Theory of music and musicology Books

Book SynopsisWith a focus on music in context and a wealth of in-text and online exercises, The Complete Musician offers a complete program for teaching and learning undergraduate music theory.Trade ReviewThe Complete Musician is a comprehensive theory textbook with a linear approach, with aural skills and keyboard, and numerous activities and examples that illustrate each topic well."-David Thurmaier, University of Missouri-Kansas CityThis textbook makes important concepts in music theory accessible to the student in a way that is both clear and concise. Laitz's knowledge of both music-theory pedagogy and the repertoire is superlative, which results in a text that is beneficial to use in the entirety of the music-theory sequence."-Michael Chikinda, University of UtahTable of ContentsPREFACE PART 1: FOUNDATIONS CHAPTER 1A Musical Space: Pitches, Scales, and Keys CHAPTER 1B Musical Time: Meter and Rhythm CHAPTER 1C Musical Distance: Intervals CHAPTER 2 Pitch and Meter Combine: Melody and Counterpoint CHAPTER 3 Triads, Seventh Chords, and Texture PART 2: FUSING MELODY, HARMONY, AND COUNTERPOINT CHAPTER 4 The Role of Context: Embellishing Tones and Melodic Shape CHAPTER 5 Tonic, Dominant, and Voice Leading CHAPTER 6 V7 and Two-Level Analysis CHAPTER 7 Expanding Tonic and Dominant with First-Inversion Triads CHAPTER 8 Inversions of V7 and Leading-Tone Seventh Chords PART 3: ESTABLISHING, EXPANDING, AND EMBELLISHING THE PHRASE MODEL CHAPTER 9 The Pre-Dominant Function and the Phrase Model CHAPTER 10 Accented and Chromatic Embellishing Tones CHAPTER 11 Six-Four Chords and Plagal Motions CHAPTER 12 Pre-Dominant Seventh Chords and Embedded Phrase Models CHAPTER 13 The Submediant and the Step-Descent Bass CHAPTER 14 The Mediant and the Back-Relating Dominant PART 4: SMALL FORMS CHAPTER 15 Periods CHAPTER 16 Sentences, Double Periods, and Asymmetric Periods AN INTERMEZZO ON MUSICAL MOTIVES PART 5: EXPRESSIVE COLOR THROUGH CHROMATICISM CHAPTER 17 Applied Chords CHAPTER 18 Modulation CHAPTER 19 Harmonic Sequences CHAPTER 20 Binary Form and Variations CHAPTER 21 Modal Mixture CHAPTER 22 Chromatic Modulation and Text-Music Relations CHAPTER 23 Neapolitan Chords CHAPTER 24 Augmented-Sixth Chords PART 6: LARGE FORMS CHAPTER 25 Ternary Form CHAPTER 26 Rondo Form CHAPTER 27 Sonata Form PART 7: NEAR, AT, AND PAST THE EDGES OF TONALITY CHAPTER 28 Tonal Ambiguity and Symmetrically Constructed Harmonies CHAPTER 29 Symmetry Stretches Tonality: Chromatic Sequences and Equal Divisions of the Octave CHAPTER 30 Centricity, Extended and Non-Tertian Sonorities, and Collections CHAPTER 31 Analysis with Sets CHAPTER 32 Metrical and Serial Techniques GLOSSARY CREDITS INDEX OF TERMS AND CONCEPTS INDEX OF MUSICAL EXAMPLES AND EXERCISES

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Book SynopsisHaydn's music has been performed continuously for more than two hundred years. But what do we play, and what do we listen to, when it comes to Haydn? This book delves deeply into eighteenth-century history and musicology to help us hear a properly complex Haydn.Trade Review"A highly original book that places the performer (historical and contemporary) at the center of scholarly inquiry; it is a virtuosic exercise in historical imagining." (Annette Richards, Cornell University)"

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Book SynopsisIn music studies, Timothy D. Taylor is known for his insightful essays on music, globalization, and capitalism. Music and the World is a collection of some of Taylor's most recent writings essays concerned with questions about music in capitalist cultures, covering a historical span that begins in the late nineteenth and early twentieth centuries and continues to the present. These essays look at shifts in the production, dissemination, advertising, and consumption of music from the industrial capitalism of the nineteenth century to the globalized neoliberal capitalism of the past few decades. In addition to chapters on music, capitalism, and globalization, Music and the World includes previously unpublished essays on the continuing utility of the culture of concept in the study of music, a historicization of treatments of affect, and an essay on value and music. Taken together, Taylor's essays chart the changes in different kinds of music in twentieth- and twenty-first-century music a

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Book SynopsisSong Walking explores the politics of land, its position in memories, and its foundation in changing land-use practices in western Maputaland, a borderland region situated at the juncture of South Africa, Mozambique, and Swaziland. Angela Impey investigates contrasting accounts of this little-known geopolitical triangle, offsetting textual histories with the memories of a group of elderly women whose songs and everyday practices narrativize a century of borderland dynamics. Drawing evidence from women's walking songs (amaculo manihamba)once performed while traversing vast distances to the accompaniment of the European mouth-harp (isitweletwele)she uncovers the manifold impacts of internationally-driven transboundary environmental conservation on land, livelihoods, and local senses of place. This book links ethnomusicological research to larger themes of international development, environmental conservation, gender, and local economic access to resources. By demonstrating that develo

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Book SynopsisIn West Java, Indonesia, all it takes is a woman's voice and a drumbeat to make a man get up and dance. The author draws on decades of ethnographic research to explore the reasons behind this phenomenon, arguing that Sundanese men use dance to explore and enact contradictions in their gender identities.Trade Review"This is a highly original and illuminating study of Sundanese performing arts and gender ideology. Theoretically challenging and historically rich, Erotic Triangles frames men's improvisational dance as the playful working out of gendered identity relations." - Andrew N. Weintraub, University of Pittsburgh"

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Book SynopsisTracing the genesis of great musical worksTrade Review"An engaging investigation of the creative process and genetic criticism. These deeply thoughtful essays establish an enviable range, from Mozart through the grand figures of the German nineteenth century (Beethoven, Schumann) and beyond to three seminal figures of the twentieth (Mahler, Bartók, Kurtág). A significant contribution."--Richard Kramer, author of Unfinished Music"Few scholars would be able to deftly navigate through material as diverse as the musical sketches of both Mozart and György Kurtag with the ease, perspective, analytical rigour and insight of Kinderman. A masterly chapter on an unfinished piano trio by Beethoven was no surprise from a scholar well known for his research into the latter’s Diabelli Variations, but other chapters devoted to Schumann, Mahler or Bartók are equally probing. The methodology successfully channels Critique génétique, the French literary subdiscipline devoted to the scientific study of creative process in literature, and the many case studies full of musical excerpts could well be adapted to a classroom setting." --Jonathan Goldman, associate professor of musicology, University of Montreal"A significant contribution to musical scholarship."--Fontes Artis Musicae"The Creative Process in Music from Mozart to Kurtág is a remarkable piece of work in terms of both depth and breadth. William Kinderman has succeeded in weaving analytical and historical perspectives into a compelling discourse about how music is created and what it means. Even more astonishing is the scope of this undertaking. Most sketch-study scholars work within the context of 'their composer.' This book expands that context to embrace the past two hundred years. In so doing, Kinderman has raised the bar for all of us."--Friedemann Sallis, author of Music Sketches"This fascinating study explores the way in which an understanding of a composer's creative process may enhance appreciation and the interpretation of the music. In an introductory chapter Kinderman, an authority of sketch studies . . . traces the arguments surrounding the discipline of what has been termed 'genetic criticism.' The Beethoven chapter . . . is but one of the illuminating case studies in a book rich in musical, historical and interpretative detail and which promises to attract new attention to the growing field of genetic criticism."--Arietta

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Book SynopsisAn invention of the Industrial Revolution, the accordion provided the less affluent with an inexpensive, loud, portable, and durable 'one-man-orchestra' capable of producing melody, harmony, and bass all at once. Imported from Europe into the Americas, the accordion with its distinctive sound became a part of the aural landscape for millions of people but proved to be divisive: while the accordion formed an integral part of working-class musical expression, bourgeois commentators often derided it as vulgar and tasteless. This rich collection considers the accordion and its myriad forms, from the concertina, button accordion, and piano accordion familiar in European and North American music to the exotic-sounding South American bandoneon and the sanfoninha. Capturing the instrument''s spread and adaptation to many different cultures in North and South America, contributors illuminate how the accordion factored into power struggles over aesthetic values between elites aTrade Review"An excellent collection of ethnomusicology scholarship that will be of interest to those who like world music, ethnography, or unusual instruments."--Library Journal"This book should help lift the accordion's reputation to the place it deserves for its role in music history. Highly recommended."--Choice"The Accordion in the Americas offers a history rich in insights drawn from the complex intertwining of society, race and culture in American music-making."--Times Literary Supplement"The Accordion in the Americas tells of the symbolism of the accordion and the role the instrument and its genres play in a variety of cultures. Few world instruments are as pervasive as the accordion and few are as under-represented in scholarly literature."--Journal of Folklore Research"Ridiculed as the old-world instrument of minority ethnic groups, the accordion has also been largely dismissed as a topic of historical or folkloristic inquiry. This edited volume rights this wrong and traces the accordion from its central European roots to 11 regional forms in the Americas. In this volume, the accordion has received its due recognition and respect as a folk instrument."--Journal of American Folklore"An in-depth introduction to the mechanical, musical, and social workings of free-reed instruments in the New World."--Journal of the Society for American Music"This cultural study of the accordion makes a major contribution to understanding the instrument's important social function within different ethnic cultures. The impressive group of contributors illuminates the importance of studying mass culture and indicates the accordion's enduring significance to many cultural and personal identities."--Victor R. Greene, author of A Singing Ambivalence: American Immigrants between Old World and New, 1830–1930Table of ContentsIntroduction 1 HELENA SIMONETTChapter 1 From Old World to New Shores 19 HELENA SIMONETTChapter 2 Accordion Jokes: A Folklorist's View 39 RICHARD MARCHChapter 3 From Chanky-Chank to Yankee Chanks: The Cajun Accordion as Identity Symbol 44 MARK F. DeWITTChapter 4 'Garde ici et 'garde la-bas: Creole Accordion in Louisiana 66 JARED SNYDERChapter 5 "Tejano and Proud": Regional Accordion Traditions of South Texas and the Border Region 87 CATHY RAGLANDChapter 6 Preserving Territory: The Changing Language of the Accordion in Tohono O'odham Waila Music 112 JANET L. STURMANChapter 7 Accordions and Working-Class Culture along Lake Superior's South Shore 136 JAMES P. LEARYChapter 8 Play Me a Tarantella, a Polka, or Jazz: Italian Americans and the Currency of Piano-Accordion Music 156 CHRISTINE F. ZINNIChapter 9 The Klezmer Accordion: An Outsider among Outsiders 178 JOSHUA HOROWITZChapter 10 Beyond Vallenato: The Accordion Traditions in Colombia 199 EGBERTO BERMUDEZChapter 11 "A Hellish Instrument": The Story of the Tango Bandoneon 233 MARIA SUSANA AZZIChapter 12 No ma'se oye el fuinfuan: The Noisy Accordion in the Dominican Republic 249 SYDNEY HUTCHINSONChapter 13 Between the Folds of Luiz Gonzaga's Sanfona: Forro Music in Brazil 268 MEGWEN LOVELESSChapter 14 The Accordion in New Scores: Paradigms of Authorship and Identity in William Schimmel's Musical "Realities" 295 MARION S. JACOBSON Glossary 315 Contributors 319 Index 323

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Book SynopsisExplores the performance, reception, transmission, and adaptation of Hawaiian music on board ships and in the islands, revealing the ways both maritime commerce and imperial confrontation facilitated the circulation of popular music in the nineteenth century.Trade ReviewCo-winner of the Alan Merriam Prize, Society for Ethnomusicology, 2015. "This work is fascinating as it offers a more complicated history of the region than the one offered in current historical studies by focusing on the ways in which a segment of the global workforce forged their own understandings of the wider world and negotiated their position in the cosmopolitan sea-going and theatrical worlds of the nineteenth century. This is a story that very much needs to be told." --Gillian M. Rodger, author of Champagne Charlie and Pretty Jemima: Variety Theater in the Nineteenth Century"This book asks readers to consider the significance of music in maritime cultural exchanges, and it offers new perspectives for considering the long-standing influence of Hawaiians and Hawaiian music internationally. . . . These are stories in need of telling and a past that merits a deeper listening."--The Journal of Pacific History"Carr's work demonstrates that historians have much to gain by studying the nineteenth century mariner's and musicians, Hawaiian and non-Hawaiian alike, as well as their globally resonant cultural impact that rippled in their wake."--American Historical Review "Hawaiian Music in Motion is an important contribution to our understanding of the effects of outside influences on Hawaiian music and dance."--Journal of the Society for American Music "Hawaiian Music in Motion: Mariners, Missionaries, and Minstrels is a noteworthy contribution to the growing discipline of historical ethnomusicology, a thoroughly researched monograph that considers Hawaiian music on its own terms—at home on the islands, abroad ports of call, and in transit over the nineteenth-century seaways."—Journal of Folklore Research"James Revell Carr contributes to the diversity of perspectives for understanding Hawaiian music and expressive culture. His study positions the Hawaiian experience as one of mutual interaction with the Anglophone world and constitutes a welcome historical resource for specialists in American music, ethnomusicology, dance ethnology, Hawaiian studies, American studies, culture studies, performance studies, and ethnic studies."--American Music"Carr's work demonstrates that historians have much to gain by studying the nineteenth century mariner's and musicians, Hawaiian and non-Hawaiian alike, as well as their globally resonant cultural impact that rippled in their wake."--American Historical Review"Hawaiian Music in Motion is an important contribution to our understanding of the effects of outside influences on Hawaiian music and dance."--Journal of the Society for American Music"Hawaiian Music in Motion is an archival tour de force, an invaluable addition to a growing body of literature. . . that examines Pacific intercultural encounter through the lens of performance."--Ethnomusicology "The scope of this [book] is without precedent in existing scholarship on nineteenth-century musical cultures. . . . His research has uncovered a rich array of new documentary evidence from primary sources, and the narrative engages in a close examination of the interpretive opportunities and limits of this evidence."--Amy Ku'uleialoha Stillman, University of MichiganCo-winner of the Alan Merriam Prize, Society for Ethnomusicology, 2015. * Society for Ethnomusicology *

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Book Synopsis Hawaiian Music in Motion explores the performance, reception, transmission, and adaptation of Hawaiian music on board ships and in the islands, revealing the ways both maritime commerce and imperial confrontation facilitated the circulation of popular music in the nineteenth century. James Revell Carr draws on journals and ships'' logs to trace the circulation of Hawaiian song and dance worldwide as Hawaiians served aboard American and European ships. He also examines important issues like American minstrelsy in Hawaii and the ways Hawaiians achieved their own ends by capitalizing on Americans'' conflicting expectations and fraught discourse around hula and other musical practices. Trade ReviewCo-winner of the Alan Merriam Prize, Society for Ethnomusicology, 2015. "This work is fascinating as it offers a more complicated history of the region than the one offered in current historical studies by focusing on the ways in which a segment of the global workforce forged their own understandings of the wider world and negotiated their position in the cosmopolitan sea-going and theatrical worlds of the nineteenth century. This is a story that very much needs to be told." --Gillian M. Rodger, author of Champagne Charlie and Pretty Jemima: Variety Theater in the Nineteenth Century"This book asks readers to consider the significance of music in maritime cultural exchanges, and it offers new perspectives for considering the long-standing influence of Hawaiians and Hawaiian music internationally. . . . These are stories in need of telling and a past that merits a deeper listening."--The Journal of Pacific History"Carr's work demonstrates that historians have much to gain by studying the nineteenth century mariner's and musicians, Hawaiian and non-Hawaiian alike, as well as their globally resonant cultural impact that rippled in their wake."--American Historical Review "Hawaiian Music in Motion is an important contribution to our understanding of the effects of outside influences on Hawaiian music and dance."--Journal of the Society for American Music "Hawaiian Music in Motion: Mariners, Missionaries, and Minstrels is a noteworthy contribution to the growing discipline of historical ethnomusicology, a thoroughly researched monograph that considers Hawaiian music on its own terms—at home on the islands, abroad ports of call, and in transit over the nineteenth-century seaways."—Journal of Folklore Research"James Revell Carr contributes to the diversity of perspectives for understanding Hawaiian music and expressive culture. His study positions the Hawaiian experience as one of mutual interaction with the Anglophone world and constitutes a welcome historical resource for specialists in American music, ethnomusicology, dance ethnology, Hawaiian studies, American studies, culture studies, performance studies, and ethnic studies."--American Music"Carr's work demonstrates that historians have much to gain by studying the nineteenth century mariner's and musicians, Hawaiian and non-Hawaiian alike, as well as their globally resonant cultural impact that rippled in their wake."--American Historical Review"Hawaiian Music in Motion is an important contribution to our understanding of the effects of outside influences on Hawaiian music and dance."--Journal of the Society for American Music"Hawaiian Music in Motion is an archival tour de force, an invaluable addition to a growing body of literature. . . that examines Pacific intercultural encounter through the lens of performance."--Ethnomusicology "The scope of this [book] is without precedent in existing scholarship on nineteenth-century musical cultures. . . . His research has uncovered a rich array of new documentary evidence from primary sources, and the narrative engages in a close examination of the interpretive opportunities and limits of this evidence."--Amy Ku'uleialoha Stillman, University of MichiganCo-winner of the Alan Merriam Prize, Society for Ethnomusicology, 2015. * Society for Ethnomusicology *

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Book SynopsisExamines the artworks, letters, sketchbooks, music collection, and biography of the painter William Sidney Mount (1807-1868) as a lens through which to see the multiethnic antebellum world that gave birth to blackface minstrelsy.Trade ReviewIrving Lowens Book Award, Society for American Music (SAM), 2015. "The book is a fascinating journey from the waterways and barns of 19th-century America to the parchment and canvases of Mount and his depictions of our ever-changing landscape. Mr. Smith combines those observations with deep historical and archival research, illuminating the vast multi-ethnic cultural exchange that lies at the heart of what it means to be American." --Rhiannon Giddens, Wall Street Journal "This books provides a new set of roots for minstrelsy, an intriguing look at popular culture in early American among non-elites, and an innovative method of using multiple disciplines and sources, which in many ways should be a model for historians to think about the past from different angles."--Register of the Kentucky Historical Society "This erudite, extensively researched, and persuasively argued study sheds important new lights on the origins (especially music and movement) of American blackface minstrelsy. Highly Recommended."--Choice"The Creolization of American Culture is heavily dependent on extensive archival research, and. . . . will be invaluable to researchers. . . .It is a pleasure to read a work grounded in primary sources."--Art Libraries Society of North America"A dazzling addition to the literature on American popular music and its history. The Creolization of American Culture is fresh, vital, compelling, and deeply pertinent to understanding a world in which we yet live."--Dale Cockrell, author of Demons of Disorder: Early Blackface Minstrels and Their World"More than just a book about the artist William Sidney Mount, this study is also an interrogation and reinterpretation of the scholarship on minstrelsy, a topic of increasing importance in interpreting American cultural history. This outstanding piece of work advances our understanding of the black-white vernacular music and dance that took place in colonial America and the early republic."--Jeff Todd Titon, author of Early Downhome Blues"Smith broadens an understanding of a vital stage in the development of American vernacular and popular culture and continues 'minstrelsy's rehabilitation' in scholarly research."--Volume !"Inspired by the work of Lott, Lhamon, and Cockrell, Smith advances an exciting vein of scholarship seeking to recuperate, theorize and historicize one of America's more curious and enduringly relevant cultural moments."--Journal of Folklore Research "In this thoroughly researched and well-documented study, Christopher J. Smith. . . incorporates a dialogue of scholarship on the history of blackface minstrelsy, biographical information on early blackface performers, and musicology and iconography research to offer not only the story of one man, but also a reinterpretation of American culture."--History: Reviews of New Books "The thesis of this book is refreshing, the analysis sparkling, and the argument grounded in the most exacting and superbly supported research. . . . A major contribution to the scholarship."--The Journal of American Culture "An important piece of scholarship that . . . offers significant insights into the development and meaning of blackface minstrelsy."--JWPM

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Book SynopsisWhat makes a distant oboe''s wail beautiful? Why do some kinds of music lift us to ecstasy, but not others? How can music make sense to an ear and brain evolved for detecting the approaching lion or tracking the unsuspecting gazelle? Lyrically interweaving discoveries from science, psychology, music theory, paleontology, and philosophy, Robert Jourdian brilliantly examines why music speaks to us in ways that words cannot, and why we form such powerful connections to it. In clear, understandable language, Jourdian expertly guides the reader through a continuum of musical experience: sound, tone, melody, harmony, rhythm, composition, performance, listening, understanding--and finally to ecstasy. Along the way, a fascinating cast of characters brings Jourdian''s narrative to vivid life: idiots savants who absorb whole pieces on a single hearing, composers who hallucinate entire compositions, a psychic who claims to take dictation from long-dead composers, and victims of brain damage who c

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Book SynopsisArtists like Blind Arthur Blake, Sonny Terry, Arizona Dranes, and Art Tatum have appeared throughout the history of popular music in America - the list of visually impaired black musicians is long. This book examines the ways that blindness, like blackness, shaped both the music these artists produced and the way the nation received it.

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Book SynopsisOffers a listener-based, philosophical-psychological theory of harmonic effects for Anglophone popular music since the 1950s. It begins with chords, their functions and characteristic hierarchies, then identifies the most common and salient harmonic-progression classes, or harmonic schemas.Trade ReviewDoll’s writing allows for a broad spectrum of musical literacy in his audience… It’s thorough enough for music scholars, but accessible enough to be suited for other scholars with some musical background, and perhaps even rock musicians and fans with intellectual interests."" - Shaugn O’Donnell, Associate Professor of Music Theory and Director of Graduate Studies at the City College of New York

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Book SynopsisOffers the first thorough accounting of collegiate a cappella’s history and reveals how the critical issues of sociability, gender, performance, and technology affect its music and experience. Just as importantly, Duchan provides a vital contribution to music scholarship more broadly.

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Book Synopsis

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Book Synopsis

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