Theory of music and musicology Books

Book SynopsisThis publication benefited from the support of the Institute for Scholarship in the Liberal Arts at the University of Notre Dame.This collective volume concentrates on the concept of transposition, exploring its potential as a lens through which to examine recent Francophone literary, cinematic, theatrical, musical, and artistic creations that reveal multilingual and multicultural realities. The chapters are composed by leading scholars in French and Francophone Studies who engage in interdisciplinary reflections on the ways transcontinental movement has influenced diverse genres. It begins with the premise that an attentiveness to migration has inspired writers, artists, filmmakers, playwrights and musicians to engage in new forms of translation in their work. Their own diverse backgrounds combine with their awareness of the itineraries of others to have an impact on the innovative languages that emerge in their creative production. These contemporary figures realize that migratory actualities must be transposed into different linguistic and cultural contexts in order to be legible and audible, in order to be perceptible—either for the reader, the listener, or the viewer. The novels, films, plays, works of art and musical pieces that exemplify such transpositions adopt inventive elements that push the limits of formal composition in French. This work is therefore often inspiring as it points in evocative ways toward fluid influences and a plurality of interactions that render impossible any static conception of being or belonging.Trade Review“This is an exciting and vibrant collection of essays on the French Trans-Mediterranean brought together around the concept of transposition. With its roots in Western musical practice, the transposition from one key to another or the rewriting of parts for instruments of a different pitch, the term is used here to consider relocation, migration, multilingual and transnational aspects of a great diversity of texts.” Claire LaunchburyTable of ContentsIntroduction: Tracing Transpositions, Transposing TracesAlison RiceMediterranean CrossingsMigration and Representation, from the Bildungsroman to the Testimonial GenreMadeleine DobieTransposé et pourtant juste: Transposition and Collaboration in New Francophone Migrant WritingKate AverisAccidental Form, Mediterranean Transpositions, and New Francophonies in Malika Mokeddem’s La DésiranteEdwige Tamalet TalbayevMultilingual Aesthetics and Poetics!!Abdelfattah Kilito: Writing Beyond Monolingualism and MultilingualismJane HiddlestonIntersignes du Maroc: Towards a Plural Cultural AestheticClaudia EspositoPerformance ArtsMinor Transpositions: Mohamed Rouabhi Stages the Colonial ClichéOlivia C. HarrisonIn Search of the Ghost Country: The Artistic and Literary Transpositions of ExileOlivier MorelScreen CulturesLessons in Adaptation: The Postcolonial Classroom in Entre les murs and L’EsquiveNicholas HarrisonCinematic Transpositions of the “Republic”?: Fatima and D’une pierre deux coupsVinay SwamyMusical Movements“Sound” Tracks and Sound Tracks: Clandestine Crossings, Film Aesthetics, Ethics, and PoliticsHakim AbderrezakBlack Transnationalism and Sketches of Mediterranean NoirEdwin HillTransposed Modes: Musical Mapping and Literary Lapping in Current Francophone Migratory TextsAlison Rice

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Book SynopsisBeethoven Symphonies Revisited guides the reader -- music student, concert goer, or general music lover -- through the movements in a way that renews the novelty and excitement that listeners must have felt at the first performances. Stylistic discussion concentrates on the unusual features of each symphony, placing each individual work in the context of Beethoven's musical advancement and circumstances. His musical innovations are explored, and his contribution to the genre assessed. Thirty author-annotated musical pages elaborate and exemplify. The essential building blocks of key, tonality, metre, rhythm and instrumentation are discussed in detail. The authors' purpose is twofold: to bring together major research findings and at the same time offer detailed descriptive analyses of all nine symphonies. The approach is singular in its emphasis on the symphonies in the context of performance practice of the time, especially musical direction; the importance of the wind instruments (especially horns) and kettle drums; how counterpoint features in various passages in all the symphonies except the Sixth and Eighth, and how this was influenced by Beethoven's strict training in species counterpoint. New evaluations are offered, especially for the Second, Eighth and Ninth symphonies. The book's multi-faceted approach will be invaluable not only for conductors and music students at all levels, but for all concert goers and music lovers who wish to gain insight into the musical intricacies developed and enhanced by Beethoven's symphonic journey. Illustrations: 30 annotated musical score pages comprising 99 examples linked to text explanations; autographed manuscripts; performance venues; and instruments of the period.

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Book SynopsisEntrenched until recently in Western aesthetics, Australian composers are now developing a functional cultural identity expressed through a distinctly nationalistic musical idiom. Its ongoing formation, inspired by Australias Aboriginal heritage and unique natural environment, seeks to distance the nations artistic developments from the geographically remote Occidental regions and emphasize its native cultures. Presently, however, mounting sociopolitical and ethical concerns surrounding the cultural borrowing between Indigenous and non-Indigenous peoples are problematizing the developing nationalistic idiom, as composers must determine whether the two groups share any legitimate connection beyond mere occupation of the same land, given their tense post-colonial history. Musicologist Beatrice Dalov traces the formation of the Southern Lands cultural identity while simultaneously considering its complex relationship with the nations First Peoples. She illuminates the origins, influences, and developments of Australian art music, from colonization (late eighteenth century) to the present day, interweaving the social, cultural, political, and economic forces that shaped (and often determined) its evolution. The history demonstrates that the complex processes of articulating a unique cultural identity began almost immediately after arrival of the first colonists and continues uninterrupted through today. Drawing on newly available archival material, key works, and personally conducted interviews with numerous contemporary composers, Dalov traces the history of the lands music, from scattered convict settlements and eventful contacts with Aboriginal peoples, to the formation of a national musical infrastructure, to todays thriving musical independence. She brings forward not only the most prominent composers and musicians of the last century, but also those who laid a crucial foundation and offered the first contributions toward a national idiom. A comprehensive history of the music of the Great Southern Land has been too long neglected by social historians and musicologists worldwide. Beatrice Dalov sets the record straight.

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Book SynopsisBeethoven Symphonies Revisited guides the reader -- music student, concert goer, or general music lover -- through the movements in a way that renews the novelty and excitement that listeners must have felt at the first performances. Stylistic discussion concentrates on the unusual features of each symphony, placing each individual work in the context of Beethoven's musical advancement and circumstances. His musical innovations are explored, and his contribution to the genre assessed. Thirty author-annotated musical pages elaborate and exemplify. The essential building blocks of key, tonality, metre, rhythm and instrumentation are discussed in detail. The authors' purpose is twofold: to bring together major research findings and at the same time offer detailed descriptive analyses of all nine symphonies. The approach is singular in its emphasis on the symphonies in the context of performance practice of the time, especially musical direction; the importance of the wind instruments (especially horns) and kettle drums; how counterpoint features in various passages in all the symphonies except the Sixth and Eighth, and how this was influenced by Beethoven's strict training in species counterpoint. New evaluations are offered, especially for the Second, Eighth and Ninth symphonies. The book's multi-faceted approach will be invaluable not only for conductors and music students at all levels, but for all concert goers and music lovers who wish to gain insight into the musical intricacies developed and enhanced by Beethoven's symphonic journey. Illustrations: 30 annotated musical score pages comprising 99 examples linked to text explanations; autographed manuscripts; performance venues; and instruments of the period.

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Book SynopsisStory-like chapters profile six twentieth-century reactive composers; not the most famous pillars of the period but lesser-known, perhaps more approachable, characters whose stories span that 1900-2000 period from decadent fin-de-siècle Vienna (Alban Berg, Alexander Zemlinsky) to war-torn Paris (Olivier Messiaen, Arthur Honegger) to the Cold War tensions of East vs. West (Tōru Takemitsu) and late-century Communism (Arvo Pärt). Their stories were all very different crises, and they produced very different kinds of music; each very telling of their composers life and times. Crisis Music presents each brief biography almost like a detective story looking for motives, then spotlights one particular piece of music from each composer that emerged directly out of hard times maybe a political crisis at the time of composition (Hitler marching into Paris or later Communist crack-downs); or some personal angst such as illness or scandal and how that music contains and expresses crisis. In short, the subject for discussion is how context influences content. Such troubled and especially vivid composition, crisis music, can often be most compelling and meaningful for its composer and for its time. Indeed, their music also seems to have a special resonance to share with our own crisis-prone times. And meanwhile, Western music history played-out its own story from late-romantic style to Serialism and Minimalism to the anything-goes Pluralism we hear today. Crisis Music sparks the discussion about how history, biography and music intersects. At the behest of music teachers at secondary and tertiary levels, Crisis Music contains substantive Discussion Questions geared for classroom use.Trade Review‘Crisis Music poses some intriguing questions about the relationship between biography and musical creativity/output and draws attention to some composers who are distinctly interesting and diverse.’ Ralph P. Locke, Professor Emeritus of Musicology, Eastman School of Music, University of Rochester‘Classical music wasn’t the most popular music of the 20th century but it was the most interesting. Focusing on six of modernism’s most compelling composers, John Caps supplies historical and biographical background, as well as his own shrewd assessments for some of the most expressive composition of that era, effectively conveying both the adventure of creation and the heavy personal toll paid by such composers as Berg, Messiaen, Takemitsu. Of course, great art always exacts a heavy toll from its creators and Crisis Music offers insightful profiles of how and why six artists were willing and, in some cases, compelled, to pay the price.’ John Dutterer, American Record Guide

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Book SynopsisThe Educated Listener: A New Approach to Music Appreciation helps students develop the skills they need to creatively and intelligently discuss and listen to classical music. Readers will learn about the musical genres, forms, and techniques used by composers of classical music, which will help them become educated listeners.Section One of the text presents readers with basic information regarding the basic elements of music, including rhythm, tempo, and dynamics; the instruments and voice types used in music; and the most common ensembles of music, such as choirs, bands, and orchestras. The remaining sections focus on specific time periods and delve into the compositional and performance techniques, musical forms and genres, and composers that were important and influential. These sections explore the music of the Middle Ages, Renaissance, Baroque Era, Classical Era, Romantic Era, Twentieth Century, and Contemporary Era.The third edition features tables highlighting historical context, a much-expanded index, new images, and fresh material regarding contemporary music.With an accessible approach, The Educated Listener is an ideal textbook for courses in music appreciation or music history.

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Book SynopsisThe Performance of Listening in Postcolonial Francophone Culture argues that globalized media has allowed for efficient transmission of transnational culture, and in turn, our everyday experiences are informed by sounds ranging from voices, to music, to advertising, to bombs, and beyond. In considering cultural works from French-speaking North Africa and the Middle East all published or released in France from 1962-2011, Solheim’s study of listening across cultural genres will be of interest to any scholar or lay person curious about contemporary postcolonial France. This book is also a primer to contemporary Francophone culture from North Africa and the Middle East. Some of the French-speaking world’s most renowned and adored artists are the subject of this study, including preeminent Algerian feminist novelist, filmmaker and historian Assia Djebar (1936-2015), the first writer of the Maghreb to become part of the Académie Française; celebrated Iranian graphic novelist and filmmaker Marjane Satrapi (Persepolis, Chicken with Plums); the lauded Lebanese-Québecois playwright and dramaturge Wajdi Mouawad (Littorial, Incendies), and Lebanese comic artist and avant jazz trumpeter Mazen Kerbaj, whose improvisation with Israeli fighter jets during the 2006 Israeli War, “Starry Night,” catapulted him to global recognition. An interdisciplinary study of contemporary Francophone cultures, this book will be of interest to French scholars and students in literary studies, performance studies, gender studies, anthropology, history, and ethnomusicology.Trade ReviewReviews ‘Solheim is clearly very able to read in critical depth and offers some original insights … which would have a significant shelf life and broad readership not only in music and cultural studies, but also in sound studies, sociology, history and perhaps even literary studies.’ Helen Julia Minors, Kingston University'In The Performance of Listening in Postcolonial Francophone Culture, Jennifer Solheim foregrounds an important and often overlooked aspect of cultural analysis: the call to listen...The Performance of Listening in Postcolonial Francophone Culture is a fascinating and compelling project.'Claire Launchbury, H-France ReviewTable of ContentsList of Illustrations ixAcknowledgments xi1 Introduction 1Part I: The Performance of Listening in Literary Narratives2 Cut Sound: The Literary Staging of Silence 233 Visual and Sonic Imagery in PostcolonialFrancophone Culture 55Part II: The Performance of Listening in Film and Theater4 Citational Hooks: Music and Middle Eastern GenderIdentities in Postcolonial Francophone Film and Theater 91Part III: The Performance of Listening in Music5 Covering French Universalism: Alter-Globalism inKabyle Music in France 1296 Beirut Calling: The Performance of Listeningin Digital Discourses of Conflict 157Bibliography 166Index 173

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Book SynopsisThis book takes as its historical point of departure the radical appearance in 1779 of technically difficult keyboard music in a set of six sonatas (Op. 2) by Muzio Clementi. The difficult passages contained in this opus are unique amongst keyboard music published for a market that was understood at the time to consist almost entirely of female amateur keyboardists. Previously actively discouraged from practicing or improving their skills due to the restrictive ideologies in place, Clementi’s music increasingly affords female pianists a new kind of musical expression. Clementi and the woman at the piano: Virtuosity and the market for music in eighteenth-century London maps the social, musical, and gendered implications of technically difficult music and helps to underline important changes in Enlightenment culture and keyboard practice. Clementi’s activities initiated the now familiar and modern concepts of repetitive musical practice, the work-concept, virtuosity itself, and the division between amateur and professional. Additionally, Clementi promotes a radical new mode of expression for female pianists that is at first highly controversial but slowly gains acceptance due to a widespread promotion of his music, instruments, and methods. Clementi’s career is in many respects a perfect case study for the tensions between Enlightenment thinking and new Romantic ideologies.Trade Review‘[I]n Erin Helyard’s revelatory (and unfailingly entertaining) monograph, we find a portrait of a visionary composer, performer, teacher, publisher, piano maker and entrepreneur whose influence was, and still is, as far from pernicious as one can imagine... it’s a story that proves not only thought-provoking but page-turning... Clementi and the woman at the piano will, I have no doubt, come to be seen as a major contribution not only to Enlightenment studies but to our understanding of the relationships between women, men, society, class, aesthetics and commerce in the context of a bourgeoning amateur music scene.’ Will Yeoman, Limelight‘[A] welcome new feminist perspective on Clementi’s achievements.’ Benjamin Ivry, International Piano Magazine‘The qualities of this book go beyond the history of music and musicology in the strictest sense. With finesse and sensitivity, Helyard, who knows the sources inside out, succeeds in linking the technical revolution spearheaded by Clementi with the evolving thinking regarding the social status of women and the image of the female forte-pianist.’ Translated from French: ‘Le mérite de ce livre va au-delà de la musicologie à proprement parler et de l’histoire de la musique. Avec finesse et sensibilité, Helyard, qui connaît fort bien les sources, réussit à établir un lien entre la révolution technique menée par Clementi et l’évolution des mentalités sur la question du statut des femmes dans la société et l’image désormais projetée par la forte-pianiste.’ Pierre Dubois, Dix-huitième siècleTable of ContentsList of Musical Examples List of Tables List of Figures Preface Chapter 1: Clementi and the EnlightenmentChapter 2: Mozart’s Insult and the Irritations of VirtuosityChapter 3: Keyboard Performance and Gender in Late Eighteenth-Century LondonChapter 4: Clementi’s “Black Joke”Chapter 5: Male Theoria and Female PraxisChapter 6: Clementi in the Marketplace and the Conservatoire Conclusion: Clementi’s CoinAppendix: Ideological differences regarding keyboard practicing/music education in 36 conduct books and treatises, 1741-1838 Bibliography

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Book SynopsisBrings new insights to the music of well-known European composers by telling a fascinating, little-known story about French music publishing, specifically through the lens of Jacques Durand's Édition Classique. French composers, performers and musicologists acted as editors of eighteenth- and nineteenth-century European 'classics', primarily for piano. Among these editors were Fauré, Saint-Saëns, Debussy, Ravel and Dukas; the objects of their enquiries included core works by Rameau, Bach, Mozart, Beethoven, Mendelssohn, Schumann and Chopin. Presenting six composer-editor case studies, the volume shows that the French 'accent', both musical and cultural, upon this predominantly Austro-German music was highly varied. Editorial responses range from scholarly approaches to those directed by performance or compositional agendas, and from pan-European to strongly patriotic stances. Intriguing intersections are revealed between old and new, and between French and cross-European canons. Beyond editing, the book explores the Édition's role in pedagogy and performance, including by pianists Robert Casadesus and Yvonne Loriod, and in the reassertion of contemporary French composition, especially regarding innovation around neoclassicism. It will interest a wide readership, including musicologists, performers and concert-goers, cultural historians and other humanities scholars.Table of ContentsIntroduction PART I. DURAND AND HIS ÉDITION CLASSIQUE 1 The Historical Evolution of the Édition Classique Graham Sadler 2 Charting the Édition: Production Data, Musical Contents and Relationships Deborah Mawer and Graham Sadler PART II. COMPOSER-EDITOR CASE STUDIES 3 'De-Germanising' Music Publishing: Dukas's Beethoven in Wartime France Rachel Moore 4 Mozart as 'Classic' in Early Twentieth-Century France: The Case of Saint-Saëns's Mozart Editions Barbara L. Kelly 5 Making Mendelssohn (More) French: Ravel and Six pièces enfantines Deborah Mawer 6 Accenting Bach: An Editorial Trajectory from Fauré to Roger-Ducasse Deborah Mawer 7 Repackaging the Old Masters: The Place of Early Keyboard Music in the Édition Classique Graham Sadler 8 Debussy's Homage to Chopin: as Editor, Performer and Composer Appendix: Debussy-Chopin entries in the Livres de cotage (1919-90s) Barbara L. Kelly PART III. BEYOND EDITING: PEDAGOGY, PERFORMANCE, COMPOSITION 9 The Édition Classique in Action: Pedagogy and Performance Rachel Moore and Barbara L. Kelly 10 The Édition Classique and French Neoclassicism: L'École moderne as Exemplar Appendix: Alphabetical tabulation of composers and pieces Deborah Mawer Afterword Select Bibliography Index

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Book SynopsisThis collection offers students a practical guide to understanding the ways music and literature intersect and the influence of each on the other, as well as developing methods of study.This is the first coursebook to help students explore the many types of relationship that exist between music and literature when studied in historical or aesthetic contexts. It fosters interdisciplinary study among students in these subject areas and helps to break down the barrier of music as seeming "impenetrable" to students outside musicology. Chapters each discuss music/text relationships via an important social, aesthetic or cultural theme that maps onto key preoccupations of the long nineteenth century.Each chapter presents a case-study text first, followed by a short summary that sets out the challenges of approach and interpretation involved. A section on background then places the featured case-study in historical or aesthetic context, leading to a detailed discussion. The book offers a learning experience combining the methodological in music/text relationships with the substantive or thematic.Contributors: Charlotte Bentley, Philip Burnett, Alisa Clapp-Itnyre, Elicia Clements, Jeremy Coleman, Sarah Collins, Katharine Ellis, Daniel M. Grimley, Elizabeth Helsinger, Fraser Riddell, Emma Sutton, Shafquat Towheed, Phyllis Weliver, Christopher Wiley

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Book SynopsisThe Other Classical Musics offers challenging new perspectives on classical music by presenting the history of fifteen parallel traditions. Winner of the Royal Philharmonic Society Music Award for Creative Communication 2015 There is a treasure trove of underappreciated music out there; this book will convince many to explore it. The Economist What is classical music? This book answers the question in a manner never before attempted, by presenting the history of fifteen parallel traditions, of which Western classical music is just one. Each music is analysed in terms of its modes, scales, and theory; its instruments, forms, and aesthetic goals; its historical development, golden age, and condition today; and the conventions governing its performance. The writers are leading ethnomusicologists, and their approach is based on the belief that music is best understood in the context of the culture which gave rise to it. By including Mande and Uzbek-Tajik music - plus North American jazz - in addition to the better-known styles of the Middle East, the Indian sub-continent, the Far East, and South-East Asia, this book offers challenging new perspectives on the word 'classical'. It shows the extent to which most classical traditions are underpinned by improvisation, and reveals the cognate origins of seemingly unrelated musics; it reflects the multifarious ways in which colonialism, migration, and new technology have affected musical development, and continue to do today. With specialist language kept to a minimum, it's designed to help both students and general readers to appreciate musical traditions which may be unfamiliar to them, and to encounter the reality which lies behind that lazy adjective 'exotic'. MICHAEL CHURCH has spent much of his career in newspapers as a literary and arts editor; since 2010 he has been the music and opera critic of The Independent. From 1992 to 2005 he reported on traditional musics all over the world for the BBC World Service; in 2004, Topic Records released a CD of his Kazakh field recordings and, in 2007, two further CDs of his recordings in Georgia and Chechnya. Contributors: Michael Church, Scott DeVeaux, Ivan Hewett, David W. Hughes, Jonathan Katz, Roderic Knight, Frank Kouwenhoven, Robert Labaree, Scott Marcus, Terry E. Miller, Dwight F. Reynolds, Neil Sorrell, Will Sumits, Richard Widdess, Ameneh YoussefzadehTrade ReviewAmong its many virtues, Michael Church's 'The Other Classical Musics' can handily serve as a textbook for college and university courses that survey the musical Great Traditions of Eurasia and North Africa, music from the Silk Road lands, and kindred formulations of inter-regional and cross-cultural music studies. The writing, by leading scholars and Church himself, is rigorously evidence-based, yet readily accessible to non-specialist readers. -- Theodore Levin, Arthur R. Virgin Professor of Music, Dartmouth College[A] valuable, accessible, and highly recommended book. Attractively illustrated, it constitutes a manageable and useful compendium suitable for a variety of reference and educational purposes while providing an intriguing outline for meaningful conceptual change. * ANALYTICAL APPROACHES TO WORLD MUSIC *This book is a clearly written, attractively illustrated and inspirational guide. * LITERARY REVIEW *Many [...] illuminating essays in this thought-provoking book * CLASSICAL MUSIC MAGAZINE *Highly recommended: a great spirit of adventure is enshrined within. * CLASSICAL SOURCE *There is a treasure trove of under-appreciated music out there; this book will convince many to explore it. And in fewer than thirty pages it offers as good a summary of the Western canon as can be found anywhere. * THE ECONOMIST *[A] fascinating study of 'classical' music from around the globe . . .Beautifully produced and laden with colour images. 4 Stars. * BBC MUSIC *Whether discussing gamelan or gagaku, these fifteen essays on music from around the world (gorgeously illustrated with colour photographs and images) never forget that they are telling human stories, rooting unfamiliar sounds, words and ideas in narratives in which we can all find a foothold. * THE SPECTATOR *[Michael] Church has orchestrated a truly invaluable volume. Anyone willing to open mind and ears to 'humanity's most sophisticated communal achievements in musical creation' will find a sumptuous treasure-house in this encyclopaedic survey. * THE INDEPENDENT *Fascinating. This book is vitally important in broadening our understanding of the term 'classical music'. * THE SCOTSMAN *Table of ContentsIntroduction - Michael Church Thailand, Laos, Cambodia, Vietnam - Terry E. Miller Java - Neil Sorrell Japan - David Hughes China - the guqin zither - Frank Kouwenhoven Chinese opera - Terry E. Miller and Michael Church North India - Richard Widdess South India - Jonathan Katz Mande jaliyaa - Roderic Knight North American jazz - Scott DeVeaux Europe - Ivan Hewett North Africa and the eastern Mediterranean: Andalusian music - Dwight Reynolds The eastern Arab world - Scott Marcus Turkey - Robert Labaree Iran - Ameneh Youssefzadeh Uzbekistan and Tajikistan - Will Sumits Bibliographies

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Book SynopsisWhat is tragedy? This work argues that it is, at once, art and science -- an absorbing art and precisely observed empirical inquiry into human psychology, whose subject matter is the dilemma of manhood under democracy. The author expands discussion of the idea of the tragic to include music drama in general and the operas of Verdi in particular, and explores the indispensable contribution of tragedy to an understanding of personal and political psychology through discussion of: the political theory of structural injustice resting on the suppression of voice (underlying evils like racism, sexism, and homophobia), a developmental psychology of gender (drawing on the work of Carol Gilligan [the Harvard Project on Women's Psychology, Boy's Development and the Culture of Manhood]), and an interpretation of tragic art (including the expressive role of music in it). Exploration of the tragic impact of patriarchy on democratic voice is at the heart of the power and appeal of Verdi's innovations in musical voice. At its core is a complex psychic geography of patriarchal practices imposed on personal and political relationships (parents to children, siblings to one another, and adult men and women). Such practices -- fundamental to the family, politics, and religion -- enforce demands by forms of physical and psychological violence directed by men and women at anyone who deviates from its demands. Verdi's tragic musical drama speaks of an emotional loss that literally cannot under patriarchy be spoken, namely, what the author calls the tragedy of patriarchy -- a divided psychology that lives in the tension between patriarchal practices and democratic principles, and between the psychological demands of patriarchy and democratic manhood.Trade Review"This brilliant, original book illuminates how the reigning conception of manhood ineluctably leads to tragedy. In Verdi's operas, Richards finds a parallel to Greek tragedy a musical art, honed at a moment of historical transition, that reveals the irreconcilable antagonism between patriarchy and democracy. He explains why Verdi's operas move us so powerfully, and shows us how Verdi's music dramas give expression to a voice that is psychologically and politically vital. This is creative scholarship at its best, a book written at a place where disciplines intersect. Illustrating how Verdi's operas illuminate tragic breaks in human relationships, the author also shows how a personal and political psychology elucidates Verdi's genius. For opera lovers, this book is a gift; to novices it extends an invitation to discover in music drama a way of hearing the underworld' and thus coming to understand emotions and experiences that we resist knowing." -- University Professor, New York University, and author of In a Different Voice and The Birth of Pleasure. "In this complex but rewarding book, Richards (law, NYU) challenges the ill effects that patriarchal societies have placed in the way of individual voices of both men and women, and the ways in which tragedy, as fashioned by ancient Greek playwrights, has occupied a problematic ground between patriarchy and democracy. Beginning with a consideration of some major Greek tragedies, the author moves on to discuss ways in which patriarchal demands mute true voices, and he contrasts the patriarchal and democratic concepts of manhood. Turning to the operas of Verdi, whom he considers the greatest tragedian in the history of opera, Richards finds - specifically in the music - the expression of a psychological truth that works against the demands of patriarchy on those who find them supremely painful. Richards interdisciplinary approach calls on the fields of history, literature, sociology, psychology, and political science, and he also offers his own reflections on matters at hand. For him, Verdis operas are a locus in which characters can express in music the voices that patriarchy has suppressed and thus show the destructive force on women but, more centrally, on men. In Verdis music Richards finds emotions and memories that cannot otherwise be discussed. Recommended." -- Choice."This brilliant, original book illuminates how the reigning conception of manhood ineluctably leads to tragedy. In Verdi's operas, Richards finds a parallel to Greek tragedy - a musical art, honed at a moment of historical transition, that reveals the irreconcilable antagonism between patriarchy and democracy. He explains why Verdi's operas move us so powerfully, and shows us how Verdi's music dramas give expression to a voice that is psychologically and politically vital. This is creative scholarship at its best, a book written at a place where disciplines intersect. Illustrating how Verdi's operas illuminate tragic breaks in human relationships, the author also shows how a personal and political psychology elucidates Verdi's genius. For opera lovers, this book is a gift; to novices it extends an invitation to discover in music drama a way of hearing the underworld' and thus coming to understand emotions and experiences that we resist knowing." -- University Professor, New York University, and author of In a Different Voice and The Birth of PleasureTable of ContentsContents: The idea of tragedy and the dilemma of democratic manhood: Verdi's analytics of traumatised voice under patriarchy; Tragic art: patriarchy in ancient Athens and Verdi's Italy; Music as the memory of suppressed voice in Verdi's mature operas; Verdi and Italian nationalism; Parents and children; Siblings; Lovers; Tragedy as the dilemma of democratic manhood; Between Patriarchal and Democratic Manhood.

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Book SynopsisDiscourse analysis and rhetoric are very much developed in communication, linguistics, cognitive science and artificial intelligence. Besides theoretical investigations, discourse analysis is central in a number of application areas such as dialogue and negotiation, the semantic web, question answering or authoring systems. Music is also a natural language, more abstract and mathematical, which follows very strict construction principles. However, there is very limited and no recent literature on Music Discourse analysis using computational principles. This book aims at developing a central issue in musical discourse: modeling rhetoric and argumentation. It also contributes to the development of high-level multimedia annotation schemes for non-verbal communication.Table of ContentsPREFACE xi CHAPTER 1. AN INTRODUCTION TO CLASSICAL RHETORIC 1 1.1. A few basic definitions 2 1.2. The structure of rhetoric 4 1.2.1. Rhetoric and communication 5 1.2.2. The structure of classical rhetoric 6 1.2.3. The invention step 7 1.2.4. The arrangement 9 1.2.5. The style or elocution step 12 1.2.6. The delivery or action 14 1.2.7. The facets of rhetoric 15 1.3. Some figures of speech 17 1.3.1. Introduction 17 1.3.2. The major figures of speech of interest in music rhetoric 18 1.4. Argumentation and explanation 21 1.5. Conclusion: a few historical milestones of traditional rhetoric 25 1.6. A few historical references for classical rhetoric 28 CHAPTER 2. LANGUAGE, MUSIC AND THE RHETORIC DISCOURSE 31 2.1. Music and language 31 2.1.1. On the relations between language and music 32 2.1.2. Going into the details of music parameters, music for rhetoric 36 2.1.3. Music and rhetoric 42 2.2. A few historical milestones of music rhetoric emergence and evolution 43 2.2.1. The Middle Ages and the Renaissance 44 2.2.2. The transition between the Renaissance and the Baroque period 48 2.2.3. The Baroque period 51 2.2.4. The Classical period 54 2.2.5. The Romantic period 56 2.3. Main contemporary trends in music rhetoric 58 CHAPTER 3. THE SYMBOLISM OF MUSICAL ELEMENTS 61 3.1. Symbolic and perceptual properties of modes and tonalities 62 3.2. Perceptual and symbolic properties of intervals 65 3.3. Musical figures and their role in rhetoric 67 3.4. Figures of rhythm and their roles in rhetoric 74 3.5. Motive alternations 79 3.6. Figures of counterpoint 80 3.7. The symbolism of numbers and proportions 83 3.8. The rhetoric contents of classical forms 87 3.8.1. The perception of large forms 87 3.8.2. The simple bi- and tripartite forms 88 3.8.3. The sonata forms 95 3.9. Conclusion 98 CHAPTER 4. FEATURE STRUCTURES FOR REPRESENTING MUSICAL CONSTRUCTIONS 101 4.1. Feature structures in language 102 4.2. Representation of a melody by a feature structure 104 4.3. From musical motives to polyphony 109 4.4. Dealing with harmony 110 4.5. A few generic operations of feature structures 112 4.5.1. Transformations by augmentation or diminution 112 4.5.2. Mirror forms 114 4.5.3. Reverse forms 116 4.5.4. A few other transformations 117 4.5.5. Expressive power of this formalism 117 4.6. Elements of annotation of musical structures in XML 118 4.6.1. Basic feature structures 118 4.6.2. Advanced XML annotations for two-dimension structures 120 4.6.3. Figures of sound in XML 121 4.7. Perspectives 125 CHAPTER 5. A RHETORIC ANALYSIS OF MUSICAL WORKS 127 5.1. Discourse theories in linguistics 128 5.1.1. The rhetorical structure theory 129 5.1.2. The pragma-dialectic movement 131 5.2. The rhetoric of the stylus phantasticus 132 5.3. The rhetoric and argumentation dimensions of J.S. Bach’s C. minor Passacaglia 140 5.3.1. The global structure and the symbolic of numbers 140 5.3.2. The structure of the argumentation in the Passacaglia 142 5.4. The dialectics of the personality split 147 5.5. Beethoven’s Muss es sein? Question and debate 149 5.5.1. The personal context 149 5.5.2. The questions and their formulations 150 5.5.3. The response formulations 155 5.6. A high-level notation for the structure of musical works 161 5.7. Conclusion 166 BIBLIOGRAPHY 167 INDEX 177

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Book SynopsisThis work is an exposition of the traditions of Japanese blind singers who accompanied themselves on the biwa, and of the complex identity of Yamashika Yoshiyuki (1901–1996), a man widely portrayed as the last such "living relic" of the medieval bards called biwa hoshi. The author draws upon approaches from Japanese historical and literature studies, performance studies and ethnomusicology in an examination of history, which yielded on the one hand images of blind singers that still circulate in Japan, and on the other a particular tradition of musical story-telling and rites in regional Kyushu, of representations of Yamashika in diverse media, of his experience training for and making a living as a professional performer and rituals from the 1920s on, and of the oral compositional process in performances made between 1989 and 1992.Trade Review[T]his book gives an excellent ethnomusicological overview of these blind musicians, their situations, and the social, cultural, and historical contexts surrounding their work. Although de Ferranti mentions that the documents about them are scarce, he was able to gather enough detailed information to give, I believe, a pertinent idea of their life, particularly through the eyes of a unique musician -- Bruno Deschenes * Monumenta Nipponica *

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Book SynopsisFolk-Songs of the South: Collected Under the Auspices of the West Virginia Folk-Lore Society is a collection of ballads and folk-songs from West Virginia. First published in 1925, this resource includes narrative and lyric songs that were transmitted orally, as well as popular songs from print sources.Through 186 ballads and songs and 26 folk tunes, this collection archives a range of styles and genres, from English and Scottish ballads to songs about the Revolutionary and Civil Wars, the opening of the American West and boat and railroad transportation. It includes children’s play-party and dance music, songs from African American singers, and post–Civil War popular music. The original introduction by Cox contains vibrant portraits of the singers he researched, with descriptions of performance style and details about personalities and attitudes.With an introduction by Alan Jabbour, this edition renews the importance of this text as a piece of scholarship, revealing Cox’s understanding of the workings of tradition across time and place and his influence upon folk-song research.

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Book SynopsisIn Plenty and in Time of Need demonstrates how the unique history of Barbados has contributed to complex relations of national, gendered, and sexual identities, and how these identities are represented and interpreted on a global stage. As the most widespread manifestation of social commentary, the book uses music and performance to analyze the competing ideals and realities of the national culture. It details the histories of prominent musical artists, including the prolific Pan-Africanist calypsonian the Mighty Gabby, the world-renowned Merrymen, Soca Queen Alison Hinds, artist/activist Rupee, and international superstar Rihanna. Using these artists, the project analyzes how femininity, masculinity, and sexuality are put in service of Barbadian nationalism. By examining websites, blogs, and digital products of these artists in conversation with Barbadian tourism, the book re-examines the ways in which commodity, sexuality, gender performance, and diasporic consciousness undergird individual careers and national representations.Trade Review“A refreshingly vital work! As Barbados flexes its stance, situating itself in the contemporary world, Lia T. Bascomb provides one of the most engaging and enlightening published discussions on the meanings of this process. In Plenty and in Time of Need will be a go-to text for many years.” -- Curwen Best * author of The Popular Music and Entertainment Culture of Barbados: Pathways to Digital Culture *“Lia Bascomb’s In Plenty and In Time of Need is a necessary and powerful remix of performance studies, diaspora studies, studies of the nation, studies of migration and popular culture. Her remixes of critical theory, Caribbean intellectual traditions, discourses of the nation, post-independence and postcolonial conditions, along with gender and sexuality provide a powerful account of contemporary Black diasporic connection and performativity located in the geopolitics of Barbados but exceeding the geography of that place to reorient our thinking on the global flows of people, cultures and power.” -- Rinaldo Walcott * author of Queer Returns: Essays on Multiculturalism, Diaspora, and Black Studies *"This text is a well-conceived and articulated discussion of the ways in which history intertwine with contemporary cultural performances to construct a national identity. For Bascomb, this exchange takes place in a political arena where not only the personal is political but the political is often symbolic and immaterial." -- Hunter H. Fine * Communication Booknotes Quarterly *Table of ContentsList of Images Introduction 1 England’s Child, the People’s Nation: Myths of Barbadian National Identity 2 Performing National Identity 3 Caribbean Queen: Afro-Barbadian Femininity, Alison Hinds, and Performing of the Erotic at Home and Abroad 4 “Love You All”: Rupee, Afro-Barbadian Masculinity, Activism, and the Temptations of a Global Pop Market 5 Rihanna, Where Celebrity and Tourism Meet in a Dangerous Crossroads of Representation Conclusion: Celebrating Barbadian Independence, the Golden Jubilee Acknowledgments Notes Works Cited Index

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Book Synopsis Histories of American rock music and the 1960s counterculture typically focus on the same few places: Woodstock, Monterey, Altamont. Yet there was also a very active college circuit that brought edgy acts like the Jefferson Airplane and the Velvet Underground to different metropolitan regions and smaller towns all over the country. These campus concerts were often programmed, promoted, and reviewed by students themselves, and their diverse tastes challenged narrow definitions of rock music. Rockin’ in the Ivory Tower takes a close look at two smaller universities, Drew in New Jersey and Stony Brook on Long Island, to see how the culture of rock music played an integral role in student life in the late 1960s. Analyzing campus archives and college newspapers, historian James Carter traces connections between rock fandom and the civil rights protests, free speech activism, radical ideas, lifestyle transformations, and anti-war movements that revolutionized universities in the 1960s. Furthermore, he finds that these progressive students refused to segregate genres like folk, R&B, hard rock, and pop. Rockin’ in the Ivory Tower gives readers a front-row seat to a dynamic time for the music industry, countercultural politics, and youth culture. Trade Review“The research and writing are exciting; Rockin’ in the Ivory Tower fills an important gap in the historiography of rock music and the sixties.” -- Dewar MacLeod * author of Making the Scene in the Garden State: Popular Music in New Jersey from Edison to Springste *“Rockin’ in the Ivory Tower offers a welcome entry into a field of study that is only just beginning to flower.” -- Kenneth Womack * author of Living the Beatles Legend: The Untold Story of Mal Evans *Table of Contents Preface and Acknowledgments Introduction 1 Postwar America, the Revolution in Higher Education, and Popular Music 2 “The Sound of the Sixties”: Popular Music and College Campuses 3 “I Blundered My Way Through”: The College Impresario, Fall 1965–Fall 1967 4 “They’re Rockin’ in the Ivory Tower”: Fall 1967–Fall 1968 5 The “Americanization of Rock”: Spring 1969–Fall 1970 Conclusion Appendix A: Bands/Artists at Drew University, 1967–1971 Appendix B: Bands/Artists at Stony Brook University, 1967–1971 Notes Bibliography Index

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Book SynopsisThis book explores the profound and ancient relationship between music and astronomy. Throughout history, Music has occupied a significant place among the disciplines of the Quadrivium, which also include Geometry, Arithmetic, and Astronomy. The captivating bond between these two realms has not only inspired eminent scientists like Kepler, Newton, and Einstein, but has also captured the imagination of NASA and astronauts in modern times. The author delves into various aspects of the intersection between music and astronomy, encompassing everything from ancient cosmological beliefs to groundbreaking discoveries such as the cosmic background radiation and gravitational waves. This enthralling theme has not only stimulated renowned artists like David Bowie and Elton John, but has also served as a muse for movies like Close Encounters of the Third Kind. Within the book, readers will find an extensive photo gallery and a specially curated soundtrack that enhances the reading experience. It caters to a broad audience, appealing to those with a general interest in both music and astronomy, as well as to specialized individuals in either field of study.Table of ContentsForeword.- Preface.- ToC.- Introduction.- The Universe Born of Sound.- Everything Is Number. Pythagoras and the Pythagoreans.- The Music of the Spheres in Kepler’s Cosmos.- Musicians and Scientists.- From Newton to Einstein.- The Music of the Cosmos.- The Universe Is Teeming with Music.- Songs of the Space Race.- Space, the Music of the Spheres, and Movies.- Close Encounters of the Third Kind.- Conclusion.- Appendix.- Index of names.

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Book SynopsisWas hält Musik zusammen? Wie greifen unterschiedliche musikalische Parameter ineinander? Wie entstehen musikalische Formen, Wirkungen und Bedeutungen? Welche Konzepte und Methoden der musikalischen Analyse haben Forschende und Lehrende entwickelt, um diese Zusammenhänge zwischen Komposition, Aufführung und Rezeption von Musik zu durchleuchten?Musikanalyse ist ein wesentlicher Zugang zum Verstehen von Musik und gehört zu den Grundkompetenzen, auf deren Erwerb kein Studium von Musik, Musiktheorie oder Musikwissenschaft verzichten kann. Musikanalyse ist zugleich ein Feld wissenschaftlicher Diskussion, das sich dynamisch weiterentwickelt und in viele verschiedene Methoden ausdifferenziert hat. Neue und grundlegende Ansätze sind in den vergangenen Jahrzehnten vor allem im ständigen Austausch mit der anglophonen Analysekultur entstanden.Was heißt Musikanalyse im 21. Jahrhundert? Erstmals im deutschsprachigen Raum und in über 50 Kapiteln wird das gewachsene Methodenspektrum hier aufgefächert.

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Book SynopsisNachdem Band 1 Ästhetik und Ideengeschichte, Band 2 Institutionen und Medien der Interpretation thematisiert haben, befasst sich Band 3 mit der klingenden Interpretation selbst. Behandelt werden all jene Kategorien, die für Interpretation und ihre Wahrnehmung grundlegend sind: · Tempo und Tempomodifikationen, Dynamik, Phrasierung und Artikulation, Portamento und Vibrato, Textaussprache, Stimmung und Intonation.· die verwendeten Instrumente mit ihren spieltechnischen Möglichkeiten und Grenzen einschließlich der menschlichen Stimme· „Medien“ der Interpretation: Körper, Raum sowie die technischen Medien der Speicherung und Reproduktion, die Tonträger. Von fundamentaler Bedeutung ist ferner die Frage, in welchem Umfang man dem Notentext einer Komposition folgt bzw. von ihm abweicht („Willkürliche Veränderungen“, „Retuschen“, Ensemblekoordination), und welche Rolle regionale Differenzen bei der Interpretation spielen. Table of Contents​Vorwort.- Räume.- Stimme und Gesang.- Klaviere.- Streichinstrumente.- Blas- und Schlaginstrumente.- Paraphernalien.- Körper.- Technische Medien als Interpreten.- "Willkürliche Veränderungen" in der instrumentalen Interpretation.- Rückbesinnungen auf instrumentale Verzierungspraxis.- Veränderung des Notentextes in der vokalen Interpretation.- Retuschen.- Interpretierende Dirigenten: Ensemble-Koordination.- Tempo- und Tempomodifikationen.- Dynamik.- Phrasierung.- Vibrato und Portamento.- Wortvortrag.- Stimmung und Intonation.- Orchesterpraktiken.- Personenregister

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Book SynopsisMit der kommentierten Auswahl der Briefe und Notizen von Carl Dahlhaus (1928–1989) wird die Korrespondenz eines der bedeutendsten Musikwissenschaftler des 20. Jahrhunderts erstmals in breiter Form zugänglich. Sie wirft neues Licht auf die Entwicklung der Musikwissenschaft in dieser Zeit. Zudem gestattet sie einen fesselnden Einblick in den Lebensweg und den (Arbeits-)Alltag eines bundesrepublikanischen Intellektuellen mit Wissenschaftlern wie Theodor W. Adorno, Peter Szondi, Reinhart Koselleck und Hans Robert Jauß oder den Komponisten György Ligeti und Hans Werner Henze. Ihre sprachliche und stilistische Verve verleiht nicht wenigen von Dahlhaus’ Briefen und Notizen zugleich genuin literarische Qualitäten.Trade Review“... Die Edition samt durchweg klugem Anmerkungs-«Apparat» verdient höchstes Lob und viel Resonanz.” (Rainer Peters, in: Neue Zeitschrift für Musik, Heft 1, 2023) “... Die Herkulesaufgabe, aus dem gigantischen Quellenmaterial ein spannendes Lebensbild entstehen zu lassen, das neben Streiflichtern auf die Person Einblicke in die Werkstatt des Autors gestattet, darf - mit den Einschränkungen zur Textgestalt als geglückt bezeichnet werden. Dank der durchgängig sprachlichen und stilistischen Brillanz kommen nicht nur Dahlhaus-Schüler und -kenner auf ihre Kosten - in den Briefen entfaltet sich ein Panorama des Geisteslebens des alten Westdeutschlands bis zur Wende.” (Rüdiger Albrecht, in: info-netz-musik, info-netz-musik.bplaced.net, 9. Dezember 2022)Table of ContentsBriefe.- Notizen.- Adressaten und Personen aus dem Umfeld.- Personenregister

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Book SynopsisWovon »sprechen« Brahms’ Symphonien, was ist ihr musikalischer Gehalt? War Johannes Brahms ein formtreuer Klassizist oder ein »verkappter Programmmusiker«? Kaum ein Komponist des 19. Jahrhunderts vereinte derart widersprüchliche Einschätzungen auf sich wie Johannes Brahms. Johannes Schild wagt einen neuen Blick ins Innere dieser Musik und rückt das »Rätsel Brahms« in eine ungewohnte Perspektive. Eine »symphonische Tetralogie« nennt er die vier Symphonien, denn die fruchtbare Rivalität zum 20 Jahre älteren Wagner findet darin deutlichen Ausdruck. Auch Brahms’ Kompositionskunst zielt auf ein musikalisches Sprechen und Bedeuten, doch geht sie in der Art, wie sie ihre Botschaft formuliert, über Wagner hinaus. Herzstück der Untersuchung ist eine Ton-Konstellation, die in artistischer Weise die Musik der Symphonien durchwirkt. Das Buch macht die Kunst der Anspielungen und geheimen Botschaften plastisch und kommt neben Bach und Wagner schließlich zu einem weiteren Fixstern: Mozart.Table of ContentsVorwort.- I. EINLEITUNG.- Historisches.-Brahms und die Symphonie.- Eine maliziöse Beziehung.- Ästhetische Bestimmungen.- 27.-I I. DER „VIZEMEISTER“.- Prüfstein Tristan.- Wagner-Episoden.- III. OPUS 100 – EIN BEDEUTUNGSFELD.- Meistersinger-Aspekte.- Zur zweiten Unmittelbarkeit.- Penzinger Nachklang.- IV. BRAHMS’ SYMPHONISCHE TETRALOGIE.- V. GRUNDLEGENDES IN DER ERSTEN SYMPHONIE.- Der ‚Hymnus’.- Die ‚F-A-F-Chiffre’ (Terz/Sext-Modell).- Das ‚Todesmotiv’ (Terzenkette).- Der ‚Chiasmus’.- Leitmotiv und Kernmotiv.- Das ‚Motiv der Götterdämmerung’.- Rückschau im Doppelkonzert.- VI. VERSTOHLENE POESIE.- Eine Spurensuche.- Der ‚Manfred’-Stoff.- Das Alp horn-Thema.- Relationsmusik.- 170.- VII. DIE „GEHEIME, SCHWERE LAST“.- Ein kleines Requiem.- Vom ‚milchjungen Knaben’.- Tragische Idylle.- VIII. DIE PASSACAGLIA UND IHR THEMA.- IX. EXKURS: BRAHMS UND CORIOLAN.- X. AUTOBIOGRAPHISCHES IM FINALE DER VIERTEN SYMPHONIE.- Musik und Programm.- Über Brahms’ Passacaglia.- Jenseits aller Menschenschicksale.- XI. EXKURS: DIE FUGA E-DUR (BWV 878).- XII. ZUM AKROSTICHON DER VIER SYMPHONIEN.- Bach- und Mozart-Konvergenzen.- Ein Kanon und seine Rezeption.- Leitstern Jupitersinfonie.- „... unsere Götter über uns“.- Der tetralogische Plan.- XIII. IM ZEICHEN DER SELIGEN GENIEN.- Resonanzen und Korrespondenzen.- Epilog in Op. 121.- XIV. IN MEINEN TÖNEN SPRECHE ICH.- „In meinen Tönen spreche ich“.- Fluchtpunkt Bach.- Brahms und die Symphonie.- GLOSSAR.- LITERATUR.- NOTEN.- PERSONENVERZEICHNIS.

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Book SynopsisWas bleibt? Johann Sebastian Bach gestaltete und verfeinerte sein reiches musikalisches Erbe sehr bewusst: Über Jahrzehnte hinweg trug er sorgfältig angelegte Sammlungen, Originaldrucke und reinschriftliche Partituren zusammen, mit denen er Maßstäbe setzen und der Nachwelt im Gedächtnis bleiben wollte – wie eine musikalische Autobiografie. Christoph Wolff porträtiert in seinem neuen Buch anhand dieser Referenzwerke Bachs bahnbrechende künstlerische Leistungen quer durch die verschiedenen Gattungen der Instrumental- und Vokalmusik: Präludien, Fugen und Orgelchoräle, Suiten, Sonaten und Konzerte sowie Kantaten, Passionen, Oratorien und Messen. Auf dieser imponierenden Strecke trieb Bach mit seiner musikalischen Logik und ausdrucksvollen Tonsprache die Kompositionsgeschichte voran.Trade Review“... die Werkporträts sind für kirchenmusikalisch Tätige überaus lesenswert! ... Dieses Buch setzt Maßstäbe, was die Kunst des Verstehens von Bachs Musik angeht ...” (Meinrad Walter, in: Musik & Kirche, Heft 4, 2023) “... Christoph Wolff hat mit diesem Buch zu seinem stattlichen Opus eine weitere meisterhafte Studie mit einer staunenswerten Materialbeherrschung vorgelegt, die nicht nur für Bibliotheken zum Pflichtbestand gehört, sondern auch für Kenner und Liebhaber, wie man im 18. Jh. sagte, hohes intellektuelles Vergnügen und viele Anregungen zur Beschäftigung mit Bach einzigartigen Werken ermöglicht” (Albert Raffelt, in: Informationsmittel für Bibliotheken, informationsmittel-fuer-bibliotheken.de, Jg. 31, Heft 1, 2023)

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Book SynopsisThe city of Hangzhou symbolized all of the contradictions of the declining Song Empire (960–1279). It was paramount and feeble, awe-inspiring and threatened, the most admired city and a disgrace to its dynastic founders. Rather than debate the merit of these polemical judgments, the contributors to this volume treat them as expressions of their historical moment, reflecting ideological convictions and aesthetic preferences.Leading scholars of the field, including Beverly Bossler, Stephen West, and Martin Powers, have produced essays that relate changes in literary convention to shifts in territorial boundaries, and analyze writing, painting, dance, and music as means by which individual literati placed themselves in time and space.

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Book SynopsisThis collection of essays on the music of migrant minorities in and from Japan examines the central role music plays in the ongoing adjustment, conciliation and transformation of newcomers and "hosts" alike. It is the first academic text to address music activities across a range of migrant groups in Japan-particularly those of Tokyo and its neighbouring areas. It is also the first to juxtapose such communities with those of Japanese emigrants as ethnic minorities elsewhere. It presents both archival and fieldwork-based case studies that highlight music in the dynamics of encounter and attempted identity making, under a unifying framework of migration.A radical change in policy with the 2019 introduction of a new "Specified Skilled Worker" visa category marked the beginning of Japan's "new immigration era" (imin gannen). The authors in this volume interrogate and shed light on the bureaucratically disseminated slogan of tabunka kyōsei, rendered in English as "multicultural coexistence". The concept itself and the many problems of realizing this ideal are examined through ethnography-based accounts of current minorities, including South Indians, Brazilians, Nepalis, Filipinos, Iranians and Ainu domestic migrants, and in light of comparative historical accounts of California and Australia. This volume will be of interest to ethnomusicologists, students of the cultures of migrant communities, and those engaged with cultural change and diversity in Japan and East Asia.Trade Review"Unsilent Strangers is a scholarly work that allows us to listen for ways by which music expresses minority identities in and through Japan. Together, these essays demonstrate ways by which music matters, as not merely a cultural idiom, but as a vital and fundamental part of our coexistence with each other." -- Christine Yano, University of Hawai`i, Manoa

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Book SynopsisThe golden age of Malay film in the 1950s and 1960s was the product of a musical and cultural cosmopolitanism in the service of a nation-making process based on ideas of Malay ethnonationalism, initially fluid, increasingly homogenised over time. The commercial films of the period, and in particular their film music, from national cultural icons P. Ramlee and Zubir Said, remain important reference points for Malaysia and Singapore to this day. This is the first in-depth study of the film music of the period. It brings together ethnomusicological and cultural studies perspectives.Written in an engaging manner, thoroughly illustrated and incorporating musical scores, the book will appeal to dedicated film fans, musicians, composers and film-makers interested in Southeast Asia and the Malay world. But equally, the conceptual framework will be of interest to a broad range of scholars of Southeast Asia, as it brings together ideas of cosmopolitanism and cultural intimacy to narrate a history of nation-making in the region.Trade Review“Cosmopolitan Intimacies is the first overarching study of its kind. It fills an important lacuna and opens a new vista onto the multifaceted world of Malay film music and its ongoing meaning and relevance.” — Anna Morcom, Royal Holloway, University of London

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Book SynopsisEschewing traditionally linear historical frameworks, In Search of Julián Carrillo and Sonido 13 employs an innovative transhistorical narrative in which past, present and future are explored dialogically in order to understand the politics of performance and self-representation behind Carrillo and Sonido 13.Table of ContentsAbout the Companion Website ; List of Figures ; List of Music Examples ; Acknowledgements ; Chapter 1. Introduction: A Cultural Complex's ; Non-Linear Story ; Chapter 2. Imitation, Ideology, Performativity, and ; Carrillo's Symphony No. 1 ; Chapter 3. '...y hermosisima patria sera': National and ; Post-National Transfigurations in Matilde ; Chapter 4. Modernism, Teleology, and Identity: Toward ; a Cultural Understanding of Early Sonido 13 ; Chapter 5. Reading Carrillo: The Future that Never Was ; Chapter 6. Continuities and Discontinuities in an Imaginary ; Cycle: The Thirteen String Quartets ; Chapter 7. Experimentalism, Mythology, the Intermundane, ; and Sonido 13 after Julian Carrillo ; Chapter 8. Estrangement, Performance, and Performativity: ; Musicking Sonido 13 ; Bibliography

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Book SynopsisExamining pioneering and long-forgotten scholarly contributions by Eduard Hanslick, Guido Adler, and Heinrich Schenker, this book argues that music study, at the time of its academic institutionalization in the late 19th century, was a deeply conflicted endeavor.Trade ReviewMusic, Criticism, and the Challenge of History makes a superb contribution in that it complicates and nuances the often monolithic view of a crucial formative period in the history of musicology. The result is a fascinating portrayal of musical thinkers pulled between the conflicting tidal forces of aesthetics and the natural laws of science, of Musikwissenschaft and Criticism, of empiricism and intuition. Karnes's book demands to be reckoned with, and it will invite useful critical engagement in the new terms of its refurbished field of inquiry. * Scott Burnham, Princeton University *Kevin Karnes's Music, Criticism, and the Challenge of History is a considerable achievement, offering at once a probing account of the philosophical underpinnings of the emerging field of Musikwissenschaft and a novel point of entry into intellectual currents in Vienna at the turn of the twentieth century. Especially welcome is the appreciative reevaluation of the entire body of writings by Hanslick, a figure who has often been misunderstood because the different types of writing have been read in isolation. Throughout his book Karnes shows the ways in which the positivism that motivated early musicologists was complicated by their reception of other philosophical trends and by their realization of the inevitable subjectivity of musical experience. * Margaret Notley, Author of Lateness and Brahms: Music and Culture in the Twilight of Viennese Liberalism (Oxford University Press, 2006) *In this thoughtful, imaginative and carefully researched study, Kevin C. Karnes reevaluates a key moment in the institutionalization of musicology as a modern academic discipline. Karnes's deep knowledge of this period is evident on every page, and his patient sifting of sources enables him to find connections that others have overlooked. For readers whose ideas about Hanslick derive primarily from his essay Vom Musikalisch-Schönen, for example, this book will be full of surprises, and Karnes also revises the conventional wisdom about Adler. * Kevin Korsyn, author of Decentering Music: A Critique of Contemporary Musical Research (Oxford University Press, 2003) *Music, Criticism, and the Challenge of History makes a superb contribution in that it complicates and nuances the often monolithic view of a crucial formative period in the history of musicology. The result is a fascinating portrayal of musical thinkers pulled between the conflicting tidal forces of aesthetics and the natural laws of science, of Musikwissenschaft and Criticism, of empiricism and intuition. Karnes's book demands to be reckoned with, and it will invite useful critical engagement in the new terms of its refurbished field of inquiry. * Scott Burnham, Princeton University *In this thoughtful, imaginative and carefully researched study, Kevin C. Karnes reevaluates a key moment in the institutionalization of musicology as a modern academic discipline. Karnes's deep knowledge of this period is evident on every page, and his patient sifting of sources enables him to find connections that others have overlooked. For readers whose ideas about Hanslick derive primarily from his essay Vom Musikalisch-Schönen, for example, this book will be full of surprises, and Karnes also revises the conventional wisdom about Adler. * Kevin Korsyn, Author of Decentering Music: A Critique of Contemporary Musical Research (Oxford University Press, 2003) *An impressive achievement, offering a provocative and useful reappraisal of a key phase in the history of musicology. Its clear organization, as well as pithy and unpretentious prose, make it accessible to advanced students as well as scholars, and I have no doubt that it will continue to stimulate further work in this field for years to come. * Music & Letters *

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Book SynopsisThe Beatles as Musicians is a comprehensive, chronologically ordered study of every aspect of the group's musical life--composition, performance, recording and reception histories--in its transcendent late period, from 1966 to 1970. Richly authoritative interpretations are interwoven through a documentary study of many thousands of audio and other sources.Trade ReviewThe Beatles As Musicians is a well-researched, serious-minded scholarly work that stands easily as the best volume of its genre. Students enrolled in music education programs at the university level will benefit tremendously from many of professor Everett's astute observations and advanced theories concerning the music of The Beatles. As a college-level textbook, this book rates an A+. * Goldmine *Table of ContentsMap: The Beatles in London PRELUDE: One-Way Ticket, Yeah ONE: Another Kind of Mind There: The Meaning of Within (1966) INTERLUDE: I Know When It's a Dream TWO: Yellow Matter Custard, Green Slop Pie (1967) THREE: So Let It Out and Let It In (1968) FOUR: Let It Be (1969-1970) POSTLUDE: Whatever Happened To...? APPENDIX A: Instruments Played by the Late-Period Beatles APPENDIX B: Musical Friends of the Late-Period Beatles Table of Chord Functions Glossary of Terms Notes References Index of Names and Song Titles Index

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