Theory of music and musicology Books

Book SynopsisA groundbreaking history of how the US Post made the nineteenth-century American West.There were five times as many post offices in the United States in 1899 than there are McDonald''s restaurants today. During an era of supposedly limited federal government, the United States operated the most expansive national postal system in the world. In this cutting-edge interpretation of the late nineteenth-century United States, Cameron Blevins argues that the US Post wove together two of the era''s defining projects: western expansion and the growth of state power. Between the 1860s and the early 1900s, the western United States underwent a truly dramatic reorganization of people, land, capital, and resources. It had taken Anglo-Americans the better part of two hundred years to occupy the eastern half of the continent, yet they occupied the West within a single generation. As millions of settlers moved into the region, they relied on letters and newspapers, magazines and pamphlets, petitions and money orders to stay connected to the wider world. Paper Trails maps the spread of the US Post using a dataset of more than 100,000 post offices, revealing a new picture of the federal government in the West. The western postal network bore little resemblance to the civil service bureaucracies typically associated with government institutions. Instead, the US Post grafted public mail service onto private businesses, contracting with stagecoach companies to carry the mail and paying local merchants to distribute letters from their stores. These arrangements allowed the US Post to rapidly spin out a vast and ephemeral web of postal infrastructure to thousands of distant places.The postal network''s sprawling geography and localized operations forces a reconsideration of the American state, its history, and the ways in which it exercised power.Trade ReviewPaper Trails brings impressive depth and richness to historians long-standing interest in how federal power shaped the North American West....Blevinss study calls attention to infrastructures role in defining territory and supporting white settlement. Paper Trails will be of particular interest to historians of the nineteenth-century United States and the North American West, spatial historians and digital practitioners, and scholars of settler colonialism and state power....Paper Trails represents the leading edge of digital history. By combining large-scale data analysis with archival research and close reading, Blevins delivers unexpected insights into the postal system, the people who used it, and the American West they made. * Sean Fraga, American Historical Review *A stunning work of scholarship. * Joseph M. Adelman, New England Quarterly *A stunning work of scholarship....A model of digital history methods and historical writing...Paper Trails delivers a fascinating view into how the post office integrated the West into the United States....The result of Blevins's meticulous work is a significant contribution to debates about the formation of an American state in the nineteenth century, the nature of federal power in the West, and the role of digital history as a research method. * Joseph M. Adelman, New England Quarterly *Cameron Blevins's Paper Trails is a creative, sophisticated history of the U.S. Post in the late nineteenth-century West. Weaving together social and spatial history, the book offers two complementary interventions. One is methodological, challenging critics who maintain that digital methods merely dress up history we already knew. The other addresses debates about the U.S. state, moving beyond the categories of 'strong' versus 'weak' to offer fresh insight on state power in the nineteenth century.... Paper Trails reads mostly as narrative history, but Blevins pauses strategically to explain his theory of power and why it matters. He does this effortlessly, which is a testament to the book's prose and its considered conceptualization. The book will be of great interest to scholars of western history, digital humanities, and political economy. * Emma Teitelman, Western History Quarterly *Paper Trails elegantly employs digital history tools and spatial analysis methods to explain how the United States extended federal authority over the American West.... Blevins pays careful attention to the physicality of postal spaces too, from customer windows and post office boxes to stamps, money orders, mail sacks, and satchels. He documents the cartographic work of the U.S. Post's Topographer's Office in Washington, D.C., and embeds postal offices in an ever-shifting web of transactions, correspondence, and interpersonal connections that constituted the most spatially dense federal presence beyond the Mississippi River.... It is one thing to imagine this in the abstract and quite another to see such patterns emerge in map after map and through the compelling stories recounted throughout the narrative. * Tona Hangen, Journal of American History *See[s] the American West in new terms....Apart from the foundational role that the postal network played in western settlement, Blevins also asks us to consider how American life both then and now is quietly but directly shaped by these 'large-scale structures, systems, and networks.' Such an observation can prompt rich discussions about both seen and unseen forces of history....Readers will be...intrigued by the extensive companion website to the book (www. gossamernetwork.com). In a site that is intuitive and thoughtful, Blevins and his colleagues show in real time how the postal network followed— and sometimes anticipated—the rapid dispossession of Native lands in the West. By aggregating and analyzing the location of postal networks, Blevins shows what would otherwise be invisible to historians of the West, answering critics of digital history as confirming what we already know. * Susan Schulten, Journal of the Civil War Era *Perhaps not since Miracle on 34th Street extolled the United States Postal Service for exonerating Santa Claus has an in-depth examination of post office history been so interesting as Cameron Blevinss Paper Trails.... In many waysPaper Trailsdoes for post offices what William CrononsNatures Metropolisdid for grain elevators. He slices them open and turns them inside out, explaining both their inner workings and significance in understanding the big picture. Scholars interested in postal history, digital history, western expansion, state power, and the analysis of large-scale structures and systems should read this book. They will find that they will never look at their local post office—or perhaps even their Facebook page—the same way again.. * Michael A. Amundson, Environmental History *This work traces the meteoric rise of the US postal system in its quest to connect far-flung reaches of the remote American West in the late 19th century. Blevins argues that similar to current enmeshed corporations like Google or Amazon, the postal system structurally transformed American history. He further contends that 'the US post was the underlying spatial circuitry of western expansion' and enabled the ensuing—and tragic—human conquest and full-scale resource exploitation that rapidly followed. Yet, local post offices also served as community hubs, knitting together remote rural communities. A product of the relatively new subfield of digital history, this study also draws on extensive data sets, maps, and scores of archival records to create a remarkable textual and visual record based on spatial analysis of an immense and sprawling federal apparatus. * Choice *Paper Trails is recommended for those open to a closer inspection of western development, of which the U.S. Post is no doubt an integral layer. Among the familiar, readers will be challenged to consider new perspectives in new ways, and in the process they will be introduced to a host of interesting characters and characteristics. * Dan K. Utley, Southwestern Historical Quarterly *In this impressive and innovative work, Cameron Blevins uses digital history methods to carefully document how the US Postal Service facilitated American settlement in the far West during the late nineteenth century ... it is at once social history, political history, business history, and policy history presented in clear, lively prose that makes for fascinating reading. * John Majewski, Missouri Historical Review *A shining masterpiece of interdisciplinary scholarship....Blevins's brilliance lies in his expert balance of broad, sweeping analysis and detailed social history. Paper Trails is not just a story about data and state functions but also a chronicle about ordinary people whose lives were impacted by accessibility to the largest-scale postal service in the world....Blevins argues that postal centralization, characterized by an agency model of public-private partnerships, local agents, and contractors, enabled the rapid development of postal services essential to the nation's periphery through outsourced employees, transportation, and postal facilities....Maps, charts, and captivatingly written narratives...illustrate his data, examine broad historical questions, and reinforce his central arguments. * Robert O'Dell III, Journal of the Gilded Age and Progressive Era *Cameron Blevins's Paper Trails: The U.S. Post and the Making of the American West is a wonderful example of digital history built on information technology and archival research. * Marc Levinson, Wall Street Journal *Paper Trails offers a timely reminder that the post has always been political. [...] One of the most striking aspects of Paper Trails isn't in the book. Mr Blevins is a digital historian, meaning he uses data science to analyse historical trends. He built an accompanying website replete with interactive maps to show readers how, within a generation, the postal service helped colonise a continent. These online dispatches beautifully illustrate the formative power of snail mail. * The Economist *Paper Trails is the kind of book that will, I believe, spark greater interest in less familiar aspects of the American story, and for that, Mr. Blevins deserves thanks. * Mark A. Kellner, Washington Times *Paper Trails has a great deal to interest and provoke thought in readers of all stripes, philatelists included. * Susanna Mills, American Philatelist *A thoughtful consideration of an overlooked but clearly central aspect of westward expansion. * Kirkus *In the hands of Cameron Blevins, isolated post offices become windows into life in the American West. With great skill, Blevins portrays the expansive growth of the American state in an original, surprising, and persuasive way. * Edward L. Ayers, winner of the Bancroft Prize *With the publication of Paper Trails, Cameron Blevins emerges as a leader in a critically important but under-recognized genre: books in which authors make fully persuasive cases for the great importance of historical subjects that their predecessors barely noticed. With the intensity and range of Blevins's research, the clarity and vigor of his writing style, and, most of all, his distinctive perspective on the relationship between the history of the American West and the history of the federal government, this book gains the status of a fresh appraisal of the arrangements of power and population in the West and in the nation as a whole. * Patricia Nelson Limerick, author of Legacy of Conquest *In this engaging and beautifully written book, Cameron Blevins combines rich archival detail and the insights of spatial analysis to provide a nuanced account of how the federal government shaped the settlement of the US West. Paper Trails will make you see state power in entirely new ways. * Rachel St. John, University of California, Davis *As the human presence of the American state, the postal system diffused office and service across a continental landscape. In teaching this lesson and others, Cameron Blevins has produced a study so methodologically and empirically rich that it sets a model for disciplines beyond history. * Daniel Carpenter, author of Democracy by Petition: Popular Politics in Transformation, 1790-1870 *Paper Trails is a sweeping overview of a major US government agency in the nineteenth-century trans-Mississippi West. By combining modern digital mapping techniques with traditional archival research, Blevins shows how postal policy can help us better understand the rise of the modern American state. * Richard R. John, author of Spreading the News: The American Postal System from Franklin to Morse *Table of ContentsAcknowledgments Note on Methods Introduction: The Gossamer Network 1. Geography and State Power 2. Stories and Structures 3. Postal Maps, 1860- 83 4. Mail Routes and the Costs of Expansion, 1866- 83 5. The Post Office Window, 1880- 92 6. Money Orders and National Integration, 1864- 95 7. Rural Free Delivery, 1896- 1913 Conclusion: The Modern American State Notes Index

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Book SynopsisDespite the ups and downs of his personal life and professional career-even in the face of deafness-Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, the music historian Mark Evan Bonds argues, provides the key to understanding the composer''s life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington''s Victory. Beethoven''s works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.Trade ReviewWritten in polished, clear prose, this book will appeal to those who decide to learn more about Beethoven. Recommended. General readers. * M. N.H. Cheng, CHOICE *Bonds recognizes Beethoven's remarkable aptitude for challenging the listener through mastery of variation, malleability of perspective and extremity of feeling, frequently capturing aspects of the human condition. Hence, Bonds maintains the listener is rewarded with an always revelatory reminder of the power of music. * Samuel I. Grosby, Anthenaeum Review *Table of ContentsIntroduction 1. The Scowl 2. The Life 3. Ideals 4. Deafness 5. Love 6. Money 7. Politics 8. Composing 9. Early-Middle-Late 10. The Music 11. "Beethoven" Notes For Further Reading

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Book SynopsisIn Beethoven's String Quartet in C-sharp Minor, Op. 131, author Nancy November provides an analysis of Beethoven's Op. 131, illuminated by excerpts from a range of sound recordings, geared towards allowing the reader to access earlier modes of listening and interpretation. The book's well-rounded and multifaceted approach blends mainstream, traditional scholarship with popular media.Trade ReviewNovember's text is informed, critical and provocative, admirably fulfilling the aims of the Oxford Keynotes series. * Robin Stolwell, The Strad *Led by the perspective of listening, Nancy November offers a comprehensive study of Beethoven's string quartet in C sharp minor Op. 131, in which music lovers, students, and colleagues will find stimulating as well as new, and sometimes unexpected, information. * Christine Siegert, Head of the Beethoven-Archiv Research Centre, Beethoven-Haus Bonn *Nancy November breaks open the discourse on fragmentation versus unity in Op. 131 with a new interpretive approach that focuses on the special relationship between work, performer, and audience, conceiving Beethoven's composition as a large-scale fantasy that requires sustained, attentive listening. With her thought-provoking view of Op. 131, November undoubtedly offers a welcome enrichment to research on Beethoven's late work. * Christian Speck, Professor Emeritus of Musicology, University of Koblenz *Table of Contents1. Re-hearing Op. 131 2. The early and popular reception of Op.131 3. "A new kind of part writing" 4. "Like an overly large fantasy" 5. Op. 131 and the Rise of Attentive Listening

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Book SynopsisMusic in the Galant Style is an authoritative and readily understandable study of the core compositional style of the eighteenth century. Gjerdingen adopts a unique approach, based on a massive but little-known corpus of pedagogical workbooks used by the most influential teachers of the century, the Italian partimenti. He has brought this vital repository of compositional methods into confrontation with a set of schemata distilled from an enormous body of eighteenth-century music, much of it known only to specialists, formative of the galant style.Trade ReviewA path-breaking work in musical analysis. Professor Gjerdingen opens the doors into the compositional studios of the 18th century, showing us how characteristic idioms within the galant style that formed a lingua franca among musicians across Europe can be modeled-and easily replicated * by a small number of recurring voice-leading 'schema.' Richly illustrated with diverse musical examples and eye-catching graphics, this remarkable and original study will prove invaluable to all analysts and historians of 18th century music."-Thomas Christensen, Professor of Music, University of Chicago *Gjerdingen's study promises to reframe nearly all the work that scholars have lavished on compositional practice in the eighteenth century by answering a question that no one seems to have asked before now - how were eighteenth-century composers (Italian-born and Italian-trained composers above all) able to produce such massive quantities of music in such a broad spectrum of genres, and to do so with both facility and taste? * Thomas Bauman, Professor of Musicology, Northwestern University *After reading this text, I came away believing that I had learned much that was new, that I had significantly refined my hearing of galant style, and that I had developed a greater appreciation of music that is generally unfamiliar but deserving of greater performance. One can hardly ask more from any book! * William E. Caplin, Professor of Music Theory, McGill University *A path-breaking work in musical analysis. Professor Gjerdingen opens the doors into the compositional studios of the 18th century, showing us how characteristic idioms within the galant style that formed a lingua franca among musicians across Europe can be modeled-and easily replicated * by a small number of recurring voice-leading 'schema.' Richly illustrated with diverse musical examples and eye-catching graphics, this remarkable and original study will prove invaluable to all analysts and historians of 18th century music."-Thomas Christensen, Professor of Music, University of Chicago *Gjerdingen's study promises to reframe nearly all the work that scholars have lavished on compositional practice in the eighteenth century by answering a question that no one seems to have asked before now - how were eighteenth-century composers (Italian-born and Italian-trained composers above all) able to produce such massive quantities of music in such a broad spectrum of genres, and to do so with both facility and taste? * Thomas Bauman, Professor of Musicology, Northwestern University *After reading this text, I came away believing that I had learned much that was new, that I had significantly refined my hearing of galant style, and that I had developed a greater appreciation of music that is generally unfamiliar but deserving of greater performance. One can hardly ask more from any book! * William E. Caplin, Professor of Music Theory, McGill University *Music in the galant style must count, both in 18th-century music studies and in music theory, as one of the most significant publications of recent decades. * Early Music *Table of Contents1: Introduction 2: The Romanesca 3: The Prinner 4: The Fonte 5: A Minuet by Giovanni Battista Somis 6: The Do-Re-Mi 7: The Monte 8: A Theme and Variations by Carl Ditters von Dittersdorf 9: The Meyer 10: A Theme and Variations by Joseph Haydn 11: Clausulae 12: An Andante by Christoph Willibald Gluck 13: The Quiescenza 14: The Ponte 15: A Grave Sostenuto by Baldassare Galuppi 16: The Fenaroli 17: An Allegro by Carl Ditters von Dittersdorf 18: The Sol-Fa-Mi 19: An Andante by Johann Christian Bach 20: The Indugio 21: A Cantabile by Simon Leduc 22: A Larghetto by Leonardo Leo 23: An Andantino by Baldassare Galuppi 24: An Andantino Affettuoso by Niccolo Jommelli 25: The Child Mozart 26: An Allegro by Wolfgang Amadeus Mozart 27: II Filo: A Poco Adagio by Joseph Haydn 28: A Model Adagio by Johann Joachim Quantz 29: A Model Allegro by Francesco Galeazzi 30: Summary and Cadenza Appendix A: Schema Prototypes Appendix B: Partimenti Notes Index of Music Sources General Index

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Book SynopsisTrade ReviewThe value and use of these artifacts in the traditional or virtual classroom cannot be overstated; they help contemporary students understand the lasting importance of the Beatles, their history, their music, and their historical value moving into the 21st century. * T. Emery, Austin Peay State University, CHOICE *...this book would be a good addition to the music literature section of a university library or the personal collection of a musically-inclined Beatles fan. It may also be of interest to college professors in search of supplementary materials for a general popular music course or the primary text for a Beatles-specific course * Anna Wodny, University of North Texas, Music Reference Services Quarterly *I do feel heartened by the idea of a new generation of young people discovering their music and the pleasures of delving deep into it in the kind of class that might employ this book as its main text. * psychobabble *Table of ContentsPreface Contents of Beatle videos Prologue: Who Were the Beatles? Introduction - Revolt Into Sound: Race, Class, Generation Divide and Gender Dominate Pre-Beatles Rock 'n' Roll John Lennon Discovers Rock 'n' Roll Elvis Presley and Other First-generation Rockers The Beatles on the BBC From Performance to Production and Poetic Concept Chapter 1 - The Quarry Men (1940-1960) A Pre-history The Quarry Men Becoming the Beatles: "In Spite of All the Danger" Early Paying Gigs Chapter 2 - The Pete Best Era (1961-1962) 1961-62 Original Releases The Cavern, "My Bonnie" and Brian Epstein Recording for EMI: George Martin "Please Please Me" Chapter 3 - Runaway Train: British Beatlemania (1963) 1963 British Releases The Rise to National Prominence: Please Please Me "I Saw Her Standing There" "There's A Place" Growth as Musicians "She Loves You" With the Beatles and "I Want to Hold Your Hand" "All I've Got to Do" "Not a Second Time" "I Want to Hold Your Hand" Beatlemania Officially Recognized Chapter 4 - Instant Combustion: World Embrace (1964) Storming the States 1964 Original Releases A Hard Day's Night "I Should Have Known Better" "If I Fell" "Things We Said Today" "I'll Be Back" "I Call Your Name" World Tour and Further Recording: Beatles for Sale Chapter 5 - Repeat with a Twist (1965) 1965 Original Releases The Beatles and the Changing Global Culture of 1965 "Ticket to Ride" Help! "The Night Before," "Another Girl" "Yesterday" The Beatles as Live Performers "We Can Work It Out" "Day Tripper" Rubber Soul "You Won't See Me" "Michelle" Chapter 6 - From the Stage to the Studio (1966) The Final Tours Revolver "Here, There and Everywhere" "And Your Bird Can Sing" "Doctor Robert" "Paperback Writer" "Strawberry Fields Forever" / "Penny Lane" Chapter 7 - Celebrity Psychedelia (1967) 1967 British Releases The Summer of Love Sgt. Pepper's Lonely Hearts Club Band "Lucy in the Sky with Diamonds" "A Day in the Life" Magical Mystery Tour "The Fool on the Hill" "I Am the Walrus" Chapter 8 - Listening Through a Glass Onion (1968) 1968 British Releases The Summer of Love, Inverted Early-1968 Recording Projects and Rishikesh Apple and Solo Excursions The White Album "Dear Prudence" "While My Guitar Gently Weeps" "Martha My Dear" "I'm So Tired" "Everybody's Got Something to Hide Except Me and My Monkey" "Sexy Sadie" "Revolution 9" Chapter 9 - They May Be Parted (1969-1970) 1969-1970 British Releases The "Get Back" Project "Two of Us" "Dig a Pony" "I've Got a Feeling" "One After 909" "Don't Let Me Down" The Spring of 1969 "The Ballad of John and Yoko" Abbey Road "Oh! Darling" The Ex-Beatles The Beatles' Legacy Appendix 1: Recordings That Influenced the Beatles Appendix 2: 1960s Timeline Appendix 3: Guide to Multimedia Materials Selected Bibliography Index of Song Titles, Artists' and Others' Names, Musical Terms and Concepts

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Book SynopsisExploring Musical Spaces is a comprehensive synthesis of mathematical techniques in music theory, written with the aim of making these techniques accessible to music scholars without extensive prior training in mathematics. The book adopts a visual orientation, introducing from the outset a number of simple geometric models-the first examples of the musical spaces of the book''s title-depicting relationships among musical entities of various kinds such as notes, chords, scales, or rhythmic values. These spaces take many forms and become a unifying thread in initiating readers into several areas of active recent scholarship, including transformation theory, neo-Riemannian theory, geometric music theory, diatonic theory, and scale theory. Concepts and techniques from mathematical set theory, graph theory, group theory, geometry, and topology are introduced as needed to address musical questions. Musical examples ranging from Bach to the late twentieth century keep the underlying musical Trade ReviewThe 'mathy' quality of much recent music theory has long been a barrier to its comprehension. No more. Julian Hook is a master explainer and, thanks to this book, music theorists and interested musicians now have an effective on-ramp not only to understanding but also to deep enjoyment of the rich regularities that can be heard to underpin musical experience. * Joseph Straus, CUNY Graduate Center *Exploring Musical Spaces draws together the most important results in algebraic and geometric music theory of the last fifty years. Julian Hook's treatise, featuring the author's signature clarity and depth of insight, will open this dazzling field to a new generation of scholars. * Ian Quinn, Yale University *For anyone looking for one book to read to help them better engage with or produce scholarship in mathematical music theory, I cannot recommend Exploring Musical Spaces highly enough. * Jordan Lenchitz, Journal of Mathematics and Music *Table of ContentsPreface Acknowledgments Part I Foundations of Mathematical Music Theory: Spaces, Sets, Graphs, and Groups Chapter 1: Spaces I: Pitch and Pitch-Class Spaces Chapter 2: Sets, Functions, and Relations Chapter 3: Graphs Chapter 4: Spaces II: Chordal, Tonal, and Serial Spaces Chapter 5: Groups I: Interval Groups and Transformation Groups Part II Transformation Theory: Intervals and Transformations, including Neo-Riemannian Theory Chapter 6: Groups II: Permutations, Isomorphisms, and Other Topics in Group Theory Chapter 7: Intervals Chapter 8: Transformations I: Triadic Transformations Chapter 9: Transformations II: Transformation Graphs and Networks; Serial Transformations Part III Geometric Music Theory: The OPTIC Voice-Leading Spaces Chapter 10: Spaces III: Introduction to Voice-Leading Spaces Chapter 11: Spaces IV: The Geometry of OPTIC Spaces Chapter 12: Distances Part IV Theory of Scales: Diatonic and Beyond Chapter 13: Scales I: Diatonic Spaces Chapter 14: Scales II: Beyond the Diatonic Appendix 1: List of Musical Spaces Appendix 2: List of Sets and Groups References

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Book SynopsisBeethoven's Ninth Symphony has held musical audiences captive for close to two centuries. Honing in on the significance of the symphony in contemporary culture, this book establishes a dialog between Beethoven's world and ours. In particular, it outlines what is special about the Ninth in millennial culture, where music is encoded not only as score but also as digital technology.Trade Review"Beethoven meets media theory in Alexander Rehding's wonderful and expansive account of Symphony No. 9. Taking the symphony's monumental challenges into the 21st century, Rehding offers a novel interpretation based on its recent performance and adaptation history, troubling our most fundamental understandings of music, communication and time in the process. A delightful and surprising read."-Jonathan Sterne, McGill University, author of MP3: The Meaning of a FormatTable of ContentsContents Acknowledgements Chapter 1: Beethoven's Ninth for a New Millennium Chapter 2: Marking History Chapter 3: Marking Hearing Chapter 4: Marking Time Chapter 5: Marking Form Chapter 6: Marking Noise Select Bibliography

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Book SynopsisSound Unseen explores the phenomenon of acousmatic sound -- a sound that one hears without seeing its source-and presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses.Trade ReviewMuch in this substantive book will resonate with the reader after the concluding page is turned. Recommended. * Choice *The driving force behind Sound Unseen is Kane's argument for a historical, subject-centered theory of acousmatic sound-one that doesn't privilege a particular musical aesthetic, one that doesn't essentialize technologies, and one that admits a consideration of sounds emanating from the interiority of the subjective consciousness...Kane's traversal of the transdisciplinary landscape is graceful and his approach offers a healthy perspective for the field of music research more generally. * Landon Morrison, Society for Music Theory *Kane uncovers a history of acousmatic sound independent of the legacy of Schaeffer and Pythagoras in order to articulate a rather distinct approach to the study of sound that transcends the divisions between musicology and sound studies...[Sound Unseen] is an essential text for scholars of the philosophy of music, electronic music, sound studies, and phenomenology. * Journal of Sonic Studies *Kane's methodology is multi-disciplinary, analysing a variety of cases. * Neural *Brian Kane...has in Sound Unseen written the definitive explanatory tract on the acousmatic. * The Wire *Sound Unseen is both successful and provocative precisely because of these constructive dissonances. It is a rare book that can put thinkers as diverse as P. F. Strawson or Bertrand Russell on the same page with Derrida or Heidegger, especially with Kane's unassuming clarity. Furthermore, Kane shows how music studies and philosophy can speak to each other when they are conceived as mutually supplemental * questions about sound infect philosophical questions, and thus a musical answer becomes a philosophical answer. Finally, Kane's tone deserves special mention, as it untangles knotty philosophical questions with remarkably accessible language: despite the density of his topics, his prose treads lightly and patiently, requiring little philosophical acumen yet rewarding those who may have it.Music Theory Spectrum *Sound Unseen represents a significant contribution to the field of voice studies...Brian Kane succeeds in developing a cogent and flexible explanatory paradigm for acousmatic sound that is clear without being reductive. Kane's account of acousmatic sound allows one to situate the practices of listening within their historical and cultural contexts...Scrupulously researched and conceptually virtuosic, Sound Unseen asks us to rethink the way we listen. * Journal of Musicological Research *Kane effectively decenters the privileged position of Schaefferian accounts in present discourse and opens the door to a broader survey of acousmatic listening practices spanning a variety of sociohistorical situations...Without doubt, Kane's book makes a significant contribution to existing literature on acousmatic sound, and it is necessary reading for anyone interested in exploring the fertile intersection of music, sound, and philosophy. * Music Theory Online *Table of ContentsTable of Contents Introduction PART I. The Acousmatic Situation CHAPTER 1. Pierre Schaeffer, the sound object and the acousmatic reduction PART II. Interruptions CHAPTER 2. Myth and the origin of the Pythagorean veil CHAPTER 3. The baptism of the acousmate PART III. Conditions CHAPTER 4. Acousmatic phantasmagoria and the problem of technê INTERLUDE. Must musique concrète be phantasmagoric? CHAPTER 5. Kafka and the ontology of acousmatic sound PART IV. Cases CHAPTER 6. The acousmatic voice CHAPTER 7. Acousmatic fabrications: Les Paul and the

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Book SynopsisTelling the compelling story of the seventeenth century Naples orphans who emerged from the city's conservatori as masters of the European musical world, Child Composers in the Old Conservatory explores their training in the partimento tradition, and advocates for its revival in modern music education.Table of ContentsPreface 1. Introduction Part I - Children in Need 2. Little Boys on Their Own 3. Masters Take Up the Challenge 4. Child Labor 5. Institutionalized Apprenticeship 6. Social Class Part II - Technologies of Traning 7. Schemas and Exemplars 8. Solfeggi and the Acquisition of Style 9. Partimenti and the Power of Improvisation 10. Counterpoint and Collocation 11. Intavolature and the Techniques of Instruments. 12. Dispositions and the Mastery of Complexity Part III - Trial by Contest 13. Little Masters, Real Masters, and Masterpieces 14. The Contest Piece as a Probe of Memory 15. Affordance and the Musical Habitus 16. Predicting Creativity Within a Tradition 17. A Sickly Young Woman Speaks Elegant Harmony Part IV - Transforming Commonplaces 18. The Oval and Cross 19. A Framework for Elaboration 20. The Beaux-Arts Framework 21. A Beaux-Arts Framework for Music 22. Learning Old Music in an Age of Digital Reproduction Appendix A: For Further Study Appendix B: Movimenti, Schemas, and Exemplars Index of Names

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Book SynopsisReminded by the Instruments offers an in-depth look at the work of post-war avant-garde pianist and composer David Tudor. Examining not only Tudor's pioneering work as a composer-performer but also his homemade modular instruments that radically altered electronic music, author You Nakai illuminates our understanding of the means of sound production in experimental music.Trade ReviewIt is not unusual to have scholarly books written about the output of one composer, but it is rare to find one of such length written with such passion and with such complete and extensive information ... . One is presented with a creative thinker who is not just a pianist/organist, not just a composer, but also an electronics genius and an experimenter with sounds that had not previously been used in the context of classical music ... this book will convince the reader that Tudor's life was rich indeed. * D. L. Patterson, CHOICE *Nakai comes across in this book as earnest, humble, and eager to learn. His attention to detail is unflagging. In several lengthy passages, he meticulously goes through Tudor's old clippings from hobbyist magazines and matches them to electronic instruments that Tudor constructed. * Geeta Dayal, Experimental Music *There is no doubt this will be the authoritative text on David Tudor than any future publication on the subject will be held up against. It performs a great service in humanising his legacy, and by extension, that of the other great avant artists of the 20th century. * Leah Kardos, The Wire *A groundbreaking book that not only provides unique insight into the work of one of America's most influential if enigmatic electronic pioneers, but shifts the very paradigm of musical analysis in the aftermath of the transistor. * Nicolas Collins, Professor, Department of Sound, The School of the Art Institute of Chicago *You Nakai's book is a remarkable achievement that illuminates the breadth and depth of David Tudor's life and work as a composer-performer. Based on extensive analytical research and interviews with Tudor's surviving creative associates, it charts his evolution from organist and virtuoso pianist to his innovative live-electronic music, ending with his final explorations of soundand space. Engagingly written and eminently readable, this extraordinary study offers fresh insights into Tudor's reclusive personal life and elusive creative complexities. * Gordon Mumma, composer, Professor Emeritus, University of California *Table of ContentsInput: The Other Side Chapter 1: Piano Chapter 2: Amplified Piano Chapter 3: Sound Systems Chapter 4: Bandoneon! Chapter 5: Pepsi Pavilion Chapter 6: Island Eye Island Ear Chapter 7: Natural Objects Chapter 8: (Likeness to) Voices Chapter 9: Reflections Chapter 10: Neural Syntheses Output: Maps & Fragments Acknowledgments Appendix A: Notable Realizations Appendix B: Rainforest Amplifiers Appendix C: Redrawn Matrix Maps Bibliography Index

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Book SynopsisThis Handbook explains how music contributes to the advertising that the public encounters on a daily basis. Chapters examine how the soundtracks of promotional messages originate, how we might interpret the meanings behind the music, and how commercial messages influence us through music.Table of ContentsPreface About the Contributors Introduction: Music and advertising: Production, text, and reception James Deaville, Siu-Lan Tan, and Ron Rodman PART I. PRODUCTION Edited by: James Deaville Production: Music and the creation of the advertising text James Deaville Music and Advertising Before 1900 1 Advertising the English glee to women, 1750-1800 Bethany Blake 2. Advertising Millie-Christine, or the making of the Two-Headed Nightingale Remi Chiu and Dana Gorzelany-Mostak Selection and Marketing of Music 3. Fitting tunes: Selecting music for television commercials Peter Kupfer 4. Blank music: Marketing virtual instruments James Buhler 5. Contextual marketing: Analyzing networks of musical context in the Digital Age Willem Strank Music for Advertising and Labor 6. Organized labor and commercial advertising: Music unions and J. Walter Thompson Jessica Getman 7. Jazz works: Music, advertising, and labor in Toronto, 1955-1980 Mark Laver Branding through Music 8. Designing identities: Sound and music in automotive and appliance branding Kenneth McLeod 9. Music supervision and branding in an era of "convergent advertising" Tim J. Anderson Advertising Corporate Style through Music 10. The conquest of Kool: Jazz, tobacco, and the rise of market segmentation Dale Chapman 11. Loathsome Deutschtum? Wagner and advertising as propaganda in American industrial films of the 1930s and 1940s Julie Hubbert 12. About a b(r)and: Geffen Records, Universal, and the (posthumous) packaging of Nirvana Laurel Westrup Advertising Audiovisual Entertainment 13. Music and the formal structures of contemporary action film trailers Catrin Watts 14. Creating big-screen audiences through small-screen appeals: Film marketing on television through music and sound James Deaville 15. "Have You Played Atari Today?" Music and audience in an early video game advertising campaign William Gibbons Selling on Radio 16. "All those homes beyond the microphone": Advertising, domesticity, and early country music variety programs in the 1930s David VanderHamm 17. Music and institutional advertising: Consolidated Edison and Echoes of New York Rika Asai PART II. TEXT Edited by: Ron Rodman Text: Analytic and historical perspectives on music and advertising Ron Rodman Approaches to Analyzing Music and Advertising 18. Taking the gift out and putting it back in: From cultural goods to commodities. Timothy D. Taylor 19. Sounds of Coca-Cola-On "cola-nization" of sound and music Nicolai Jørgensgaard Graakjær 20. The persistence of memory: Structural functions of music in commercial jingles Ron Rodman Musical Genres and Advertising 21. Popular music, advertising, and "selling out" Bethany Klein 22. "Search and destroy": Punk in advertising and selling a subculture Jay Beck 23. Selling "David Bowie": Commercial appearances and the developing Bowie star image Katherine Reed 24. Medievalism goes commercial: The epic as register in contemporary media David Clem 25. "Pushin' it": Sounding difference through humor in Geico's 2014 Salt-N-Pepa spot Joanna Love Music and Advertising Genres 26. "Once you hear this, act fast": Music in Civil Defense television advertisements, 1950-1970 Reba Wissner 27. "Everything is not awesome": Playful adaptation and the aurality of ecoconscious media in Greenpeace's "Save the Arctic" campaign Kate Galloway 28. Exploiting the frontier: Advertising and the Western soundtrack Mariana Whitmer Music and Political Ads 29. Music and sound design as propaganda in Hell-Bent for Election Lisa Scoggin 30. As heard on: The changing musical language of Presidential campaign ads Justin Patch 31. From the subliminal to the ridiculing: How U.S. campaign ads use music to evoke four basic and two compound emotions Paul Christiansen PART III. RECEPTION Edited by: Siu-Lan Tan Reception: Empirical approaches to the study of music and advertising Siu-Lan Tan Frameworks: Models, Mechanisms, and Methods 32 Toward a utilitarian theory of consumer response to advertising music Lincoln G. Craton 33 Hearing, remembering, and branding: Setting strategic directions for sonic branding research Vijaykumar Krishnan and James J. Kellaris 34 Methods for testing the emotional effects of music in advertising and brand communication Daniel Müllensiefen Cognitive and Affective Responses to Music and Advertising 35 Commercial sound: A review of the effects of popular music in radio and television advertising David Allan 36 Music with the message in mind: Cognitive responses to background music in advertising Cynthia Fraser 37 Musical congruity in advertising: Established and emerging research themes Steve Oakes and Morteza Abolhasani 38 Audiovisual advertising: Effects of music on psychological transportation and narrative persuasion Madelijn Strick 39 Music as advertisement: Capturing and sustaining attention in the attention economy era Hubert Léveillé Gauvin Music and Sound in (Multi)Sensory Marketing 40 Sensory marketing in advertising and service environments Bertil Hultén 41 Sound in the context of (multi)sensory marketing Klemens Knoeferle and Charles Spence APPENDIX The ad creation process: From production to reception Lawrence Harte Subject/Author Index

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Book SynopsisA guide to and history of movies that tell stories about jazz, Play the Way You Feel looks at how on-screen depictions compare to the real thing, and at the often inventive ways these stories are told.Trade ReviewWith a lot of research, insights and background on jazz, jazz biographies and the eye and ear for a certain lore, mystery, and irony whenever biographies, anecdotes and oral jazz history are referred to, Whitehead presents a fine work on some aspects of the jazz film. Well worth reading and having on the shelf. * Dr. A. Ebert, JIVE-TALK.COM *a fun read * Steve Ramm, The Antique Phonograph *Jazz and cinema, the two definitive art forms of the 20th Century, have led an often troubled co-existence. Play the Way You Feel traces the frequent missteps and occasional triumphs of jazz in film with the deep knowledge, superior taste, and acerbic wit we have come to expect from Kevin Whitehead. An essential book for all jazz fans, and a necessary corrective for anyone whose knowledge of the music is based on what they have learned at the movies. * Bob Blumenthal, author of Jazz: An Introduction to the History and Legends Behind America's Music *A revelation! From the bad to the beautiful, Kevin Whitehead brilliantly illuminates each frame to show us why jazz in the movies matters in all its incarnations. He masterfully guides us through this rich and complicated story, making connections that reveal deeper meanings and aha moments that change our view of jazz, film and ourselves. * Dominique Eade, Jazz Vocalist and Teacher, New England Conservatory *Table of ContentsIntroduction Prologue: The "I Got Rhythm" of Jazz Movies 1927 & 1946 Chapter One: Duke's Day & First Features 1929-1940 Chapter Two: Origin Stories 1941-1947 Chapter Three: Bands of Brothers 1941-1948 Chapter Four: Young Men with Horns-the Jazz Biopic's Golden Age 1950-1959 Chapter Five: The Jazz Musician (and Fan) as Character 1951-1961 Chapter Six: Independents in Black & White 1961-1967 Chapter Seven: Spectacles 1972-1984 Chapter Eight: Suffering Artists 1984-1989 Chapter Nine: Young Lions & Historical Fictions 1990-2000 Chapter Ten: The Jazz Musician (and Fan) as Character 1959-2016 Chapter Eleven: Movies within Movies & New Orleans Comes Back 2008-2019 Postscript: Print the Legend Acknowledgments Notes Bibliography Index

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Book SynopsisTrade ReviewThe present volume is part of the ambitious 'Schoenberg in Words' series, which aims to reissue some of Schoenberg's published works on music theory and also his correspondence. If this updated edition of Models for Beginners in Composition (which Schoenberg published in 1943) is representative, the series sets a very high standard for bibliographic history in music theory. The volume includes the text of the original work, along with prefaces to the original edition (by Schoenberg) and the 1972 edition (by editor Leonard Stein). But a large part of the book is taken up with exhaustive commentary by Root (SUNY, Fredonia) and appendixes with welcome supplementary documents. This edition of Schoenberg's classic work will interest novice and expert alike. * Choice *Meticulously edited, generously illustrated, and with useful supplemental materials including information on the historical context, explanations of Schoenberg's central theoretical concepts, and a companion webpage with recorded performances of the examples, Gordon Root's splendid new edition will make this important but sometimes overlooked book newly accessible to anyone interested in composition, theory, and the creative process. With its fascinating documentation of how his students actually used and learned from the exercises, this edition opens up new windows into why Schoenberg was such an effective teacher, while providing vivid insights into his personality, his commitment to coming to terms with his new life in America, and the development and influence of his theoretical ideas. * Joseph Auner, Tufts University *Gordon Root's new translation of Schoenberg's Models is an invaluable resource: not only for scholars and teachers who seek familiarity with the methods of one of the twentieth century's great composition pedagogues, but for those of us interested in exploring how Schoenberg's understanding of the tonal tradition impacted his own music. * Jack Boss, Professor of Music Theory and Composition, University of Oregon *Table of ContentsTable of Contents Abbreviations of Texts Preface: On the History of Models for Beginners in Composition Editorial Notes Commentary Models for Beginners in Composition Editor's Preface to the 1972 Edition Schoenberg's Preface to the 1943 Edition Syllabus Musical Examples: I. Coordination of Melody and Harmony II. Motive and Motival Features in Two-Measure Phrases III. Sentences IV. Periods V. Contrasting Middle Section VI. Recapitulation (a') VII. Minuet VIII. Scherzo IX. Phrases, Half Sentences, Antecedents, and "a" Sections of Ternary Forms Glossary Appendices Appendix 1: Manuscript Sources for Models for Beginners in Composition Appendix 2: Schoenberg's Teaching Schedule at UCLA Appendix 3: Assignments from Schoenberg's Beginning Composition Class Appendix 4: Key to Schoenberg's Symbols and Abbreviations Appendix 5: Primer in Regions Appendix 6: Primer in Transformations Notes Select Bibliography Index

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Book SynopsisIn Le Chant Intime, internationally renowned baritone François Le Roux, in conversation with journalist Romain Raynaldy, explores the historical and artistic context of French mélodie with enriching analyses of full lyrical poems and several musical examples.Trade ReviewThis English translation of Le Chant Intime is a welcome and important resource for Anglophones wishing to delve into French song interpretation with Le Roux, one of the world's most renowned French baritones ... Rich in historical notes, French song texts with English translations, and artistic and practical song analyses, this is a book that every vocal practitioner of French mélodie should have. * J. J. Leary-Warsaw, CHOICE *Le Chant Intime is an invaluable contribution to the literature. Le Roux offers detailed and rich information about the nature and exponents of the melodie, and encourages singers and their teachers to explore the vast repertoire of French song. It is highly recommended. * Debra Greschner, Journal of Singing *Celebrated baritone François Le Roux has created a riveting companion to Pierre Bernac's iconic Interpretation of French Song. Le Roux's rich expertise enlightens as he revels in the historic twists and turns of the mélodie with fascinating analysis of works both old and new. An absolutely delightful read! * Erika Switzer, Bard College Conservatory of Music *Table of ContentsForeword Introduction To listen To know To perform Georges Auric Le petit bois Hector Berlioz Au cimetière Charles Bordes Sur un vieil air Lili Boulanger Reflets Le retour Emmanuel Chabrier Pastorale des cochons roses Tes yeux bleux Cécile Chaminade Malgré nous Mignonne Ernest Chausson La chanson bien douce Le chevalier Malheur Claude Debussy NUITS BLANCHES I. Nuit sans fin II. Lorsqu'elle est entrée Apparition TROIS POÈMES DE STÉPHANE MALLARMÉ I. Soupir II. Placet futile III. Éventail Henri Duparc Sérénade Romance de Mignon Le galop Louis Durey TROIS POÈMES DE PÉTRONE I. La boule de neige II. La métempsycose III. La grenade Henri Dutilleux San Francisco Night Gabriel Fauré L'absent Puisque j'ai mis ma lèvre Tristesse d'Olympio Cygne sur l'eau Charles Gounod Ô ma belle rebelle Ma belle amie est morte (Lamento) Reynaldo Hahn En sourdine Au pays musulman Philippe Hersant Paroles peintes Augusta Holmès Rondel Arthur Honegger TROIS POÈMES DE PAUL FORT I. Le chasseur perdu en forêt II. Cloche du soir III. Chanson de fol Vincent d'Indy L'amour et le crâne. Marie Jaëll Larmes Thierry Lancino L'amour par terre Jule Massenet Le poète et le fantôme Olivier Messiaen TROIS MÉLODIES I. Pourquoi ? II. Le sourire III. La fiancée perdue Darius Milhaud L'innocence Francis Poulenc Poète et ténor Pierrot Maurice Ravel Les grands vents venus d'outre-mer Sainte DEUX ÉPIGRAMMES DE CLÉMENT MAROT I. D'Anne qui me jecta de la neige II. D'Anne jouant de l'espinette Albert Roussel La menace Camille Saint-Saëns Au cimetière Si vous n'avez rien à me dire Grasselette et maigrelette Déodat de Séverac Paysages tristes : soleils couchants Les hiboux Germaine Tailleferre Vrai Dieu, qui m'y confortera Pauline Viardot Lamento Ici-bas tous les lilas meurent Glossary Bibliography

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Book SynopsisA landmark work within the study of conflict, sound studies, and ethnomusicology, Listening to War offers a broad theorization of sound, violence, music, listening and place, while also providing a discrete window into the lives of individual Iraqis and Americans struggling to orient themselves within the fog of war.Trade ReviewTo say that Listening to War is ground-breaking, penetrating, and vitally important doesn't begin to convey the affective and intellectual impact of engaging with this work. More than challenging music and sound apprehension and scholarship, the book offers painful, visceral access to the ways in which ears suffer, bodies suffer, places suffer in wartime. There is no escape into abstraction or aestheticization here. It's shattering, from the very beginning... * Norie Neumark, University of Melbourne, Journal of Sonic Studies *This book is profound and urgently important. It is literally a study of war, not its outcomes. Daughtry expands ethnomusicologists' most basic assumptions, stepping sideways from music to the moment when sound creates and obliterates the self. He parses the inhabited, diachronic moment of sonic violence in a way I wouldn't have thought critically possible. Listening to War is stunningly smart, informed, and original. Virtually every sentence made me pause. Daughtry shows how ethnomusicology can-and should-address the most pressing issues of our time. * Deborah Wong, University of California, Riverside *Although the sounds of war are often recounted in art and scholarship, Listening to War is the first book I know of that helps us to really understand them. J. Martin Daughtry uses the anthropology of sound and hearing to offer a profound investigation of the experience of being close to violence-both of people physically proximate to violence and people unable to extricate themselves from it, either during wartime or afterward. This is a rare scholarly book: gripping, haunting, troubling and deeply edifying. I could not put it down. * Jonathan Sterne, author of MP3: The Meaning of a Format *More than any other ethnomusicologist over the last decade, J. Martin Daughtry has challenged and deeply reconfigured my understanding of sound, and that's not trivial considering that I taught a course called "Sound" for many years. In this book he performs an extraordinary trick: he has taken the web of sonic violence that surrounds all in a theatre of war and he has extended the intimate and visceral experience of its power and its horror to his readers. Daughtry has immersed us in the most important work of sound studies in many years. * Gage Averill, Dean of the Faculty of Arts, University of British Columbia *I have not read a more thorough case study of military conflict and sound, one that is so scrupulously documented, with its own implications and methodologies so fully explored. If, in fact, this study is exhaustive, what is the next step in research? The monograph gestures toward some answers. For example, the discussion of acoustic territories (p. 189 and elsewhere) is a further reminder of the interconnectedness of mind, body, and the physical environment, and fortifies the argument that the study of sonic experience provides the most promising platform for the further development of studies in cognitive theory. Apart from its own awe-inspiring comprehensiveness, the book provides a foundation for continued exploration of such emergent fields as cognitive ecology, extended mind theory, and the relationship between gesture and cognition. * American Musicological Society *Table of ContentsDedication Note on Transliteration Introduction: Composing Thoughts on Sound and Violence -In Lieu of an Epigraph: Sound-centered Memories of Operation Iraqi Freedom -The Belliphonic -Intellectual Predecessors -A Necessary Detour -Approaches and Challenges Fragment #1: The Presence of Mind to Save an Ear: Ali's Story Section I: Sonic Matériel Chapter 1: Belliphonic Sounds and Indoctrinated Ears: The Elements of Wartime Audition -Charting the Belliphonic -Listening, Structure, and Positionality -Vehicular Sounds -Communications -Civilian Sounds -Weapons Chapter 2: Mapping Zones of Wartime (In)audition -The Zone of the Audible Inaudible -The Narrational Zone -The Tactical Zone -The Trauma Zone -A Complicating Factor: Iraqi Civilian Auditors -Another Complicating Factor: Sound and Psychological Trauma -Conclusion Fragment #2: Stealth and Improvisation in the Desert: Jason's Story Fragment #3: Loudly Searching in the Resonant Darkness: The Anatomy of a Nighttime House Raid Section II: Structures of Listening, Sounding, and Emplacement Introduction to section II Chapter 3: Auditory Regimes -Ideals of Military Audition -National Audition -Oblique Indoctrination of Belliphonic Ears -Situational Awareness -The Inclusive Auditory Regime of Iraqi Civilians -Auditory Literacy, Competence, Virtuosity -Incommensurability Chapter 4: Sonic Campaigns -Sound (and Violence) -Violence (and Sound) -The Omnidirectionality of Sound and Violence -Sonic Campaigns Chapter 5: Acoustic Territories -Emplacement, Displacement, Transplacement -Sound and Territoriality -The Virtual Acoustic Territory of Recorded Sound -The Radiant Acoustic Territories of Wartime -The Resonant Acoustic Territories of Baghdad -The Resonant Acoustic Territory of the body -Life at the Intersection of Regime, Campaign and Territory Fragment #4: Fatal Mishearing Section III: Music, Mediation, and Survival Chapter 6: Mobile Music in the Military -Introducing the Wartime iPod -A Century of Recorded Music on the Battlefield -iPods in the Iraq War -Amping Up, Staying Focused, Cooling Down: Technologies of Self-regulation in Combat -Moving Bodies, Loosening Tongues, Adjusting Crosshairs: Technologies for Manipulating Others in Combat -Concluding Thoughts Fragment #5: From "Hell's Bells" to "Silent Night": A Conversation about Music in the Military Fragment #6: Keeping the Music Turned Down Low: Shymaa's Story Chapter 7: A Time of Troubles for Iraqi Music -Iraq's Musical Legacy -Post-invasion Challenges -Political Violence -Sectarian Violence -U.S. Forces Targeting Music -The Attenuated Acoustic Territory of Iraqi Musical Practice Conclusion: The Amplitude of Violence Fragment #7: Listening as Poiesis: Tareq's Story Acknowledgments Glossary Works Cited Index

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Book SynopsisFanny Hensel is arguably the most gifted female composer of the nineteenth century, but her music has long been overlooked. The Songs of Fanny Hensel is a groundbreaking collection of new scholarship on Hensel's highly original contributions to the genre of song, the art form that she said "suits her best."Trade ReviewIn its quality, range, and sophistication, The Songs of Fanny Hensel marks a new level of maturity in Hensel studies. * Marcia Citron, Music & Letters *The Songs of Fanny Hensel stands as a landmark achievement in Hensel studies in its own right, but also demonstrates just how much of Hensel's 450+ works are yet to be explored. * Angela Mace Christian, Journal of Musicological Research *A celebration of Fanny Hensel's contribution to early nineteenth-century Lieder has come nearly two centuries too late for her, but none too soon for us. This marvelous collection breaks through to the richness and astonishing originality of Hensel's songs, many of which still await publication. Songs of the forest, of the evening, of travel, of love both lived and lost express the breadth of Hensel's poetic range. Her preternatural capacity for capturing words in music, her uncommon tonal adventures, her unusual modes of closure-all these attributes emerge within the context of superb textual, historical, and musical analyses. The Songs of Fanny Hensel welcomes this composer into the classroom and the concert hall, and it secures her rightful place at the heart of the great Romantic Lieder tradition. * Janet Schmalfeldt, Professor Emeritus of Music, Tufts University *A superb collection of essays from some of the world's leading experts on song. Fanny Hensel's Lieder finally receive the first-class scholarship they so richly deserve. * Matt BaileyShea, University of Rochester *Table of ContentsAcknowledgments Chapter 1: Introduction Stephen Rodgers Part I: Nature and Travel Chapter 2: The Wilderness at Home: Woods-Romanticism in Fanny Hensel's Eichendorff Songs Amanda Lalonde Chapter 3: Waldszenen and Abendbilder: Fanny Hensel, Nikolaus Lenau, and the Nature of Melancholy Scott Burnham Chapter 4: Songs of Travel: Fanny Hensel's Wanderings Susan Wollenberg Part II: Settings of English Verse Chapter 5: Women's Private Cosmopolitanism in Literary Translation and Song: Fanny Hensel's Drei Lieder nach Heinrich Heine von Mary Alexander Jennifer Ronyak Chapter 6: "In this elusive language": A Byron Song by Fanny Hensel Susan Youens Part III: Tonal Ingenuity Chapter 7: "You too may change": Tonal Pairing of the Tonic and Subdominant in Two Songs by Fanny Hensel Tyler Osborne Chapter 8: Plagal Cadences in Fanny Hensel's Songs Stephen Rodgers Part IV: Responses to Poetic Form Chapter 9: Working with Words: Revisions of Declamation in Fanny Hensel's Song Autographs Harald Krebs Chapter 10: Modulating Couplets in Fanny Hensel's Songs Yonatan Malin Part V: Beyond Song/Beyond Hensel Chapter 11: Reading Poetry Through Music: Fanny Hensel and Others Jürgen Thym Chapter 12: Fanny Hensel's Lieder (ohne Worte) and the Boundaries of Song: The Curious Case of the Lied in D flat major, Op. 8, No. 3 R. Larry Todd Bibliography

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Book SynopsisWritten by seasoned professional bassoonist and reed maker Eric Arbiter, The Way of Cane demystifies the reed-making experience for musicians of all levels.Trade ReviewNothing like this outstanding volume exists anywhere. The language is easy to understand, and is a 'must read' for those seriously studying the bassoon. It contains a thorough guide to bassoon reed-making, from elementary procedures to professional methods. The book goes beyond reed-making to present information about fingerings, articulations, and many of the musical problems a professional bassoonist has to learn and solve. * Bernard Garfield, Philadelphia Orchestra principal bassoon, retired *FINALLY!! A reed making book that is not just an oversimplified cookbook or a dictatorial 'How-to Manual.' With the all-important bigger picture at the forefront, this book is entirely unique at its core when compared to all the other reed-making books out there. * Roger Tropman, bassoonist, teacher, and owner of www.nexuswoodwind.com *Table of ContentsIntroduction Dedication Acknowledgements Part I: Foundations 1. Underlying Direction 2. Beginner's Mind and Not Knowing 3. Musical Influences and Reed-Making 4. Test It For Yourself 5. Machines for Bassoonists On a Limited Reed-making Budget 6. Using a Dial Indicator 7. Chains of Causes and Conditions in Reed-work 8. The Embouchure And Its Relationship To The Tip Opening 9. Bocals 10. Cycles of Reeds 11. The Study of Cane. Size, straightness and density Part II: Reed-making procedures 12. Gouging 13. Some Thoughts about Shapers 14. Some Thoughts About Profile Types 15. Forming the Tube, Beveling and Wrapping 16. Finishing Strategies Workflow Chart for the Way of Cane Part III: Performance 17. The Reed Notebook 18. More on Fingerings 19. Efficient Practicing 20. Prolonging A Reed's Life 21. Tonguing and Double-Tonguing 22. Notes for the Recordings Part IV: Supplemental Material 23. Adjusting and Setting Reed Machines 24. Cane Hardness Testing 25. A Correspondence with Norman Herzberg 26. Auditions A Summary of the Way of Cane Afterword Appendices Bibliography

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Book SynopsisTrade ReviewThis is one of the most important resources on late classical European music to have emerged in recent years. * M. Dineen, CHOICE Connect, Vol. 59 No. 8 *Table of ContentsPreface Abbreviations Introduction: Music in the Twilight of the Habsburg Empire Chapter 1. Two Viennese Families: The Bergs and Nahowskis Berg's Early Life The Specter of Ill Health The Marie Scheuchl Affair The Nahowski Family Helene Nahowski and Paul Kammerer Berg's Courtship of Helene Nahowski Chapter 2. Berg's Musical Apprenticeship, 1899-1911 Studies with Schoenberg Berg's Early Songs Seven Early Songs (1907) Four Songs, Op. 2 Music for Piano Piano Sonata, Op. 1 String Quartet, Op. 3 Chapter 3. A Struggle for Recognition, 1911-15 Before the War Berg's Work for Schoenberg The Scandal Concert Berg as Writer Five Orchestral Songs to Picture Postcard Texts by Peter Altenberg, Op. 4 Four Pieces for Clarinet and Piano, Op. 5 Three Pieces for Orchestra, Op. 6 Chapter 4. The War and Its Aftermath, 1915-22 Patriotic Enthusiasm Berg's Conscription Superstition and Pseudo-Science Postwar Burdens A Change of Profession Chapter 5. Wozzeck Operatic Plans and Uncertainties From Play to Libretto A Wozzeck Chronology The Music of "Wozzeck" "Wozzeck" on Stage Chapter 6. International Acclaim, 1923-5 Wozzeck Triumphant The Continuing Quest for Health New Directions in Post-War Music: Neoclassicism and Dodecaphony Chamber Concerto Chapter 7. Secret Programs with Twelve Tones, 1925-7 The Hanna Fuchs Affair A Return to Composing Lyric Suite for String Quartet Chapter 8. The Celebrated Composer, 1928-34 Summer Retreats and Family Entanglements Flight from Reality Berg's Music and the Nazi Threat A Musical Digression: Der Wein Chapter 9. Lulu The Search for Lulu Wedekind's Lulu Plays Berg's Libretto for Lulu A Chronology of Composition The Music of Lulu Prospects for Staging Symphonic Pieces from the Opera "Lulu" Chapter 10. Berg's Final Year, 1935 Berg's Financial Crisis Political Turmoil and Austrofascism The Violin Concerto Berg's Final Illness Chapter 11. Helene Berg and the Management of Berg's Legacy, 1936-76 The Completion of Lulu Bereavement, Grief, and Helene Berg's "Eternal Marriage" Helene Berg's Life Under the Nazis, 1938-45 Berg's Musical Manuscripts and Letters Toward a Berg Biography The Alban Berg Foundation Helene Berg's Last Years Epilogue: Berg the Outsider Appendix Notes Bibliography Index

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Book SynopsisThis book a offers a multitude of provocative new perspectives on one of the most iconic composers in the Western classical tradition. Its collective rethinking of some of our most cherished narratives and deeply held beliefs about Johann Sebastian Bach will allow readers to see the man in a new light and to hear his music with new ears.Trade Review...sums up our fascination with Bach's music as the 'symbol of the desire to strive beyond our own limitations towards a sublime and immutable "truth" ' * Susan Pierotti, AUSTA National Journal Reviews *Fourteen essays in all, and each one of them provocative and carefully argued. * Howard Dyck, Music Times *When you get this book, as I hope you will, start reading early in the evening, because once you start, you won't be able to put it down. * Howard Dyck, The Music Times *You can never think about Bach too often. This excellent book inspires the reader to do just that, and in some new and interesting ways. It is rich in historical, scholarly and analytical details and offers different approaches to, or total reevaluations of, long-held beliefs. * Mark Kroll, Early Music America *There is nothing quite like this book in the vast ocean of Bach studies. This collection of exciting, pathbreaking essays will be widely read and highly influential, and it is sure to stir up much productive dialogue. * Stephen A. Crist, Emory University *The perceptive authors of these essays challenge current thinking about Bach. They do so by reviewing what we think we know about Bach, or by raising issues that have been neglected until now. Some confute the over-thinking of ideas whose intricacies reveal more about the proponents than about Bach. Others question the unthinking acceptance of the status quo of a standard image of Bach. The topics of each chapter are remarkably broad, but taken together they significantly expand the parameters of our thinking about Bach. * Robin A. Leaver, retired visiting professor at the Julliard School, Yale Institute of Sacred Music, and Queen's University, Belfast, NI; author of Bach Studies (2021) *Rethinking Bach does indeed show new paths for the study of Bach and his music. Despite the different approaches and methodologies used by the fourteen authors, the consensus among most of them is that a study of Bach's works should not focus exclusively on his compositions as intellectual, even mathematical artifacts. Instead, it is the emotional side of Bach the authors want to emphasize: the significance of affect, the human body, and the ear of the listener. It is not Bach the Learned Musician (to cite Christoph Wolff's fundamental biography from twenty years ago) but Bach the Emotional Musician. * BACH: Journal of the Riemenschneider Bach Institute of Rethinking Bach *The book largely lives up to its billing, requiring readers to think about Bach in new ways. The main readership will be scholars, but others interested in Bach will also find much of value. * Joseph Herl, Lutheran Quarterly *Table of ContentsAcknowledgements List of Contributors Abbreviations Introduction: (Still) Talking about Bach Bettina Varwig I. Histories Chapter 1 Bach and Material Culture Stephen Rose Chapter 2 Rethinking 1829 Ellen Exner Chapter 3 Post/Colonial Bach Yvonne Liao II. Bodies Chapter 4 Bach and the Soprano Voice Wendy Heller Chapter 5 Embodied Invention: Bach at the Keyboard Bettina Varwig Chapter 6 Rethinking Affect Isabella van Elferen III. Meanings Chapter 7 Bach and Theology Jeremy Begbie Chapter 8 Bach the Humorist David Yearsley Chapter 9 Rethinking Bach Codes Daniel R. Melamed Chapter 10 Bach's Works and the Listener's Viewpoint John Butt IV. Currents Chapter 11 Bach's Chorale Pedagogy Derek Reme%s Chapter 12 Rethinking Editions: Mass, Missa, and Monument Culture Joshua Rifkin Chapter 13 Bach Against Modernity Michael Marissen Chapter 14 Bach Anxiety: A Meditation on the Future of the Past Michael Markham Works Cited Index

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Book SynopsisThinking In and About Music offers a new look at Milton Babbitt's music, one which brings to bear theories of gesture and embodiment, rhetoric, text setting, and temporality in order to provide a multi-faceted look at one of the twentieth century's most fascinating musical minds.Trade ReviewThis is not the first scholarly study of the complex world of Milton Babbitt (1916-2011), but it is perhaps the most groundbreaking ... This study is a must for advanced readers interested in post-tonal theory and/or Babbitt. * C. A. Traupman-Carr, CHOICE *This is an intellectual work of great passion and curiosity. Essential. * CHOICE *Milton Babbitt's music and his theories (his thinking in and about music) are central to the history of American music and music theory in the postwar period, but the relationship between them is challengingly complicated. Zack Bernstein knows both the music and the theories as well as anyone ever has and he is a superb explainer, with a remarkable gift for making complicated things easily comprehensible. In this engagingly and beautifully written study, Bernstein opens our ears to aspects of Babbitt's music — including its rhetoric and its troubled relationship to completeness and closure — that lie beyond the twelve-tone designs that have preoccupied most earlier studies. * Joseph Straus, Distinguished Professor of Music, Graduate Center, City University of New York *Deeply grounded in Babbitt's own words about music, his and others', and finding further foundation in a thorough understanding of Babbitt's musical and philosophical roots, the book offers fresh insights into a major figure in late 20th Century American music. * Andrew Mead, Professor of Music, Jacobs School of Music, Indiana University *Table of ContentsPreface Acknowledgments Permissions About the companion website Chapter 1 On Milton Babbitt, Schenkerian Introduction Goethe, Schenker, and Hierarchical Organicism Babbitt and Schenker The Implications of the Series Analepsis and Prolepsis Conclusion Chapter 2 Construction, Cognition, and the Role of the Surface A Way into Emblems Rudolf Carnap and Phenomenalistic Construction George Miller, Information Processing, and Memory Babbitt's Cognitively Informed Compositional Techniques Organicism as Cognitive Heuristic: The "Schenker Memorative Approach" "The Requirements"--and Responsibilities--"of Cognitive Communication" Conclusion: Babbitt's Psychology and the Analysis of His Music Chapter 3 The Seam in Babbitt's Compositional Development: Composition for Tenor and Six Instruments "My Most Difficult Piece" Trichordal and All-Partition Arrays "Nearly Divine" Proportions Generative Polyvocality Extending the Trichordal Array The Arrays of Composition for Tenor and Six Instruments "Invariants of Order Embedded in Invariants of Content" Chapter 4 The Surface and the Series in Composition for Four Instruments Chapter 5 Poetic Form and Psychological Portraiture in Babbitt's Early Texted Works Introduction "The Widow's Lament in Springtime" Du Two Sonnets Vision and Prayer Philomel Conclusion Chapter 6 Completeness and Temporality Introduction Over-, Under-, and Multiple Completeness Signals and Verticality Conclusion: "Sounds of Relations" Chapter 7 Babbitt's Gestural Dialectics Introduction: The First Measure of Post-Partitions Sources of Embodied Energetics: Kinesthetic Empathy and Musical Forces The Gestural Function of Virtuosity Liminal Periodicity and the Threat of Discontinuity Serial Anomalies and Text Setting Rhetorical Closing Gestures in Three Late Piano Pieces Conclusion: Babbitt's Gestural Music and Formalist Discourse Afterword: "Anything Vital is Problematical" Glossary References

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Book SynopsisSinging has been a characteristic behaviour of humanity across several millennia. Chorus America (2009) estimated that 42.6 million adults and children regularly sing in one of 270,000 choruses in the US, representing more than 1:5 households. Similarly, recent European-based data suggest that more than 37 million adults take part in group singing.The Oxford Handbook of Singing is a landmark text on this topic. It is a comprehensive resource for anyone who wishes to know more about the pluralistic nature of singing. In part, the narrative adopts a lifespan approach, pre-cradle to senescence, to illustrate that singing is a commonplace behaviour which is an essential characteristic of our humanity.In the overall design of the Handbook, the chapter contents have been clustered into eight main sections, embracing fifty-three chapters by seventy-two authors, drawn from across the world, with each chapter illustrating and illuminating a particular aspect of singing. Offering a multi-disciplTable of ContentsPART 1: The Anatomy and Physiology of Singing 1: Gillyanne Kayes: Structure and Function of the Singing Voice 2: Tara K Stadelman-Cohen and Robert E Hillman: Voice Dysfunction and Recovery 3: John S Rubin and Ruth Epstein: The Healthy Voice, Lifestyle and Voice Protection (including Exercise, Body Work and Diet) 4: Filipa M B Lã and Brian P Gill: Physiology and its Impact on the Performance of Singing PART 2: The Acoustics of Singing 5: Alan Watson: Breathing in Singing 6: Christian T Herbst, David M Howard and Jan G Svec: The Sound Source in Singing: Basic Principles and Muscular Adjustments for Fine-tuning Vocal Timbre 7: Brad Story: The Vocal Tract in Singing 8: Johan Sundberg: The Acoustics of Different Genres of Singing 9: Desmond Sergeant: The Developing Voice 10: David M Howard and Eric J Hunter: Perceptual Features of Singing 11: Harald Jers: The Impact of Location on the Singing Voice PART 3: The Psychology of Singing 12: Boris A Kleber and Jean Mary Zarate: The Neuroscience of Singing 13: Johan Sundberg: Intonation in Singing 14: Eduardo Coutinho, Klaus R Scherer and Nicola Dibben: Singing and Emotion 15: Evangelos Himonides: Perceived Quality of a Singing Performance: The Importance of Context 16: Karen Wise: Defining and Explaining Singing Difficulties in Adults 17: Simone Dalla Bella: Vocal Performance in Occasional Singers 18: Graham F Welch and Costanza Preti: Singing as Inter- and Intra-personal Communication 19: Annabel J Cohen and Karen M Ludke: Digital Libraries for Singing: The Example of the AIRS Project PART 4: The Development of Singing across the Lifespan 20: Robert Walker: Socio-cultural, Acoustic, and Environmental Imperatives in the World of Singing 21: Sheila C Woodward: Fetal, Neonatal and Early Infant Experiences of Maternal Singing 22: Sandra E Trehub and Helga Rut Gudmundsdottir: Mothers as Singing Mentors for Infants 23: Margaret S Barrett: Singing and Invented Song-making in Infants and Young Children's Early Learning and Development: from Shared to Independent Song-making 24: Valentine Harding: Children Singing: Nurture, Creativity, and Culture. A Study of Children's Music-making in London, UK, and in West Bengal, India 25: Graham F Welch: Singing and Vocal Development 26: Jenevora Williams and Scott Harrison: Boys' Singing Voice Change in Adolescence 27: Lynne Gackle: Adolescent Girls' Singing Development 28: Diana Parkinson: The Effects of Gender on the Motivation and Benefits Associated with Community Singing in the UK 29: Jane Davidson and Lynne Murray: Voice Management and the Older Singer PART 5: Singing Pedagogy 30: John Nix: Systematic Development of Vocal Technique 31: Susan Knight: Addressing the Needs of the Adult "Non-Singer" ("NS") 32: Jean Callaghan: Teaching the Professional Singer 33: Alma Thomas: Mental Preparation for the Performer 34: Mary King and John Nix: Conservatory Teaching and Learning 35: Jeremy Fisher, Gillyanne Kayes and Lisa Popeil: Pedagogy of Different Sung Genres 36: Michael Edward Edgerton: The Extra-normal Voice 37: Yang Yang, Aaron Carter-Enyi, Nandhu Radhakrishnan, Sophie Grimmer, and John Nix: Vocal Music and Pedagogy of Chinese, African and Indian Genres PART 6: The Collective 'Choral' Voice 38: Ursula Geisler and Karin Johansson: Contemporary Concepts and Practices of Choral Singing 39: Joy Hill: The Youth Choir 40: Timothy Day: Cultural History and a Singing Style: "The English Cathedral Tradition" 41: Colin Durrant and Maria Varvarigou: Perspectives on Choral Conducting: Theory and Practice 42: Jane Davidson and Robert Faulkner: Group Singing and Social Identity 43: David M Howard: Intonation and Staying in Tune in A Cappella Choral Singing 44: Dag Jansson: Choral Singers' Perceptions of Musical Leadership PART 7: The Wider Benefits of Singing 45: Stephen Clift and Rebekah Gilbert: Can Singing have a Beneficial Effect on Lung Function and Breathing for People with Respiratory Illness? 46: Jane W Davidson and Sandra Garrido: Singing and Psychological Needs 47: Töres Theorell: The Effects and Benefits of Singing Individually and in a Group 48: June Boyce-Tillman: Unchained Melody: The Rise of Orality and Therapeutic Singing PART 8: Singing and Technology 49: Harm K Schutte: Historical Approaches in Revealing the Singing Voice, Part 1 50: Harm K Schutte: Historical Approaches in Revealing the Singing Voice, Part 2 51: Evangelos Himonides: Ave Verum Pentium: Singing, Recording, Archiving and Analysing within the Digital Domain 52: Garyth Nair (decd), David M Howard, and Graham F Welch: Practical Voice Analyses and their Application in the Studio 53: Peter Pabon, David M Howard, Sten Ternström, Malte Kob and Gerhard Eckel: Future Perspectives

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