky's style is, perhaps surprisingly, no less substantial. Debussy borrowed motifs from both The Firebird and Petrushka as well as the Russian tradition of Leitharmony in his little-known ballet Khamma, and Stravinsky's ballets, including The Rite of Spring, seems to have sparked an exploration into octatonic harmony in Debussy's second book of piano preludes. McFarland's close analysis of parallel passages and usages in works of the two composers also reveals that Debussy eventually distanced himself from Stravinsky, perhaps fearing to seem like an acolyte rather than an innovator. His borrowings from Stravinsky (and Russian style) gradually disappear, as McFarland demonstrates by close attention to passages in some of the late works, which move in the direction of a neoclassicism that Stravinsky himself would soon adopt and expand further.

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Book SynopsisThis book forms a basis and a starting point for a closer dialogue between musicologists, anthropologists and psychologists to achieve a better understanding of the cultural psychology of musical experience. This is done by arranging a meeting point or an arena in which different aspects of psychology and musicology touch and encounters each other due to how the two fields might be defined today. In line with this the book consists of a group of scholars that have their feet solidly grounded in psychology, social science or musicology, but at the same time have a certain interest in uniting them. On this basis it is divided into five parts, which investigates musical sensations, musical experiences, musical transformations, musical fundamentals and the notion of a cultural psychology of music. Thus another aim of this book is to prepare the basis for a further growth of a cultural psychology that is able to include the experiences of music as a basis for understanding the ordinary human life. Thus this book should be of interest for those who want to investigate the mysterious intersection between music and psychology.

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Book SynopsisThis book forms a basis and a starting point for a closer dialogue between musicologists, anthropologists and psychologists to achieve a better understanding of the cultural psychology of musical experience. This is done by arranging a meeting point or an arena in which different aspects of psychology and musicology touch and encounters each other due to how the two fields might be defined today. In line with this the book consists of a group of scholars that have their feet solidly grounded in psychology, social science or musicology, but at the same time have a certain interest in uniting them. On this basis it is divided into five parts, which investigates musical sensations, musical experiences, musical transformations, musical fundamentals and the notion of a cultural psychology of music. Thus another aim of this book is to prepare the basis for a further growth of a cultural psychology that is able to include the experiences of music as a basis for understanding the ordinary human life. Thus this book should be of interest for those who want to investigate the mysterious intersection between music and psychology.

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Book SynopsisThe U.S. incarceration machine imprisons more people than in any other country. Music-Making in U.S. Prisons looks at the role music-making can play in achieving goals of accountability and healing that challenge the widespread assumption that prisons and punishment keep societies safe. The book’s synthesis of historical research, contemporary practices, and pedagogies of music-making inside prisons reveals that, prior to the 1970s tough-on-crime era, choirs, instrumental ensembles, and radio shows bridged lives inside and outside prisons. Mass incarceration had a significant negative impact on music programs. Despite this setback, current programs testify to the potency of music education to support personal and social growth for people experiencing incarceration and deepen social awareness of the humanity found behind prison walls. Cohen and Duncan argue that music-making creates opportunities to humanize the complexity of crime, sustain meaningful relationships between incarcerated individuals and their families, and build social awareness of the prison industrial complex. The authors combine scholarship and personal experience to guide music educators, music aficionados, and social activists to create restorative social practices through music-making.Trade Review“Music-Making in U.S. Prisons is an important work that demonstrates the power of collaborative musical art-making within prisons with an illustrative collection of examples from many locations and across timespans. This book is grounded in humanity, both an incarcerated individual’s understanding of their own humanity, and society’s perception of it within incarcerated people. I believe it will spark the imagination of many practitioners and could encourage more dramatic change in the prison-industrial complex through the mechanisms described: connecting people inside to the community outside and reinforcing the humanity and dignity of everyone involved.” —Robert Pollock, Prison Writing Program Manager, PEN America “At just the right moment—as art is increasingly recognized as a potent weapon in the ongoing fight against mass incarceration—this thoughtful, artful, humanizing analysis of music’s role as an agent of healing and collective action is critical reading.” —Dr. Baz Dreisinger, author of Incarceration Nations: A Journey to Justice in Prisons Around the WorldTable of Contents 1: Why Music-Making in Prisons? 2: “Might Is Not Always Right”: Historical Reflections of Music-Making in U.S. Prisons 3: “In Encourage Everyone to Step Out of Their Comfort Zone”: Developing Agency in Instrumental Music Education in Prisons 4: “Their Singing Saved Me”: Social Awareness through Choral Singing 5: Dynamic Nature of Songwriting in Prisons: Interactions among Singers, Prison Staff, and Audience Members 6: “So Much More”: Pedagogies that Support Human Dignity and Social Responsibility for Musical Communities Working toward Abolition of the Prison Industrial Complex

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Book SynopsisPreviously, artificial neural networks have been used to capture only the informal properties of music. However, cognitive scientist Michael Dawson found that by training artificial neural networks to make basic judgments concerning tonal music, such as identifying the tonic of a scale or the quality of a musical chord, the networks revealed formal musical properties that differ dramatically from those typically presented in music theory. For example, where Western music theory identifies twelve distinct notes or pitch-classes, trained artificial neural networks treat notes as if they belong to only three of four different pitch-classes, a wildly different interpretation of the components of tonal music.Intended to introduce readers to the use of artificial neural networks in the study of music, this volume contains numerous case studies and research findings that address problems related to identifying scales, keys, classifying musical chords, and learning jazz chord progressions. A detailed analysis of networks is provided for each case study which together demonstrate that focusing on the internal structure of trained networks could yield important contributions to the field of music cognition.

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Book SynopsisIn 2012, Thomas Gardner and Salome Voegelin hosted a colloquium, entitled "Music - Sound Art: Historical Continuum and Mimetic Fissures", at the London College of Communication, University of the Arts London. This colloquium dealt with the current fervent debate concerning the relationship between sound art and music. This book proposes the opening of the colloquium to a wider readership through the publication of a decisive range of the material that defined the event.

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Book SynopsisA detailed study of the well-known, yet poorly understood, music theory of composer Paul Hindemith (1895-1963). The music theory of composer Paul Hindemith (1895-1963), originally entitled Unterweisung im Tonsatz, is well known, yet poorly understood. This book provides a critical engagement with Hindemith's Unterweisung, particularly concerning its relationship to existing acoustic music theories. By examining different Unterweisung-versions, it charts the evolution of Hindemith's use of language and mode of communication, including his reference to polytonality, atonality, Fuxian species counterpoint, and avoidance of existing music for his examples. It also elaborates the source material on which the theory is based, using a reconstruction of Hindemith's personal library. Central to the book is the relationship of Hindemith's Unterweisung to his compositional practice. Hindemith's fascination with the challenges of music theory falls into a middle period in his oeuvre, enabling profitable comparisons with his compositional practice both before and after his theory-making. The book also comprises a detailed discussion of Hindemith's theoretical and compositional legacy. Beginning with an overview of existing polemics, it draws together unpublished materials from the Yale Hindemith Institute with reminiscences from former students to construct an Unterweisung reception history. The book shows that, while many areas of Hindemith's theory have been overtaken by recent interests in music theory that relate to cognition and geometry, his influence has been deeply felt. SIMON DESBRUSLAIS is Lecturer in Music and Director of Performance at the University of Hull and an internationally acclaimed trumpet soloist.Table of ContentsIntroduction An Unterweisung Critical Commentary Hindemith's Fourths Stylistic Borrowing and Pre-Unterweisung Music The Ludus Tonalis as Quintessential Hindemith Theory-based Revisions Practical Music and Practical Textbooks The Hindemith Legacy Postlude Bibliography

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Book SynopsisPostmodernity's Musical Pasts covers topics from classical to popular and neo-traditional musics to concerns of the disciplines of musicology. These provide insights how the progression of time and history can be conceptually understood after 1945. Postmodernity's Musical Pasts relies on an extensive and varied spectrum of topics, from both the centre and the periphery of the musicological canon, that mirror the eclectic and diverse nature of the postwar era itself. The first section, 'Time and the (Post)Modern', investigates how to understand manifestations of the past in musical composition with regard to time, on the one hand, and with regard to genre, style, and idiom, on the other. The second section, 'Manifestations of History', shows how time and history manifest themselves in art music. A third section, 'Receptions of the Past', takes the contrasts and transitional moments of post-1945 practices further by looking at the temporality of reception from different angles. A final part investigates questions of nostalgia and the temporalities of belonging. The volume subverts the understanding of temporality as linear progression of past, present, and future. It offers new avenues of conceptual thinking relevant for those engaged in the study of music history and culture and for the humanities at large.Table of ContentsIntroduction - Tina Fruehauf Music and Postmodern Time - Lawrence Kramer 'Aesthetic Indigestion': Alfred Schnittke, Anachronism, and the Contemporary Cadenza's Musical Pasts - Joshua S. Walden John Adams's Post-stylistic Approach to the Past: A Response to the Uncertain Future of a Globalized World? - Max Noubel Germany Post Modernism and the Sphericity of Time - Laurenz Lütteken Visions of the 'End of History', 1968, and the Emergence of 'Postmoderne Musik' in West Germany - Beate Kutschke (Neo-)Schenkerism and the Past: Recovering a Plurality of Critical Contexts - John Koslovsky From Bach to Neruda: Historicity and Heterogenous Temporality in the Chilean Cantata (1941-69) - Daniella Fugellie Time Re-Covered: Double Temporality in Olga Neuwirth's Hommage à Klause Nomi - Georg Burgstaller The Past is Home: Eduardo Martínez Torner in Postwar London -- An Exile's Nostalgia for Spanish Musicology - Susana Asensio Llamas Historical Nostalgia, Nature, and the Future in Three Iconic Albums from 1971: Aqualung, Who's Next, and Led Zeppelin IV - Caitlin Carlos Indie Neofado's Temporality: A Tale of Two Nostalgia's - Michael Arnold

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Book SynopsisBeethoven's Lives will be required reading for anyone interested in understanding how Beethoven biography has evolved through the ages. When Ludwig van Beethoven died in March 1827, the world of music felt an intense loss. The composer's funeral procession was one of the largest Vienna had ever witnessed, and the poet Franz Grillparzer's eulogy brought the tensions between the composer's life and music into sharp focus: the deaf and aloof genius, the alienated and eccentric artist, unable to form a lasting relationship with a woman but reaching out to mankind. These apparent contradictionswere to attract many Beethoven biographers yet to come. Here, Lewis Lockwood, himself a much-lauded Beethoven biographer, tells the story of Beethoven biography, from the earliest attempts made directly after the composer's death to the present day. Beethoven's Lives casts a wide net, tracing the story of Beethoven biography from Anton Schindler as biographer and falsifier, through the authoritative Alexander Wheelock Thayer and down tothe present. The list includes Gustav Nottebohm, the first scholar to study Beethoven's sketchbooks. With his work, biography could begin to reflect on the inner life of the artist as expressed in his music, and in this sense, sketchbooks could be seen as artistic diaries. Even Richard Wagner thought of writing a Beethoven biography, and the late nineteenth and early twentieth century saw the emergence of French and English traditions of Beethoven biography. In the tumultuous twentieth century, with world wars and fractured politics, the writing of Beethoven biography was sometimes caught up in the storm. By bringing the story down to our time, Lewis Lockwood identifiestraditions of Beethoven biography that today's scholars and writers need to be aware of. As Lockwood shows, each biography reflects not only on the individual writer's knowledge and interests, but also his inner sense of purposeas each writer works within the intellectual framework of his time. LEWIS H. LOCKWOOD is one of the leading authorities on Beethoven worldwide. Having taught at Princeton and Harvard, some of his key Beethoven publications include: Beethoven: The Music and the Life (Norton, 2003; translated into many languages), as well as Beethoven's Symphonies: An Artistic Vision (Norton, 2015) and with the Julliard String Quartet: Inside Beethoven'sQuartets: History, Performance, Interpretation (Harvard University Press, 2008). He is known for his studies of Beethoven's life and work, including the composer's autograph manuscripts and sketchbooks.Trade ReviewRemarkably, Lockwood manages to offer something meaningful about the strengths and limitations of a vast literature of Beethoven biographies by German, Austrian, American, French, and British authors. With each biography, Lockwood tells us how (and if) a biography advances knowledge and understanding of Beethoven in its own time (and in some cases far beyond). Throughout, readers learn how biographers reflect the biases of their time and cultural milieu. . . . In short, Lockwood's brief but meaningful Lives seems to support the Latin adage upon which Beethoven based three musical canons: "Ars longa, vita brevis." -- Geoffrey Block * NOTES, Quarterly Journal of the Music Library Association *Lockwood has made vital contributions to Beethoven scholarship, and in the present volume he offers scholarship about Beethoven scholarship. Highly recommended. -- B. J. Murray * CHOICE *Beethoven's Lives shows that our understanding of the music has always been profoundly shaped by the stories we tell about the man. * The New York Review of Books *Table of ContentsThe Earliest Biographers Beethoven Biography, 1840-c.1875 The Late Nineteenth and Early Twentieth Centuries Beethoven Biography and European Politics, 1933-1977 The Modern Era Exploring Beethoven's Life and Work: Three Sample Years Reminiscences and Reflections Bibliography Index

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Book SynopsisHow does music manifest through time and, simultaneously, how does time manifest through music? For the experimental psychologist, the experience of time during music listening or performance is something that may be studied empirically. For philosophers, fundamental questions of time continue to be the subject of ongoing debate in philosophy: is time linear? What are past, present and future? What is duration and what makes a perceptual present, or moment? For the performer, musical time can exist as a subjective vehicle of expression. Although any of the three could be chosen as a starting point, the order presented in the text's structure offers a journey from empiricism to application, via contemplation. This volume deals with the complex relationship between music and time. It presents a staunchly interdisciplinary perspective defined by the terms Psychology, Philosophy and Practice. The text is divided into sections concerning "experience", "enactment" and "meaning", as points of intersection between the three primary methodologies of the title. As such, this is a book for the scholar, the student of music, and the interested reader. For the scholar, it offers new interconnections and comparisons. For the student, its pluralistic approach presents the most comprehensive overview available to date regarding the topic. For the interested reader, the volume offers answers to questions which concern us as listeners and audiences at concerts, gigs, and festivals.Table of ContentsIntroduction Matthew Sergeant and Michelle Phillips Part I. Experiences 1. Music Listening and the Perception of Time: The LEMI Model Michelle Phillips 2. The Remembrance of Things to Be: An Approach to Memory, Repetition, and Cyclical Structures Bryn Harrison 3. An Overview of the Psychology of Time Perception Luke A. Jones 4. The Perceptual Present and the Philosophical Puzzle of Musical Experience Abigail Connor and Joel Smith Part II. Enactments 5. Ensemble Timing in String Quartets Alan Wing, Maria Witek, Ryan Stables, and Adrian Bradbury 6. Midway Ambiguities: Disorientation and Interpretation in Long-Duration Music Philip Thomas 7. Live Coding as a Theatre of Agency and a Factory of Time Alejandro Franco Briones Part III. Meanings 8. Comparing Temporal Fictions in Tonality and Triadic Post-Tonality: Chopin's Fourth Ballade as a Link Between the Ages Jason Noble 9. Nothing Really Changes': Material Processes in and as Timein hearmleoþ-gieddunga Lauren Redhead 10. Music, Time, and Society Matthew Sergeant Conclusion: Multiplicity, Fluidity, Fragility Michelle Phillips and Matthew Sergeant Bibliography Index

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Book SynopsisI've long known that musicians understand copyright law as little as copyright lawyers understand music, but this book shows brilliantly that such mutual ignorance is deeply rooted in historical, philosophical and practical arguments about music making. In persuading both musicologists and legal theorists to address issues of authorship, creativity, property and performance, Andreas Rahmatian has put together a collection that is essential reading for anyone concerned with the uneasy relationship of music and law. This is a sophisticated, instructive and stimulating book.'- Simon Frith, University of Edinburgh, UK'Rahmatian's edited collection in ''Concepts of Music and Copyright' is provoking and revelatory. It is an elegant colloquy between four musicologists and four lawyers. The resultant discourse reveals a rich seam of amazing stories and judicial decisions on authorship, creativity and the law in the sphere of musical composition and performance. The book is not only for music scholars and copyright lawyers, but is ideal for any scholar who professes to enjoy socio-legal philosophy, music lore, or the history of ideas. Needless to add, it is a must-have for copyright judges.'- Uma Suthersanen, University of London, UK'This collection considers the blurred lines between copyright law and music - from early musicology to the Golden Age of MTV and the rise of YouTube and mash-ups. It explores key concepts such as copyright works, subject matter, authorship, originality, copyright infringement, safe harbours, and takedown notices. This collection also examines the clash between legal theories of music, and perceptions of copyright law in musical communities.'- Matthew Rimmer, Queensland University of Technology (QUT), AustraliaCopyright specialists have often focused on the exploitation of copyright of music and on infringement, but not on the question of how copyright conceptualises music. This highly topical volume brings together specialists in music, musicology and copyright law, providing a genuinely interdisciplinary research approach. It compares and contrasts the concepts of copyright law with those of music and musical performance. Several tensions emerge between the ideas of music as a living art and of the musical work as a basis for copyright protection.The expert contributors discuss the notions of the musical work, performance, originality, authorship in music and in copyright, and co-ownership from the disciplinary perspectives of music, musicology and copyright law. The book also examines the role of the Musicians' Union in the evolution of performers' rights in UK copyright law, and, in an empirical study, the transaction costs theory for notice-and-takedown regimes in relation to songs uploaded on YouTube.This unique study offers an interdisciplinary perspective for academics, policymakers and legal practitioners seeking a state-of-the-art understanding of music and copyright law.Contributors: J. Butt, M. Parker Dixon, A. Firth, P.J. Heald, B. Heile, A. Rahmatian, C. Waelde, J. WilliamsonTrade Review‘I've long known that musicians understand copyright law as little as copyright lawyers understand music, but this book shows brilliantly that such mutual ignorance is deeply rooted in historical, philosophical and practical arguments about music making. In persuading both musicologists and legal theorists to address issues of authorship, creativity, property and performance, Andreas Rahmatian has put together a collection that is essential reading for anyone concerned with the uneasy relationship of music and law. This is a sophisticated, instructive and stimulating book.’ -- Simon Frith, University of Edinburgh, UK‘Rahmatian’s edited collection in ‘Concepts of Music and Copyright’ is provoking and revelatory. It is an elegant colloquy between four musicologists and four lawyers. The resultant discourse reveals a rich seam of amazing stories and judicial decisions on authorship, creativity and the law in the sphere of musical composition and performance. The book is not only for music scholars and copyright lawyers, but is ideal for any scholar who professes to enjoy socio-legal philosophy, music lore, or the history of ideas. Needless to add, it is a must-have for copyright judges.’ -- Uma Suthersanen, University of London, UK‘This collection considers the blurred lines between copyright law and music – from early musicology to the Golden Age of MTV and the rise of YouTube and mash-ups. It explores key concepts such as copyright works, subject matter, authorship, originality, copyright infringement, safe harbours, and takedown notices. This collection also examines the clash between legal theories of music, and perceptions of copyright law in musical communities.’ -- Matthew Rimmer, Queensland University of Technology (QUT), Australia‘The editor and authors of this fascinating collection are to be highly praised for their excellent scholarship. How Music Perceives Itself and How Copyright Perceives Music ought to be required reading for all those who have an interest in copyright law in the context of musical authorship, performance and licensing.’ -- Queen Mary Journal of Intellectual PropertyTable of ContentsContents: Introduction 1. What is a ‘Musical work’? Reflections on the Origins of the ‘Work Concept’ in Western Art Music John Butt 2. Music Performed: What is Beyond the Score? Charlotte Waelde 3. Creativity and Possessive Interests Martin Parker Dixon 4. The Elements of Music Relevant for Copyright Protection Andreas Rahmatian 5. Who wrote Duke Ellington’s Music? Authorship and Collective Creativity in ‘Mood Indigo’ Björn Heile 6. Music and Co-authorship/Co-ownership Alison Firth 7. For the Benefit of All Musicians? The Musicians’ Union and Performers’ Rights in the UK John Williamson 8. How Notice-and-Takedown Regimes Create Markets for Music on Youtube: An Empirical Study Paul J. Heald Index

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