Theory of music and musicology Books
Select Books Inc The Secret Magic of Music: Conversations with
Book SynopsisGreat music has the power to transform. Understanding and appreciating classical music can enlighten, uplift, and educate not only the intellect but the soul. In The Secret Magic of Music, classical music devotee and psychiatrist Ida Lichter uncovers a more accessible side of music. By providing the performers’ insights, Lichter provides a special look into how great music can bring happiness and spiritual meaning to its listeners.The Secret Magic of Music is a collection of thought pieces based on interviews with the foremost conductors and performers of chamber music. It is organized by performing artist and is intended to provide each musician’s perception of classical music’s value and social function. As the journey from the score to the listener takes place, Lichter reveals how each performer’s passion, dedication, and outstanding talent affects their lives, their performances, and their listeners. Lichter explores why classical music is often considered unpalatable to the casual listener, how it can have the power to heal, its function in therapy, among other loaded questions. Not only does The Secret Magic of Music enrich the experience of music lovers, it introduces new listeners to classical music’s pleasures, mysteries, and transformational potential. Music has the ability to cross cultural borders and span personal difference, to unite people on common ground they might otherwise never find. The importance of passing on the appreciation of our musical heritage to the next generation is real. To lose it would be inexcusable.Trade Review"Where would Western civilization be without music? A response to this question is presented in this title by psychiatrist Lichter ( Muslim Women Reformers: Inspiring Voices Against Oppression ). Focusing on classical musicians, Lichter interviewed 35 professionalsconductors, instrumentalists, vocalists, collaborative artists, and administratorsmany Australian, starting in 2009, and presents these interviews in her own words... Verdict: This book is for the music lover who is interested in Lichter's interpretation of these musicians' thoughts on classical music's emotional and humanistic qualities." Elizabeth Berndt-Morris , Boston P.L. - Library Journal
£14.20
Temple University Press,U.S. Masters of the Sabar: Wolof Griot Percussionists
Book SynopsisA fascinating study of Senegalese masters of the sabar drumTrade Review"Tang's ethnography is lucid and engaging... [Her] study is particularly significant for examining the performance of sabar beyond its indigenous social and aesthetic frames... Masters of the Sabar represents a significant contribution in this direction." -African Studies ReviewTable of ContentsIntroduction I. You will be griot in another way: The Ethnomusicologist's story; II. There once was a king called Maysa Waaly Jon: Sabar History, Instruments, Ensemble and Sound; III. The griot lineage, we are one: Wolof Caste and Identity; IV. My foreparents used to beat the drums: Wolof Family, Kinship and Musical Genealogy; V. If a snake bites you, you will think of death: Sabar Repertories; VI. Dancing fish and rice: Performance Contexts; VII. The 'pax' you play is so sweet: The role of sabar in mbalax Conclusion
£999.99
Temple University Press,U.S. Musica Nortena: Mexican Americans Creating a
Book SynopsisThe first history of the music that binds together Mexican immigrant communitiesTrade Review“Ragland’s ethnomusicological approach to música norteña's evolution and its contemporary relevance, brings the topic to life. The music is clearly a prism to examining a broad swath of social, political, economic, cultural, and communications issues. Her musical analysis is fresh, rare, and valuable.”—Daniel Sheehy, Director and Curator, Smithsonian Folkways RecordingsTable of ContentsPreface Acknowledgments Introduction 1. Mexicanidad and Música Norteña in the “Two Mexicos” 2. Regional Identity, Class, and the Emergence of “Border Music” 3. Border Culture, Migration, and the Development of Early Música Norteña 4. Modern Música Norteña and the Undocumented Immigrant 5. Los Tigres del Norte and the Transnationalization of Música Norteña in the Working-Class Mexican Diaspora Conclusion Glossary References Selected Discography Interviews Index
£999.99
Soft Skull Press Different Every Time: The Authorized Biography of
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£999.99
GIA Publications The Anatomy of Melody: Exploring the Single Line
Book SynopsisDrawn from the world’s most beloved songs, the more than 70 examples in this book explore the history and crucial elements of melody, which is the very basis of song. This unique guide allows readers a new insight into the composition of songs and focuses solely on how simple musical lines combined with the right texts can make a catchy melodic phrase that lasts throughout the ages without consideration of harmony, counterpoint or other constructs.
£21.56
GIA Publications The Seven Deadly Sins of Music Making
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£17.95
GIA Publications, Inc. A Singers Epiphany
Book SynopsisIn this moving and insightful memoir, author Lynn Eustis explores what it means to be a professional musician and teacher at the height of her career who is suddenly faced with a brain tumor that not only threatens her life, but upends her concept of who she is. Her journal entries along with curated Bible verses and quotations from poems and literature are inspiring. Blending self-reflection and humor, she explains how a deeper understanding of singing, teaching, music, and mortality has transformed her life for the better.
£15.15
Hal Leonard Corporation Theory Workbook Level 4 Schaum Making Music
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£7.99
Akashic Books, Ltd. 1967 How I Got There and Why I Never Left
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£18.95
Akashic Books, Ltd. This Aint Rock n Roll
£24.90
Penguin Random House Grupo Editorial Renegados / Renegades. Born in the USA
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£28.05
The New York Review of Books, Inc Finding the Raga: An Improvisation on Indian
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£15.26
Hal Leonard Corporation Do-It-Yourself Music Theory: The Best
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£22.09
Hal Leonard Publishing Corporation Hal Leonard Rhythm and Counting: The Practical
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£14.24
Hal Leonard Corporation Hal Leonard Songwriting Method
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£13.59
Willis Music Company How to Write a Song on the Guitar
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£10.92
Reaktion Books Counterpoints: Dialogues Between Music and the
Book SynopsisMultimedia experiments are everywhere in contemporary art, but the collaboration and conflict between the various arts has a long history. From opera to the symphonic poem, to paintings inspired by music, many attempts have been made to pair sounds with pictures and to combine the arts of time and space. Counterpoints: Dialogues between Music and the Visual Arts explores this artistic evolution from ancient times to the present day. Philippe Junod's main focus is music and its relationship with painting, sculpture and architecture. He draws on theoretical and practical examples to show how different art movements throughout history have embraced or rejected creative combinations. The Renaissance, Neoclassicism and certain brands of modernism tried to claim the purity of each mode of expression, while other movements such as Romanticism, Symbolism and Surrealism called for a fusion of the arts. Counterpoints is a unique cultural history that provides a critical understanding of a popular but unheralded art form.
£999.99
Hal Leonard Europe Limited Playbook: Music Theory - a Handy Beginner's
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£5.50
Four Courts Press Ltd A Musical Offering: Essays in Honour of Gerard
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£71.27
Omnibus Press Notecracker: Music Theory
Book Synopsis(Music Sales America). Notecrackers are handy little packs of facts, tips and entertainment on musical topics. They give instant reference to things like chords and music theory as well as musical trivia and jokes, making them perfect pocket-sized gifts. Each pack is 1-1/8 high x 3-1/4 wide and features drilled laminated pages with one fact or theory per page so you can quickly flip through the pack.
£6.56
ISTE Ltd and John Wiley & Sons Inc Constraint Programming in Music
Book SynopsisConstraint programming (CP) is a declarative programming paradigm with many academic and industrial applications (from n-queens to planning, vehicle routing, and optimization, among other fields). Music composition has been one of these applications since the earliest works on automatic harmonization, and it remains a very special and challenging one due to its artistic (and highly subjective) nature. The early works on CP in music were limited to classical music composition, as the harmonization and counterpoint rules naturally translate into constraints. However, when contemporary composers began to be interested in constraints, CP became an essential tool in computer-assisted composition systems. As several contemporary musical pieces have now been composed "with constraints", it is reasonable to ask why CP applies so naturally to music, and what the particular features of musical problems are. This book presents information about recently developed musical CP systems from both the scientist's and composer's point-of-view. It will therefore be of interest to students and researchers of music technology, composers in the computer music scene, and music software companies-especially those trying to model high level musical behaviors (i.e., intelligent arpeggiation/arrangement on synthesizers, "Band in a Box" software, etc.), perform music data mining, and execute music taste engineering for online music delivery.Table of ContentsIntroduction xiiiCharlotte TRUCHET and Gerard ASSAYAG Chapter 1. Modeling Temporal Constraints for a System of Interactive Scores 1Antoine ALLOMBERT, Myriam DESAINTE-CATHERINE and Mauricio TORO 1.1. Introduction 1 1.2. Formalism of interactive scores 2 1.2.1. Temporal relations 3 1.2.2. Interaction points 4 1.2.3. Modification behaviors 4 1.2.3.1. Fermata behavior 5 1.2.3.2. Chronological and anti-chronological behaviors 5 1.2.3.3. Proportional behavior 7 1.3. ECO machine 8 1.3.1. Supple intervals with fermata behavior 8 1.3.2. General case 10 1.3.3. Interval constraints 11 1.3.4. Constraint propagation 13 1.4. Concurrent constraint time model 15 1.4.1. Ntcc model 15 1.4.1.1. Control points 16 1.4.1.2. Temporal relations 16 1.4.1.3. Example 16 1.4.2. Discussion 17 1.5. Timed conditional branching model 18 1.5.1. Specification of the model 18 1.5.1.1. Control points 19 1.5.1.2. Intervals 19 1.5.1.3. Example 20 1.5.2. Ntcc model 20 1.5.2.1. Control points 21 1.5.2.2. Intervals 21 1.5.2.3. Example 22 1.5.3. Results and discussion 22 1.6. Concluding remarks and future work 22 1.7. Bibliography 23 Chapter 2. Variable Orderings for Solving Musical Constraint Satisfaction Problems 25Torsten ANDERS 2.1. Motivation 25 2.2. Background: the constraint model based on computation spaces 28 2.2.1. Propagate-and-search 29 2.2.2. An example 33 2.2.3. Distribution strategy definition 35 2.3. Specializing the constraint model for music 37 2.3.1. Music representation and score contexts 37 2.3.2. Adapting the space-based constraint model 38 2.4. Score distribution strategies 39 2.4.1. Adapting the first-fail principle 40 2.4.2. Resolving inaccessible score contexts 41 2.4.3. Resolving multiple inaccessible score contexts in order 42 2.4.4. Combining the principles resolve-inaccessible-contexts and first-fail 44 2.4.5. The dynamic left-to-right variable ordering 44 2.5. An example: Florid counterpoint 46 2.5.1. The music theory model 47 2.5.2. Search process and results 49 2.6. Summary 51 2.7. Bibliography 52 Chapter 3. Constraints for an Unfolding Time 55Georges BLOCH and Charlotte TRUCHET 3.1. Introduction 56 3.1.1. Composition? 56 3.1.2. Writing: the constraints of composition 57 3.1.3. Composition as a synthesis of time 59 3.2. A new set of musical problems: the tiling canons 60 3.2.1. The canon structure 60 3.2.2. Computer representation 63 3.2.3. Harmony? 64 3.2.4. What about time evolution? 66 3.3. Musical constraints on tiling canons 68 3.3.1. Harmonic constraints: virtual fundamental 69 3.3.2. Harmonic constraints: textures 71 3.3.3. Melodic constraint 72 3.3.4. Overconstrained and other constraints 73 3.4. Constraints in time 74 3.4.1. The solving algorithm 74 3.4.2. Constraint process as a musical process 76 3.4.3. Modifying constraints in time 77 3.5. Conclusion 79 3.6. Bibliography 79 Chapter 4. Global Constraints in Orchestration 81Gregoire CARPENTIER 4.1. Introduction 81 4.2. The automatic orchestration problem 83 4.3. A unified syntax for global constraints 84 4.3.1. Preliminary definitions 84 4.3.2. Constraint operators 84 4.3.3. Cost functions 85 4.4. The CDCSolver heuristic 87 4.4.1. Conflict constraints versus design constraints 87 4.4.2. Avoiding cycles 89 4.4.3. Choosing the variable to update 90 4.4.4. Using CDCSolver in constrained optimization problems 92 4.5. Performance evaluation 93 4.6. Using CDCSolver in automatic orchestration 94 4.6.1. Timbre "fade in" 95 4.6.2. Speakings ostinato 96 4.7. Conclusions and future work 101 4.8. Bibliography 101 Chapter 5. Using Gecode to Solve Musical Constraint Problems 103Serge LEMOUTON 5.1. Plan 104 5.2. Introduction 104 5.3. Why Gecode? 106 5.3.1. Constraints in OpenMusic and PWGL 106 5.3.2. Gecode 107 5.3.3. Gelisp 107 5.3.4. OMGecode implementation 108 5.4. A musical constraint repertoire 108 5.4.1. All-interval 108 5.4.1.1. Definitions 108 5.4.1.2. Results 109 5.4.1.3. Musical uses 110 5.4.2. Constrained melodic strings for Michael Jarrell's Congruences 111 5.4.2.1. Definition 111 5.4.2.2. "Historic" implementations 113 5.4.2.3. Gecode implementation and results 116 5.4.3. Generating chords by constraints: harmonic rules 117 5.4.3.1. Definition 117 5.4.3.2. Hamming 118 5.4.4. Stroppa vertical pitch structure constraints 119 5.4.4.1. Definition 119 5.4.5. Harmonic profiles 121 5.4.5.1. Definition 121 5.4.6. Melodic interpolations 122 5.4.7. Harmonic progression 123 5.4.7.1. Definition 123 5.5. Musical constraint specificities 123 5.5.1. Time-varying constraints 124 5.5.2. Soft constraints 124 5.5.3. Availability and installation 125 5.6. Conclusion 125 5.7. Bibliography 125 5.8. Appendix A: All-interval script command options 127 5.9. Appendix B: Jarrell problem implemented in C++, using Gecode 129 5.10. Appendix C: Jarrell script command options 130 Chapter 6. Concurrent ConstraintModels of Music Interaction 133Carlos OLARTE, Camilo RUEDA, Gerardo SARRIA, Mauricio TORO and Frank D. VALENCIA 6.1. Introduction 133 6.2. Concurrent constraint programming 134 6.2.1. The language of CCP processes 135 6.2.2. Timed CCP 136 6.3. Dynamic interactive scores 137 6.3.1. Mobile behavior in tcc and a model of dynamic interactive scores 138 6.4. Non-determinism and verification of musical properties 140 6.4.1. The ntcc calculus 141 6.4.2. Logic characterization of ntccprocesses 142 6.4.3. Modeling rhythm patterns 143 6.5. Real time and preemption 146 6.6. Probabilistic extensions and musical improvisation 149 6.6.1. The factor oracle 149 6.6.2. Probabilistic transversal of the FO 151 6.7. Perspectives and future work 152 6.8. Bibliography 153 Chapter 7. From Rhythm Rules to Music Rules 157Orjan SANDRED 7.1. Two constraint-solving systems for musical composition 157 7.2. Music representation 158 7.3. Rhythm representation and OMRC 159 7.4. OMRC and rhythm organization 159 7.5. Basic concepts for rules in OMRC 160 7.6. From OMRC to PWMC 161 7.7. Basic concepts in PWMC 163 7.8. The user interface 165 7.9. More about the domains 166 7.9.1. Motif and groupings of values 167 7.9.2. Metric units 168 7.9.3. Locked variables 168 7.10. Defining rules 169 7.10.1. Access boxes 170 7.10.2. Logic statements 172 7.11. Heuristic rules 173 7.12. A patch example 174 7.13. Strategy rules 177 7.14. Data representation 178 7.14.1. The domain 178 7.14.2. Score representation 179 7.15. Musical example: Labyrinths in the Wind 183 7.15.1. Rules for rhythm 183 7.15.2. Rules for pitch 185 7.15.3. A heuristic stochastic rule 185 7.15.4. Examining the solution 186 7.16. Conclusion and future developments of the systems 187 7.17. Bibliography 188 Chapter 8. OMClouds, a Library for Musical Constraints 189Charlotte TRUCHET 8.1. Introduction 189 8.1.1. OpenMusic 190 8.1.2. Constraints in CAC 192 8.2. Some musical CSPs 193 8.2.1. All-intervals series 193 8.2.2. Sorting chords 194 8.2.3. Asynchronous rhythms 194 8.2.4. Spectral chords 196 8.2.5. Gestures 198 8.2.6. Tempo approximation 199 8.2.7. Accelerando 200 8.2.8. Other problems 201 8.2.9. Conclusions on the compositional CSPs 202 8.3. OMClouds 204 8.3.1. Adaptive search 204 8.3.2. CSP definition 205 8.3.3. Generation of the error functions 207 8.3.4. Solving 208 8.3.5. Edition of results 209 8.4. Conclusion 211 8.5. Bibliography 211 List of Authors 215 Index 219
£132.00
Kahn & Averill Tensions in the Performance of Music: A Symposium
Book SynopsisThe contributors to this text are Grindea (piano), Havas (strings), Tausky (conducting), Nieman (composing), Gruner (voice), Howard (speech), Ben-Or (Alexander Technique), Lehrer (psychology), de Peyer (clarinet) and Jacobsen (tension control). The reprinted text also carries an additional chapter on guitar playing by Joseph O'Connor.
£21.75
Huiksi Music,U.S. The Creative Band & Orchestra
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£16.99
The University of Michigan Press An Anthology of Nagauta
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£999.99
The University of Michigan Press An Anthology of Nagauta
Book Synopsis
£999.99
Hal Leonard Corporation Theory Workbook Level 2 Schaum Publications
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£7.99
Wooden Books The Elements of Music: Melody, Rhythm & Harmony
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£7.95
Wooden Books The Diagram: Harmonic Geometry
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£999.99
Rutgers University Press Destructive Desires: Rhythm and Blues Culture and
Book SynopsisDespite rhythm and blues culture’s undeniable role in molding, reflecting, and reshaping black cultural production, consciousness, and politics, it has yet to receive the serious scholarly examination it deserves. Destructive Desires corrects this omission by analyzing how post-Civil Rights era rhythm and blues culture articulates competing and conflicting political, social, familial, and economic desires within and for African American communities. As an important form of black cultural production, rhythm and blues music helps us to understand black political and cultural desires and longings in light of neo-liberalism’s increased codification in America’s racial politics and policies since the 1970s. Robert J. Patterson provides a thorough analysis of four artists—Kenneth “Babyface” Edmonds, Adina Howard, Whitney Houston, and Toni Braxton—to examine black cultural longings by demonstrating how our reading of specific moments in their lives, careers, and performances serve as metacommentaries for broader issues in black culture and politics.Trade Review"This incisive, engaging analysis of post-Civil Rights era rhythm and blues culture models the best kind of cultural studies scholarship: resisting the tendencies to view popular culture as a passive reflection of conservative ideologies or to inflate its oppositional effects, Patterson's both/and approach reveals the rich and often contradictory ways in which RB culture navigates the pressures of neoliberal gender and sexual politics." -- Madhu Dubey * author of Signs and Cities: Black Literary Postmodernism *"Contextualizing the music and careers of four seminal late twentieth-century RB artists, Babyface, Toni Braxton, Adina Howard, and Whitney Houston, Robert J. Patterson’s exhilarating book grapples with the 'destructive desires' that compelled these artists’ negotiations of restrictive norms of black American gendered, class, and sexual performance. A work of tremendous intellectual 'whip appeal,' a 'front and center,' 'special brew' of engaged and illuminating interdisciplinary scholarship, Destructive Desires: Rhythm and Blues Culture and the Politics of Racial Equality arrives 'just in time,' and will doubtlessly be savored." -- Michael Awkward * Gayl Jones Professor of Afro-American Literature and Culture, University of Michigan *"New Book Examines Relationship Between RB Culture, Black Aspirations" https://www.georgetown.edu/news/robert-patterson-book-on-tie-between-randb-culture-and-black-aspirations * Georgetown.edu *"Highly recommended." * Choice *"Patterson studies lyrics from various African American rhythm and blues musicians. Through the lyrics, the author examines the big picture behind the words, analyzing hidden meanings and possible political stances throughout the verses and rhythm. Patterson provides an in-depth analysis of four musicians—Kenneth “Babyface” Edmonds, Adina Howard, Whitney Houston, and Toni Braxton—to analyze Black culture and the political climate through the lyrics and melodies of each of the songs discussed throughout the text." * Communication Booknotes Quarterly *Table of ContentsPreface Introduction 1. Reading Race, Gender, and Sex: Black Intimate Relations, Black Inequality, and the Rhythm and the Blues Imagination 2. “Whip Appeal:” Reading Kenneth “Babyface” Edmonds 3. “Freak Like Me:” Reading Adina Howard 4.“Didn’t We Almost Have It All:” Reading Whitney Houston Epilogue Appendix A Appendix B Appendix C Acknowledgements Bibliography
£999.99
Rutgers University Press In Plenty and in Time of Need: Popular Culture
Book SynopsisIn Plenty and in Time of Need demonstrates how the unique history of Barbados has contributed to complex relations of national, gendered, and sexual identities, and how these identities are represented and interpreted on a global stage. As the most widespread manifestation of social commentary, the book uses music and performance to analyze the competing ideals and realities of the national culture. It details the histories of prominent musical artists, including the prolific Pan-Africanist calypsonian the Mighty Gabby, the world-renowned Merrymen, Soca Queen Alison Hinds, artist/activist Rupee, and international superstar Rihanna. Using these artists, the project analyzes how femininity, masculinity, and sexuality are put in service of Barbadian nationalism. By examining websites, blogs, and digital products of these artists in conversation with Barbadian tourism, the book re-examines the ways in which commodity, sexuality, gender performance, and diasporic consciousness undergird individual careers and national representations.Trade Review“A refreshingly vital work! As Barbados flexes its stance, situating itself in the contemporary world, Lia T. Bascomb provides one of the most engaging and enlightening published discussions on the meanings of this process. In Plenty and in Time of Need will be a go-to text for many years.” -- Curwen Best * author of The Popular Music and Entertainment Culture of Barbados: Pathways to Digital Culture *“Lia Bascomb’s In Plenty and In Time of Need is a necessary and powerful remix of performance studies, diaspora studies, studies of the nation, studies of migration and popular culture. Her remixes of critical theory, Caribbean intellectual traditions, discourses of the nation, post-independence and postcolonial conditions, along with gender and sexuality provide a powerful account of contemporary Black diasporic connection and performativity located in the geopolitics of Barbados but exceeding the geography of that place to reorient our thinking on the global flows of people, cultures and power.” -- Rinaldo Walcott * author of Queer Returns: Essays on Multiculturalism, Diaspora, and Black Studies *"This text is a well-conceived and articulated discussion of the ways in which history intertwine with contemporary cultural performances to construct a national identity. For Bascomb, this exchange takes place in a political arena where not only the personal is political but the political is often symbolic and immaterial." -- Hunter H. Fine * Communication Booknotes Quarterly *Table of ContentsList of Images Introduction 1 England’s Child, the People’s Nation: Myths of Barbadian National Identity 2 Performing National Identity 3 Caribbean Queen: Afro-Barbadian Femininity, Alison Hinds, and Performing of the Erotic at Home and Abroad 4 “Love You All”: Rupee, Afro-Barbadian Masculinity, Activism, and the Temptations of a Global Pop Market 5 Rihanna, Where Celebrity and Tourism Meet in a Dangerous Crossroads of Representation Conclusion: Celebrating Barbadian Independence, the Golden Jubilee Acknowledgments Notes Works Cited Index
£999.99
Rutgers University Press Rockin' in the Ivory Tower: Rock Music on Campus
Book SynopsisHistories of American rock music and the 1960s counterculture typically focus on the same few places: Woodstock, Monterey, Altamont. Yet there was also a very active college circuit that brought edgy acts like the Jefferson Airplane and the Velvet Underground to different metropolitan regions and smaller towns all over the country. These campus concerts were often programmed, promoted, and reviewed by students themselves, and their diverse tastes challenged narrow definitions of rock music. Rockin’ in the Ivory Tower takes a close look at two smaller universities, Drew in New Jersey and Stony Brook on Long Island, to see how the culture of rock music played an integral role in student life in the late 1960s. Analyzing campus archives and college newspapers, historian James Carter traces connections between rock fandom and the civil rights protests, free speech activism, radical ideas, lifestyle transformations, and anti-war movements that revolutionized universities in the 1960s. Furthermore, he finds that these progressive students refused to segregate genres like folk, R&B, hard rock, and pop. Rockin’ in the Ivory Tower gives readers a front-row seat to a dynamic time for the music industry, countercultural politics, and youth culture.Trade Review“Rockin’ in the Ivory Tower offers a welcome entry into a field of study that is only just beginning to flower.” — Kenneth Womack, author of Living the Beatles Legend: The Untold Story of Mal Evans “The research and writing are exciting; Rockin’ in the Ivory Tower fills an important gap in the historiography of rock music and the sixties.” — Dewar MacLeod, author of Making the Scene in the Garden State: Popular Music in New Jersey from Edison to SpringsteTable of ContentsPreface and Acknowledgments Introduction 1 Postwar America, the Revolution in Higher Education, and Popular Music 2 “The Sound of the Sixties”: Popular Music and College Campuses 3 “I Blundered My Way Through”: The College Impresario, Fall 1965–Fall 1967 4 “They’re Rockin’ in the Ivory Tower”: Fall 1967–Fall 1968 5 The “Americanization of Rock”: Spring 1969–Fall 1970 Conclusion Appendix A: Bands/Artists at Drew University, 1967–1971 Appendix B: Bands/Artists at Stony Brook University, 1967–1971 Notes Bibliography Index
£999.99
Brepols N.V. Nota Bene: Reading Classics and Writing Melodies
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£70.51
Brepols N.V. Ludwig Senfl (C.1490-1543): A Catalogue Raisonne
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£66.50
Brepols N.V. Ludwig Senfl (C.1490-1543): A Catalogue Raisonne
Book Synopsis
£66.50
Brepols N.V. The Theatres of Sylvano Bussotti
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£154.85
Brepols Publishers Music in the Disruptive Era
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£138.00
Librairie Orientaliste Paul Geuthner Nemo: Near-Eastern Musicology Online
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£42.50
Librairie Orientaliste Paul Geuthner Musicologie Francophone Du Maghreb: Melanges
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£22.50
Librarie Philosophique J. Vrin La Steppe Musicienne: Analyses Et Modelisation Du
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£33.25
Librarie Philosophique J. Vrin L'Enquete En Ethnomusicologie: Preparation,
Book Synopsis
£999.99
Librarie Philosophique J. Vrin de la Liberation Au Domaine Musical: Dix ANS de
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£999.99
Librarie Philosophique J. Vrin Fidelite Et Infidelite Dans Les Mises En Scene
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£999.99
Librarie Philosophique J. Vrin Musiques Gnawa a Bruxelles
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£32.30
Bohlau Verlag Musik - Identität - Raum: Perspektiven auf die
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£56.64
Vandenhoeck & Ruprecht GMBH Transkulturelle Erkundungen
Book SynopsisDieses Werk präsentiert interdisziplinäre und internationale Zugänge zur Transkulturalität aus Philosophie, Politikwissenschaft, Ethnomusikologie, Popularmusikforschung, Gender und Queer-Studies, Musikwissenschaft, Musikpädagogik, Postcolonial Studies, Migrationsforschung und Minderheitenforschung. Es sind die nachhaltigen Ergebnisse einer Ringvorlesung an der Universität fÃ'r Musik und darstellende Kunst Wien-mdw aus den Jahren 2014-2018, bei der Wissenschaft und Kunst in einen fruchtbaren Dialog traten.
£71.25
Bohlau Verlag Diverging Ontologies in Music for Dancing:
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£80.20
Bohlau Verlag Die Welt klingt: Neue Musik und Naturprozesse
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£64.66
Bohlau Verlag Die unterschätzte Kunst: Musik seit der Ersten
Book SynopsisAls große, integrale Kunstform wird Musik zunehmend unterschätzt. Die Anforderungen ihres Wissens und Könnens wollen die Menschen - zumal in den westlichen Konsumgesellschaften - immer weniger erfüllen. So verkürzen sie ihr Bild von sich selbst. Doch ihnen kann ein besseres Bild geboten werden. Was heute als Musik beliebt ist, gehört weithin zur Breitenkultur. Musikalische Hochkultur hingegen gilt als elitär. Doch deren seelische und geistige Vermögen konnten in früheren Jahrhunderten in vielen Menschen geweckt werden, weil Breitenkultur und Hochkultur ineinander verflochten waren. Erst mit der Aufklärung des 18. Jahrhunderts kamen vereinfachende und einseitig suggestive Musikauffassungen auf, die mittlerweile weltweite Geltung beanspruchen. Doch in ihnen verkürzen die Menschen ihr Bild von sich selbst. Dieses Bild muss daher nun einer kritischen Revision unterzogen werden. Es müssen die seelischen und geistigen Vermögen, die Musik als integrales Wissen und Können wecken kann, erneut bewusst werden. Und sie müssen bewusst werden als Teil solcher Vermögen, durch die der Einzelne in einer globalisierten Welt, die ihn immer mehr zu überfordern, zu entmündigen und zu entmächtigen trachtet, zumindest einen Teil seines Lebens in die eigene Hand nehmen kann.
£84.82
