Theory of music and musicology Books
Springer Nature Switzerland AG How Music Works: A Physical Culture Theory
Book SynopsisHow do we understand culture and shape its future? How do we cross the bridge between culture as ideas and feelings and physical, cultural objects, all this within the endless variety and complexity of modern and traditional societies? This book proposes a Physical Culture Theory, taking culture as a self-organizing impulse pattern of electric forces. Bridging the gap to consciousness, the Physical Culture Theory proposes that consciousness content, what we think, hear, feel, or see is also just this: spatio-temporal electric fields. Music is a perfect candidate to elaborate on such a Physical Culture Theory. Music is all three, musical instrument acoustics, music psychology, and music ethnology. They emerge into living musical systems like all life is self-organization. Therefore the Physical Culture Theory knows no split between nature and nurture, hard and soft sciences, brains and musical instruments. It formulates mathematically complex systems as Physical Models rather than Artificial Intelligence. It includes ethical rules for maintaining life and finds culture and arts to be Human Rights. Enlarging these ideas and mathematical methods into all fields of culture, ecology, economy, or the like will be the task for the next decades to come.Table of ContentsSome Fundamentals of Musical Acoustics.- Some Fundamentals of Music Psychology.- Some Fundamentals of Comparative Musicology.- Impulses.- Turbulence.- Saxophone.- More wind instruments.- Friction Instruments.- Guitars and Plucked String Instruments.- The Human Voice.- Neurophysiology of Music.- Music and Consciousness.- Reconstructing Impulses - The Ear and the Auditory Pathway.- Timbre.- Rhythm, Musical Form, and Memory.- Music, Meaning, and Emotion.- Physical Culture Theory.
£35.99
Luster Publishing The Illustrated Book of Songs
Book SynopsisFrom rockers to ravers, The Illustrated Book of Songs is the book every music lover will want. In quick-witted style, Irish writer Colm Boyd navigates us through lists of classic songs for every occasion. Prepare yourself for fascinating facts, cool illustrations and withering commentary on songs presented in lists such as: Songs about Getting Dumped Songs about Prostitution Songs about Environmental Matters Songs about Being a Complete and Utter Asshole Songs about Gender Identity Alternative Christmas Songs The Illustrated Book of Songs features 70 lists, discussing hundreds of songs from different genres and artists - from Adele to Aretha, Jagger to Jarvis, Rufus to Rosalia. Many of the songs are well-known, others are a little more off-radar. Some have amazing musicality, some have lyrics - quite literally - worthy of a Nobel Prize. Some deal with death, others deal with zebras, one song deals with prostitute-frequenting chess players in Bangkok. You get the idea. Each of the book's lists is accompanied by a scannable Spotify code, allowing readers to use their smartphones to directly access the songs mentioned. So, time to get reading and get listening. Check out the book's website for more information: colmboyd.com/the-illustrated-book-of-songs.Trade Review“New Irish author Colm Boyd gives that famous Irish sense of humour free rein in his hilarious first book, The Illustrated Book of Songs. This is the gift every music buff and lover of Irish wit will want.” -- Isabelle Kliger, Forbes;
£19.80
Rhythm MP Theory of Music Made Easy Grade 4
Book Synopsis
£7.15
Hal Leonard Corporation How to Write Songs on Guitar A Guitarplaying and
Book SynopsisHOW TO WRITE SONGS FOR GUITAR - REVISED
£17.99
Princeton University Press Broadcasting Fidelity
Book Synopsis
£32.30
West Virginia University Press Lessons from Take Me Home Country Roads
Book Synopsis
£18.04
Taylor & Francis Innovation in Music Innovative Creative Practice
a huge range and FREE tracked UK delivery on ALL orders.
£49.39
Oxford University Press Inc The History of Jazz
Book SynopsisAn updated new edition of Ted Gioia''s universally acclaimed history of jazz, with a wealth of new insight on this music''s past, present, and future.Ted Gioia''s The History of Jazz has been universally hailed as the most comprehensive and accessible history of the genre of all time. Acclaimed by jazz critics and fans alike, this magnificent work is now available in an up-to-date third edition that covers the latest developments in the jazz world and revisits virtually every aspect of the music. Gioia''s story of jazz brilliantly portrays the most legendary jazz players, the breakthrough styles, and the scenes in which they evolved. From Louis Armstrong and Duke Ellington at the Cotton Club, Miles Davis''s legendary 1955 performance at the Newport Jazz Festival, and Ornette Coleman''s experiments with atonality to current innovators such as Kamasi Washington and Esperanza Spalding, Gioia takes readers on a sweeping journey through the history of jazz. As he traces the music through the swamp lands of the Mississippi Delta, the red light district of New Orleans, the rent parties of Harlem, the speakeasies of Chicago, and other key locales of jazz history, Gioia also makes the social contexts in which the music was born come alive. This new edition finally brings the often overlooked women who shaped the genre into the spotlight and traces the recent developments that have led to an upswing of jazz in contemporary mainstream culture. As it chronicles jazz from its beginnings and most iconic figures to its latest dialogues with popular music, the developments of the digital age, and new commercial successes, Gioia''s History of Jazz reasserts its status as the most authoritative survey of this fascinating music.Trade ReviewGioia's History of Jazz became an instant classic when it was first published in 1997. This third edition is approximately 20 percent longer than the first. It has been updated and revised, and includes new text. * N.J. Quinlan, CHOICE Connect, Vol. 59 No. 8 *Possibly the best survey to date. * Ann Douglas, New York Times *If you are looking for an introduction to jazz, this is it. If you know and love jazz well, this is your vade mecum. Me, I expect to be reading around in it for the rest of my life...[It is] the definitive work: encyclopedic, discriminating, provocative, perceptive and eminently readable. With its publication, it can no longer be said that the literature of jazz falls far short of the music itself. * Jonathan Yardley, Washington Post *Magnificent book * Steve Voce, Jazz Journal *Gioia's history stands a good chance of becoming the standard guide for general readers and academics. * Greg Tate, The Village Voice *Table of ContentsChapter 1: The Prehistory of Jazz Chapter 2: New Orleans Jazz Chapter 3: The Jazz Age Chapter 4: Harlem Chapter 5: The Swing Era Chapter 6: Modern Jazz Chapter 7: The Fragmentation of Jazz Styles Chapter 8: Freedom and Fusion Chapter 9: Traditionalists and Post-Modernists Chapter 10: Jazz without Boundaries Chapter 11: Jazz Resurgent Notes Further Reading Recommended Listening Acknowledgements
£21.14
Trinity College London Press Theory for Rock Pop Musicians Volume 2
Book Synopsis
£23.70
Bloomsbury Publishing PLC Steely Dans Aja
Book Synopsis"Aja" was the album that made Steely Dan a commercial force on the order of contemporaries like Fleetwood Mac, the Eagles and Chicago. A double-platinum, Grammy-winning bestseller, it lingered on the Billboard charts for more than a year and spawned three hit singles. This book paints a detailed picture of the making of a masterpiece.Trade ReviewMusician and songwriter Breithaupt's book pores over every last note of Josie, Deacon Blues, Peg and the like with the enthusiasm of a teenybopper and the insight of an academic. -- Terry Staunton * Record Collector *Aja was the album that made Steely Dan a commercial force on the order of contemporaries like Fleetwood Mac, the Eagles, and Chicago. A double-platinum, Grammy-winning bestseller, it lingered on the Billboard charts for more than a year after its 1977 release and spawned three hit singles. Odd, then, that its creators saw it as an `ambitious, extended` work, the apotheosis of their anti-rock, anti-band, anti-glamour aesthetic. Including an in-depth interview with Dan co-founder Donald Fagen, this book - part of Continuum`s ongoing 33 1/3 series - by Canadian musician and music journalist Don Breithaupt paints a detailed picture of the making of a masterpiece. * Upper North Side *Don Breithaupt has crafted an informative book about Steely Dan's platinum sixth album, Aja—part of Continuum Press' 33 1/3 series on acclaimed albums in rock history. The author analyzes Walter Becker and Donald Fagen's cryptic word play and arty rock and West Coast studio contributions to the 1977 release and tried to build a case in support of his fervid-fan claim that Aja is ‘the best record in the solar system. * Downbeat Magazine *Aja is the first one [in the series] I've read, but I'll be checking out the others. Highly recommended. * Stereophile *
£9.49
Little, Brown Book Group The Music Of The Spheres
Book Synopsis20th-century science and music, argues Jamie James, have rejected the Romantic separation of the two. The book provides a survey of the history of science and music, a reassessment of Romanticism and the modernist reaction to it, and a radical intellectual journey.Trade ReviewAn unequivocal affirmation that music is no mere entertainment, but is vitally significant: an important adjunct in healing; an essential part of education. * SUNDAY TIMES *A learned, sophisticated book, full of surprises. * FINANCIAL TIMES *James probes deeply into an undervalued question and left me wondering at the extent to which our whole view of reality- and what may lie beyond it- is being revolutionised. * NEW SCIENTIST *Exuberant and witty. * NEW YORK TIMES BOOK REVIEW *
£11.39
Bloomsbury Publishing PLC Stevie Wonders Songs in the Key of Life
Book Synopsis"Songs in the Key of Life" is different from the four albums that preceded it; it's a maddeningly ambitious encapsulation of all the progress Stevie Wonder had made in that short space of time. This work covers Stevie Wonder's excessive work habits and recording methodology, his reliance on synthesizers, and other aspects.
£9.49
Adams Media Corporation Music Theory 101: From keys and scales to rhythm
Book SynopsisLearn the basics of music theory in this comprehensive and easy-to-understand guide.From classical to hard rock, and jazz to hip hop, music is constantly evolving, but many of the basics have stayed the same. Understanding these basics is key to becoming a successful musician and well-rounded music lover. Music Theory 101 covers everything novice musicians and lifelong learners need to know, including: -How to read sheet music -Understanding the construction of chords and scales -The different rhythm and time signatures -How keys are identified and organized Full of music trivia, music history, comprehensive instruction, and visual aids of scales, music symbols, and chords throughout, Music Theory 101 is the essential guide you need for a crash course in music theory that even professional musicians would envy.Trade Review“Comprehensive and easy-to-follow.” —Cmuse
£11.69
Oxford University Press The Oxford Companion to Music
Book SynopsisThe Oxford Companion to Music is one of the most famous music reference works of all time. This invaluable Companion now reappears in a completely new edition. Over a million words in length, it is the biggest, most authoritative, and most up to date single-volume music reference book available. The new edition draws on both the classic Oxford Companion to Music by Percy Scholes, first published in 1938, and the two-volume New Oxford Companion to Music, edited by Denis Arnold (1983), but is thoroughly revised and reimagined for the 21st century. Alison Latham has assembled a distinguished team of over 120 international contributors, bringing their distinctive voices to an exceptionally broad sweep of musical subjects ranging from composers, performers, conductors, individual works, instruments and notation, and forms and genres, to music scholarship and aesthetics, music education, broadcasting and publishing, all aspects of music theory, and performance practice, as well as jazz, popuTrade ReviewA well-loved friend returns ... The latest incarnation is in one volume, sports a stellar contributors' list and more than matches the authority of its immediate predecessor ... probably the best one-volume music reference book going. * Times Educational Supplement *Table of ContentsPreface ; Acknowledgements ; Contributors ; Abbreviations ; Oxford Companion to Music ; Index of people
£38.24
Bloomsbury Publishing PLC Pretty Hate Machine
Book SynopsisTrent Reznor rode into music mythology on Pretty Hate Machine, powered by Futurist industrial pistons and covered in ice-spiked synth hooks shined by new wave robots. Then there was his voice. This book interviews dozens of NIN fans to provide information on the heart of Reznor's very personal appeal.Trade ReviewCarr's take on Pretty Hate Machine as an accessible piece of art is fortified by her ability to include everyone — fans, critics, NIN virgins — into her dialogue. Here, PHM is transformed from an album for outcasts into a work that applies more generally to mass culture. * Tiny Mix Tapes *Table of ContentsIntroduction Map The Becoming Mercer, Pa. "Head Like a Hole" "Terrible Lie" "Down in It" Youngstown, Ohio "Sanctified" "Something I Can Never Have" "Kinda I Want To" "Sin" Cleveland, Ohio "That's What I Get" "The Only Time" "Ringfinger" Leader of the Black Parade Notes Credits Bibliography
£9.49
Continuum Publishing Corporation Televisions Marquee Moon
Book SynopsisBryan Waterman teaches American literature and culture at New York University. His previous books include, with Cyrus R. K. Patell, The Cambridge Companion to the Literature of New York City.Trade ReviewPenned by Bryan Waterman, the book focuses much of its attention on the four years leading up to the recording of the record in 1977...it offers amazing insight into one of rock's most unsung masterpieces. * Montreal Mirror *Waterman [has done] extensive research, culling from NYU's archive of Richard Hell's papers, rock journalist reviews from the era (Christgau, Bangs, Kent, et al.), and extensive interviews, making sure to maintain the composure of an academic thesis, and not a fan boy rag... what happens when you pull back all the layers of flashbacks and reminiscence is an extensive true story that is still interesting, and echoes long down the volleys of rock history. * Crawdaddy! *[Waterman's book] will delight both Television fans and nostalgists of seventies punk-era New York. * The East Village Local *The New York punk scene of the 1970s doesn’t lack for documentation … That Bryan Waterman still finds something new to say is impressive enough, but he expertly expands the context for Television’s debut album and for the Bowery punk movement within New York’s larger arts scene. At more than 200 pages, it’s one of the longest titles in the series, but each page seems to contain some new idea or discovery. -- Stephen M. Deusner * Pitchfork *Table of Contents1. Biography; 2. The "downtown scene" pre-CBGB; 3. The emergence of the CBGB scene; 4. The Album.
£9.49
Indiana University Press The Notation Is Not the Music
Book Synopsis*Offers invaluable insight into the issues of historically informed performanceTrade ReviewIn a climate where marketing and convenient practicalities have increasingly tended to overwhelm historical evidence, Kuijken's book is timely and worthwhile. * Performance Practice Review *Table of ContentsPreface Acknowledgements1. The Underlying Philosophy2. My Way Towards Research3. The Limits of Notation4. The Notation, Its Perception and Rendering5. OutlookBibliography
£25.19
Bloomsbury Publishing (UK) Wires Pink Flag
Book SynopsisIn contrast with many of their punk peers, Wire were enigmatic and cerebral, always keeping a distance from the crowd. Although Pink Flag appeared before the end of 1977, it was already a meta-commentary on the punk scene and was far more revolutionary musically than the rest of the competition. This book tells about a punk band.Trade Review"It was only a matter of time before a clever publisher realized that there is an audience for whom Exile on Main Street or Electric Ladyland are as significant and worthy of study as The Catcher in the Rye or Middlemarch...The series, which now comprises 29 titles with more in the words, is freewheeling and eclectic, ranging from minute rock-geek analysis to idiosyncratic personal celebration--The New York Times Book Review Ideal for the rock geek who thinks liner notes just aren't enough--Rolling Stone One of the coolest publishing imprints on the planet--Bookslut These are for the insane collectors out there who appreciate fantastic design, well-executed thinking, and things that make your house look cool. Each volume in this series takes a seminal album and breaks it down in startling minutiae. We love these. We are huge nerds. - Vice A brilliant series...each one a word of real love - NME(UK) Passionate, obsessive, and smart - Nylon Religious tracts for the nock 'n' roll faithful - Uncut(UK) We...aren't naive enough to think that we're your only source for reading about music (but if we had our way...watch out). For those of you who really like to know everything there is to know about an album, you'd do well to check out Continuum's "33 1/3" series of books." - Pitchfork"
£9.49
Continuum Publishing Corporation Weens Chocolate and Cheese
Book SynopsisHank Shteamer is a writer and musician living in Brooklyn. He covers music for Time Out New York, The Wire and various other outlets, including his personal blog, Dark Forces Swing Blind Punches. He also plays in the band STATS.Table of ContentsAcknowledgements Introduction: "These guys got no future"—Ween beat the odds Before Chocolate and Cheese, part I: "We both loved to hear ourselves on tape": Ween's humble originsBefore Chocolate and Cheese, part II: Subsidized scribbles: Pure Guava and the underdog mystiqueAfter Chocolate and Cheese: "We can pull off our fantasies"—Ween comes into their own Chocolate and Cheese, part I: The making of... Chocolate and Cheese, part II: The songsChocolate and Cheese, part III: The artworkOutro: "The hardest thing to get"—Ween's autonomy
£9.49
Page Street Publishing Co. Music Theory Made Simple: Essential Concepts for
Book SynopsisMusic Will Never Sound the Same Again. No longer will music theory be an intimidating notion! Whether you’re new to music and want to know the fundamentals to succeed, or whether you already play, sing and write and need a refresher on the basics, multi-instrumentalist Adrian Valia has you covered. From melody and rhythm all the way to the most essential elements of harmony, you’ll learn—or relearn!—everything you need to know in order to understand and make profound and beautiful tunes. Using the same colorful graphics and illustrations made popular in his beloved “Music Visually Explained” series on TikTok, Adrian breaks down concepts like polyrhythm, scales, power chords and the puzzling Circle of Fifths into easily digestible forms. What’s more, tools that spin and move on the page demonstrate melody and rhythm in real-time for a fun, interactive flair, as do quizzes and QR codes that lead to video demonstrations. With this book in hand, you’ll soon be on your way to making the songs you’ve always dreamed of.
£17.09
Oxford University Press Inc Modal Counterpoint Renaissance Style
Book SynopsisTrade ReviewThere is no other textbook in modal counterpoint quite like it. Schubert's innovative division of rules into "hard" (rules never to be violated) and "soft" (rules that may be violated if the occasion demands) has proven very useful in the classroom, and his warm-up exercises for each species are quite helpful. This certainly ranks among the best music theory textbooks of the past ten years. * Anton Vishio, Steinhardt School of Culture, Education, and Human Development, New York University *This is one of the most successful textbooks in any area of music I have used in sixteen years of university teaching. It is also remarkably well edited. Its format is both instructor- and student-friendly. This is a book of inspired musicality, pragmatic pedagogy, scholarship, and wit. * Jeff Perry, Louisiana State University *Table of ContentsINTRODUCTION: RENAISSANCE MUSICAL STYLE AND NOTATION; APPENDICES
£120.64
Bloomsbury Publishing PLC A Tribe Called Quests Peoples Instinctive Travels
Book SynopsisOne of the finest hip-hop albums ever made, A Tribe Called Quest's debut record took the idea of the boasting hip-hop male and turned it on its head. This book explores the album's creation as well as the impact it had on the author at that time - a 17-year-old high-school geek who was into hip-hop, punk, skateboarding, and Dungeons & Dragons.
£9.49
Oxford University Press Inc Electronic Music School A Contemporary Approach
Book SynopsisThis book offers a new practical blueprint for teachers wanting to teach music technology to secondary age students. Authors and veteran music educators Will Kuhn and Ethan Hein give readers all the practical tools they need to open their own electronic music programs.Trade ReviewFeaturing a creative workshop model that goes beyond our traditional music education pedagogy and curriculum, Kuhn & Ethan Hein shape new trends for music teachers to support their own students as successful electronic music makers in multiple settings. Whether learning in PK-12 settings, in school, at home or in the community, Electronic Music School is a must read guide for all worldwide. * Elise Sobol, Director of Music Education, NYU Steinhardt Department of Music and Performing Arts Professions *In today's world, the presence of technology in teaching there has never been more essential tool for connecting, creating, and capturing student work. The integration of technology into the music classroom is no longer a fringe endeavor by a small group of tech geeks - the coming of age of technology in the music classroom has arrived. What Kuhn & Hein have put together in this publication is magnificent - an essential guide to not only how to build a technology-rich learning environment for music - what they call an Electronic Music School - but a well-crafted guide to how to teach in this new environment, why this type of learning is relevant, and practical strategies for continuing to engage students for years to come. Any music educator interested in incorporating more music technology into their instruction should add this book to their professional library immediately. * Jim Frankel, Director, MusicFirst *Table of ContentsPreface: The Music Class at the End of the World Acknowledgements To the Reader Part One: What You Need to Start Your Own Electronic Music School 1. Towards a Creative Music Curriculum 2. An Art Class for Music 3. Understanding What a School Really Wants 4. Tech You'll Need For Your Program 5. Ableton Live And Push Part Two: Creative Electronic Music Projects for the Masses 6. Designing Creative Music Projects for All Types of Students 7. Teaching Recording and Sampling with Audio Projects 8. Teaching Songwriting with MIDI Projects 9. Teaching Creativity with Outside-the-Box Projects 10. Common Issues For Students In Music Lab Lessons 11. Assessing Music Lab Projects 12. Futureproofing, Extending and Moving Beyond Music Lab Projects Part Three: Community Music Culture and Extracurriculars 13. Live Performing and Afterschool Groups 14. Understanding Student Led Groups 15. Virtual Electronic Music School 16. A Rising Tide Index
£999.99
Hal Leonard Europe Limited How To Blitz! Beginner Theory
Book Synopsis
£10.99
Continuum Publishing Corporation Slints Spiderland
Book SynopsisPresents a thorough history of Slint, and the Louisville scene that surrounded the band, leading up to and focusing on the creation of their masterpiece, Spiderland. This book attempts to break through some of the mystery surrounding Spiderland and the band that made it.Trade Review"A growing Alexandria of rock criticism - Los Angeles Times, 2008 Ideal for the rock geek who thinks liner notes just aren't enough - Rolling Stone One of the coolest publishing imprints on the planet - Bookslut"Table of ContentsIntroduction; Part 1 - The Early Years; Part 2 - Slint, pre-Spiderland; Part 3 - Recording Spiderland; Part 4 - Track by Track Epilogue.
£9.49
Oxford University Press Perception and Cognition of Music
Book SynopsisPerception and Cognition of Music: The Sorbonne Lectures presents revised and updated materials delivered in four distinguished lectures at the Université Paris-Sorbonne and the Université de Montréal, originally published in French.The book bridges the fields of music psychology, music theory, and music analysis by way of a consideration of several aspects of music listening through the lens of cognitive psychology. Auditory grouping processes play a role in organizing the continuous incoming sensory information into events, streams of events, and segments of streams that form musical units. Perceived properties of events and streams depend on how the incoming information is organized. Special attention is given to timbre as an understudied musical parameter, which can be a strong structuring force and form-bearing element in music through orchestration practice. The development of systems of abstract knowledge built on different musical parameters within a given culture focuses on the cognitive processing of pitch systems and structures and their role in the mental representation of hierarchical event structures in listeners'' minds. Finally, given that music is a temporal art par excellence, the temporality of music listening is explored through a collaborative project involving a composer, psychologists, and musicologists around the conception and creation of a musical work and the perception and affective response it engenders in a live-concert experiment. Each chapter concludes with elements for reflection to expand the necessary transdisciplinary approach that music scholarship needs.
£29.99
Associated Board of the Royal Schools of Music Music Theory Practice Papers Model Answers 2023,
Book SynopsisModel answers for practice papers for ABRSM's Grade 4 Theory exams
£8.57
HarperCollins Publishers Gareth Malones Guide to Classical Music
Book SynopsisHave you ever been carried away by a piece of classical music? In this funny, evocative, personal book, previously published as Music for the People: The Pleasures and Pitfalls of Classical Music', Gareth takes us on a journey of musical discovery that explains and entertains in equal measure.Have you ever been carried away by a piece of classical music? The sad song of a single violin might make us cry, but the idea of finding out more about classical music can often be intimidating. There are musical terms we don''t recognise, dead composers we can''t connect with, and a feeling that we were never given the right tools to appreciate, understand, and most importantly, enjoy classical music.So who better to cut through the misconceptions and the jargon than the star of BBC2''s Bafta award-winning series The Choir, Gareth Malone. Over the course of three series, Gareth has unearthed a passion for classical music in schoolchildren, reluctant teenage boys, and even a whole town. With his Trade Review'Why do we love Gareth? Seriously, you have to ask?'Daily Mail 'One of the most strangely beguiling presences television has ever uncovered: impish but laconic, funny and yet still resolute, reserved but shameless, camp but dignified - and clearly a bloody good choirmaster.'The Guardian About The Choir: 'As profoundly a moving piece of television as has ever been made'The Independent 'The mystery at the heart of The Choir is Malone's charisma'The Times
£10.44
HarperCollins Publishers How to Teach Composition in the Secondary
Book SynopsisHow to teach Composition in the secondary classroom presents 50 creative ideas to support every aspect of composing in secondary schools.The ideas are concise, easy to implement and tackle everything from starters and plenaries, inspiration and project ideas to composition techniques, technology and assessment. This practical handbook provides fresh and inspiring ways to invigorate composition in the classroom and beyond.Trade ReviewThis book is bursting at the seams with practical, tried-and-tested classroom activities for supporting students in their composing development. The ideas are simple to read and offer enough flexibility to be adaptable to any situation. If you’re looking for support with composition teaching, this resource will be your go-to! ~ Dr Kirsty Devaney, Composer & Music Education Researcher Shapey is a veteran of the classroom, and this shines through in the text. Each of the 50 individual approaches are carefully laid out with starter activities, plenaries, learning outcomes, and, perhaps most excitingly, reference tracks… 50 inspiring ideas is much more than a collection of composition briefs. The book presents a carefully scaffolded plan for developing learners’ creative faculties, musical ear, and, through these skills, knowledge of theory and instrumentation. Shapey is placing creativity back at the heart of the music curriculum, where it belongs… Shapey’s ideas are crafted to engage and inspire students, embed intertextual discussions, and, perhaps most importantly, produce compositions which learners can be proud of, as well as ticking those omnipresent assessment objectives… This text is destined to become a well-thumbed addition to my collection, and one which my students will enjoy as much as I do. ~ Dale Wills, Music Teacher Magazine This is a great book for any music teacher, containing a wide range of inspiring ideas to get your class composing. Ideas include authentic composing briefs, practical information on using rhythm and harmony techniques and sections on how to write and develop a melody. Many of the ideas can be used or adapted for KS 2 too and will prepare children for composition at KS 3 and beyond. This book is a mine of useful information! ~ Kay Charlton, Music educator/composer
£9.99
Oxford University Press Inc Music in the Galant Style
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
£999.99
Oxford University Press Inc Nothing but Noise Timbre and Musical Meaning at
Book SynopsisNothing but Noise: Timbre and Musical Meaning at the Edge explores how timbre shapes musical affect and meaning. Integrating perspectives from musicology with the cognitive sciences, author Zachary Wallmark advances a novel model of timbre interpretation that takes into account the bodily, sensorimotor dynamics of sound production and perceptionTrade ReviewEvery musicologist should read this book, and it is required reading for those dealing with the cognition of music. Essential. * CHOICE *In this book Zachary Wallmark confronts head on an aspect of musical practice that is at once elusive and essential: the enduring mystery of timbre. In Wallmark's hands, however, this mystery does not so much endure as become an entry point for exploring the bases of musical expression. Through a splendid blend of empirical research and humanistic inquiry, set out in lucid and approachable prose, he explains how timbre matters as well as why it matters. This is a foundational study that should be read by anyone who has wondered about why music matters, and by everyone who cares about how music shapes our social interactions. * Lawrence Zbikowski, Addie Clark Harding Professor of Music and the Humanities at the University of Chicago *With this book, Zachary Wallmark has made an ambitious contribution to the famously elusive study of musical timbre...Wallmark succeeds admirably in avoiding the shortcomings of both the scientific desire to study sound in isolation from the messiness of human subjectivity and the humanistic reduction of musical experience to the arbitrary play of cultural difference. His book is perhaps best viewed as an attempt not so much to bridge the 'two cultures' as to harmonize their best qualities. * Thomas Patteson, Journal of the American Musicological Society *[Zachary Wallmark's] recent book Nothing but Noise Timbre and Musical Meaning at the Edge represents a rich and ambitious project aimed at defining a systematic analytical framework for the study of timbre and its meanings...by bringing together the deceptively opposing viewpoints of the humanities and of what are commonly and loosely referred to as the "exact" sciences. Wallmark offers both a comprehensive view of the timbre processing chain and a reflection leading to ethical implications that suggest a renewed attention to the role endowed by the timbral parameter. * Matthieu Galliker, Revue musicale OICRM *Table of ContentsIntroduction The Meaning of Timbre I. Fundamental Chapter 1: Body and Emotion in the Sonic Act Chapter 2: Conceptualizing Timbre: From Material to Metaphor II. Spectrum Chapter 3: The Most Powerful Human Sound Ever Created: Theorizing the Saxophonic Scream in Free Jazz Chapter 4: Sound and Embodiment in the Japanese Shakuhachi Chapter 5: Vector of Brutality: Madness, Violence, and Contagion in Heavy Metal Reception III. Resonance Chapter 6: The Aural Face Notes Bibliography Index
£29.92
Oxford University Press Performing Time Synchrony and Temporal Flow in
Book SynopsisPerforming Time explores our experience of time in dance and music, from the perspectives of both performers and audience, and informed by the most recent research in dance science, musicology, neuroscience, and psychology.Table of Contents0: Wöllner & London: Introduction to Performing Time 1 Foundations: The Flow of Time in Music and Dance 1: Bettina Bläsing: Time experiences in dance 2: Mariusz Kozak: Varieties of musical temporality 3: Keith Doelling, Sophie Herbst, Luc Arnal & Virginie van Wassenhove: Psychological and neuroscientific foundations of rhythms and timing 4: Sylvie Droit-Volet & Natalia Martinelli: The psychological underpinnings of feelings of the passage of time 2 Duration, Tempo and Pacing in Performance and Perception 5: Justin London: What is musical tempo? 6: Renee Conroy: Telling time: Dancers, dancemakers, and audience members 7: Molly Henry & Sonja Kotz: Preferred tempo and its relation to personal sense of time and temporal flow 8: Coline Joufflineau: Time through the magnifying glass of slowness: a case study in Myriam Gourfink's choreography 9: Alexander Jensenius: Standing still together: Reflections on a one-year-long exploration of human micromotion 10: David Hammerschmidt: Spontaneous motor tempo: A window into the inner sense of time 11: Mari Romarheim Haugen: An embodied perspective on rhythm in music-dance genres 3 Synchrony: Keeping Together in Time 12: Guy Madison: Moving together in music and dance - features of entrainment and sensorimotor synchronisation 13: Werner Goebl & Laura Bishop: Joint shaping of musical time: How togetherness emerges in music ensemble performance 14: Julien Laroche, Tommi Himberg & Asaf Bachrach: Making time together: An exploration of participatory time-making through collective dance improvisation 15: Birgitta Burger & Petri Toiviainen: Time and synchronisation in dance movement 16: Simone Dalla Bella: Unravelling individual differences in synchronizing to the beat of music 17: Anne Danielsen: Shaping the beat bin in computer-based grooves 18: Matthew H. Woolhouse: The 'synchrony effect' in dance: how rhythmic scaffolding and vision facilitate social cohesion 4 Performance Time Experienced: Attention, Expectation and Groove 19: Clemens Wöllner: Changes in psychological time when attending to different temporal structures in music 20: Pieter-Jan Maes & Marc Leman: Expressive timing in music and dance interactions: a dynamic perspective 21: Psyche Loui: Temporal aspects of musical expectancy and creativity in improvisation: A review of recent neuroscientific studies and an updated model 22: Anna Pakes: Experiences of time in boring dance 23: Jason Noble, Tanor Bonin, Roger Dean & Stephen McAdams: Evaluating the psychological reality of alternate temporalities in contemporary music: Empirical case studies of Gérard Grisey's Vortex Temporum 24: Kristina Knowles & Richard Ashley: Measuring experienced time while listening to music 25: Jan Stupacher, Michael Hove & Peter Vuust: The experience of musical groove: body movement, pleasure, and social bonding 5 Conclusions: Capturing Time in Performance and Science 26: Marc Wittmann: Embodied time: what the psychology and neuroscience of time can learn from the performing arts 27: Russell Hartenberger: Learning to feel the time: Reflections of a percussionist 28: Henry Daniel, Justin London: Performing and feeling time in contemporary dance 29: Kent Nagano, Clemens Wöllner: Music is a unique artform because of the temporal aspect 30: Stewart Copeland & Daniel Levitin: Timing, tempo and rhythm: Evidence from the laboratory and the concert stage
£52.70
Oxford University Press Song Beyond the Nation
Book SynopsisWithin classical music, much writing on the Western song tradition since 1800 has assumed a direct link between musical cultures and national literatures, and song has typically been interpreted as one of the means by which constructions of nationalism and nationhood have been pursued in the cultural sphere. Yet song can also be a mobile and cosmopolitan genre and form of cultural practice, able - through performance, publication, and translation - to cross boundaries between cultures and languages. This volume brings together musicologists, literary scholars, linguists, and cultural historians to examine the ways in which song creation, practice, and interpretation has been defined by, and in turn defines, conceptions of nationalism and the transnational. It focuses on four key poets - the Persian Hafiz, German Heine, American Whitman, and French Verlaine - and examines how their poems have been ''translated'' into song, and how music can challenge the seemingly organic relationship bTable of ContentsINTRODUCTION Philip Ross Bullock and Laura Tunbridge: 'L'invitation au voyage' HAFIZ 1: Natasha Loges: Hafiz between Nations: Song Settings by Daumer/Brahms and Peacock/Beamish 2: Stephen Downes: Szymanowski, a Hafiz 'Grablied', and the 'translation' of Nietzsche 3: Philip Ross Bullock: The German Roots of Russian Orientalism: Hafiz's Poetry in Early Twentieth-Century Russian Song HEINE 4: Suzannah Clark: Traces of Tourism and Transnationalism in Liszt's Heine Settings 5: Benjamin Binder: Performance Matters in Heine: The Case of Pauline Viardot's 'Das ist ein schlechtes Wetter' 6: Laura Tunbridge: 'Once again...speaking of' Heine, in Song VERLAINE 7: Peter Dayan: Why song in Verlaine's Verse is Always Already Beyond the Nation 8: David Evans: French Impressions: The Transnational Afterlives of Verlaine's 'La Lune blanche' in Song 9: Carlo Caballero: Paul Verlaine in Parallel: Loeffler, Fauré, Debussy 10: Helen Abbott: Song Just Beyond the Nation, or Debussy via Verlaine WHITMAN 11: Jennifer Ronyak: Johanna Müller-Hermann's Lied der Erinnerung: Austria, America, and Beyond 12: Lawrence Kramer: The Émigré Walt Whitman: Songs of Mourning, 1943-48 13: Elizabeth Helsinger: A Song, the Sea, and a Listening Boy: Whitman - Swinburne - Delius 14: Emma Sutton: Whitman and Stevenson: Singing the Nation from Scotland to Samoa via Ohio and Hawai'i AfterwordTerence Cave:
£85.50
Oxford University Press Inc Postgraduate Research in Music
Book SynopsisPostgraduate Research in Music: A Step-by-Step Guide to Writing a Thesis is an essential text for music students who are undertaking postgraduate research. Unique in its approach and scope, this is a how to book, a practical guide that sets out, step-by-step, how to write a thesis. It discusses all key aspects of the research process in the order in which they are encountered, from the initial stages of a research project to completion of a thesis. It also offers a music-specific focus, with explanations and examples that are immediately relevant for all music research and which take into account the special characteristics of music as a discipline. At the same time, the book provides a useful teaching framework for lecturers.All key concepts are illustrated with music-relevant examples. Exercises, and in some chapters class seminar topics as well, are included to reinforce the concepts being discussed. Reading lists are appended at the end of most chapters, enabling students to explore topics in greater depth. Valuable supplementary information, such as referencing examples, is provided in the appendices.Postgraduate Research in Music is based on the premise that there are certain principles that underpin good scholarship, regardless of the area in which the research is conducted. In distilling and discussing these principles, this book speaks to all scholars working within the discipline of music.
£18.99
Oxford University Press Inc Musical Illusions and Phantom Words How Music and
Book SynopsisTrade ReviewThis book covers a wide swath of mate-rial, and it holds together well. The specificity of the early chapters feed into the large concepts of the later chapters. Deutsch has succeeded in creating a book that is accessible to the non-expert but has enough detail that even the most accomplished audiophile and neuro-acoustician will leave satisfied and enlightened. * Evelyn Way, Maxxon Corporation, Journal of the Audio Engineering Society *Musical Illusions and Phantom Words offers a fascinating retrospective on the history and science of auditory and musical illusions, written from the unique perspective of one of the fieldâs founding pioneers. Deutschâs volume on music and auditory illusions ranks among the classics in music cognition and perception. We believe this seminal work will continue to enrich our understanding of music cognition and sound perception for decades to come. * Parker Tichko and Psyche Loui, Perception *Deutsch's book is an elegant and eloquent lesson that our perception of music, like all perception, is no passive conduit. It is an endless pas de deux between expectation and experience, and the brain actively creates the things it hearsâThis book, almost perfect in its way, rises to its great theme * Jason Warren, UCL Queen Square Institute of Neurology, Brain: A Journal of Neurology *From her early pioneering work to the present day, Diana's fascinating work and observations on music have captured our imagination and inspired generations of researchers. In this remarkably accessible and deeply engaging book, she expounds upon some of her most intriguing work on the varieties of illusions that arise in music and language, and what they tell us about the mind. This is a world where distinct melodies are heard in the two ears, even though only one was presented, where musicians suddenly experience auditory hallucinations of their own music, and where speech is mysteriously transformed into song. Captivating and profound, Diana Deutsch's book will be delight not only to researchers, but to anyone who is curious about the human mind. * William Forde Thompson, author of Music, Thought and Feeling: Understanding the Psychology of Music *This is a remarkable book by an unassailable grand master of sound perception and auditory illusions. The text is very clear and very lively. Finally a book on sound perception has the sounds right on the pages! Point your phone, hear the sounds, it's that easy. Not only the sounds, but explanations from the author in her own voice. I settled in and felt like I was having a conversation with her. Deutsch is a keen and careful scholar, yet manages to make the pages incredibly entertaining. When one reads this book, one realizes that Prof. Deutsch didn't "get lucky" when she discovered her well known illusions. There is a program, guided by deep knowledge and intuition. She shares both with us in this wonderful book." * Eric J. Heller, Abbott and James Lawrence Professor of Chemistry, and Professor of Physics, Harvard University, author of Why You Hear What You Hear *In this delightful volume Diana Deutsch, a living legend in the field of music psychology, invites us into her laboratory. There, with the help of web-based audio files, we can listen in as she tricks our hearing into revealing some of the inner workings of the human auditory system. Dozens of these musical illusions help us to understand the complexity and marvelous sophistication of how we uncover patterns and meanings in the sounds that we hear." * Robert O. Gjerdingen, Professor of Music, Northwestern University, author of Music in the Galant Style *Diana Deutsch is a true pioneer. In this finely written and yet seriously scientific book, she tells the story of how she discovered phantasms that to our ears are as miraculous as a Fata Morgana is to our eyes. Read and wonder!" * Stefan Klein, Professor of Critical Studies, University of the Arts, Berlin, author of The Science of Happiness *Dr. Deutsch has been one of the world's leading researchers of the psychology of music for over four decades. This book is the culmination of her stellar career of intriguing observations gleaned from her innovative investigative techniques. Her contributions to the field are on par with Oliver Sacks, Roger Shepard, and Jean-Claude Risset. Dr. Deutsch's rigorous yet charming style makes Musical Illusions and Phantom Words equal parts illuminating and fun." * Michael A. Levine, composer *It is a great pleasure to have Diana Deutsch's pioneering work on auditory illusions, and her landmark explorations of the influence of language on music perception brought together in the summation of a stellar career that has profoundly influenced the field of music psychology and cognition. The underlying thread throughout the book is the extraordinary complexity of the auditory system and the wide range of individual differences among listeners." * Jonathan Berger, Denning Family Provostial Professor in Music, Stanford University *Diana Deutsch's pioneering work on auditory illusions opened up a crack through which music and speech perception could be understood in new ways. This engaging volume, laced with anecdotes and firsthand accounts, should pique anyone's curiosity about how the mind hears." * Elizabeth Hellmuth Margulis, Professor, Princeton University *The Yanny-Laurel meme and other audio illusions actually say quite a bit about the perception of music and speech and the organization of the human brain. Diana Deutsch, the world's foremost expert on these fascinating "perceptual anomalies," makes compelling arguments for a variety of issues, such as that music and speech originated from a protolanguage; that our past experience unconsciously affects what we hear; that music theory can now be put to experimental tests. She has shown that absolute pitch, once thought to be completely hereditary and extremely rare, is not at all unusual among musicians in China, where a tone language is spoken. Anyone who has been mesmerized by Necker cubes and Escher prints will find this book engrossing and entertaining-it is a mind-expanding, ear-opening tour de force." * Philip Yam, Science Editor and former Online Managing Editor for Scientific American Magazine *Table of ContentsList of Modules (QR codes) Acknowledgments Introduction Chapter 1: Music, Speech, and Handedness Chapter 2: Some Musical Illusions are Discovered Chapter 3: The Perceptual Organization of Streams of Sound Chapter 4: Strange Loops and Circular Tones Chapter 5: The Tritone Paradox: An Influence of Speech on How Music is Perceived Chapter 6: The Mystery of Absolute Pitch: A Rare Ability That Involves both Nature and Nurture Chapter 7: Phantom Words: Our Knowledge, Beliefs and Expectations Create Illusions of Speech Chapter 8: Catchy Music and Earworms Chapter 9: Hallucinations of Music and Speech Chapter 10: The Speech-To-Song Illusion: Crossing the Borderline between Speech and Song Chapter 11: Speech and Music Intertwined: Clues to Their Origins Notes References Index
£20.03
Oxford University Press Making Sense of Music
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£28.49
Clarendon Press The Aesthetics of Music
Book SynopsisWhat is music, what is its value, and what does it mean? In this exciting book, the philosopher Roger Scruton explores the nature and meaning of music from first principles and gives a fascinating analysis of musical organization, together with a provocative account of contemporary civilization and its discontents.Trade ReviewA formidably gifted philosopher, he here combines analytical rigour with a daunting knowledge of the repertoire as a performer and occasional composer, to ask the most fundamental questions about what music is and what our capacity to enjoy it tells us about the human condition. This is a rich and rewarding study, and I doubt whether anyone could have done it better. * Jonathan Sachs, The Times *Table of ContentsPreface ; List of Music Examples ; Note to the Reader ; 1. Sound ; 2. Tone ; 3. Imagination and Metaphor ; 4. Ontology ; 5. Representation ; 6. Expression ; 7. Language ; 8. Understanding ; 9. Tonality ; 10. Form ; 11. Content ; 12. Value ; 13. Analysis ; 14. Performance ; 15. Culture ; Bibliography ; Acknowledgements ; Index
£35.62
Oxford University Press Performing Music Research Methods in Music
Book SynopsisPerforming Music Research is a comprehensive guide to planning, conducting, analyzing, and communicating research in music performance. The book examines the approaches and strategies that underpin research in music education, psychology, and performance science.Trade ReviewThe book is particularly interesting from an educational perspective because of its applied focus and its structural features ... The book's structural features help to provide clarity of information and encourage independent learning, reflecting a model for good textbook writing practice. * Yanyi Lu, Educational Review *Performing Music Research provides a comprehensive, accessible, and brilliantly written explanation of research technique, and an unparalleled teaching and learning resource that researchers in music education, music psychology, and performance science internationally and well into the future will all want to include in their library. * Gary E. McPherson, Ormond Chair of Music, Melbourne Conservatorium of Music, The University of Melbourne, Australia *Performing Music Research takes students on a journey toward becoming a knowledgeable and productive scholar. Beginning with formulation of the research question, the text lays out a path through data collection processes and analysis techniques that embraces a diversity of methodological approaches. Guidance on scholarly presentations and publications completes the picture of the student as an emerging researcher. Drawing perspectives from across the music discipline, the authors provide relevant examples and address timely topics to effectively connect the doing of music with its systematic examination as a distinctive human phenomenon. This is an excellent guide for any student interested in the study of musical behaviors, attitudes, and practices. * Steven Morrison, Professor of Music, Music Education, Henry and Leigh Bienen School of Music, Northwestern University *The authors have provided a start-to-finish manual of how to conceive, execute, analyse, and report empirical research on musical behaviour. Drawing on their extensive experience as researchers and teachers in music higher education, they have provided a resource which will be a useful refresher to experienced researchers as well as a systematic guide for novices. The authors illustrate fundamental principles of empirical research by well-chosen examples of contemporary music research, engagingly illustrating how, by following the general requirements of best research practice, musicians can gain better answers to the questions that concern them in their practice and pedagogy. It should be widely welcomed in conservatoires and university music departments as a valuable resource for researchers and teachers alike. * John Sloboda, Research Professor, Guildhall School of Music & Drama *Performing Music Research is an essential read for anyone interested in interdisciplinary enquiry at the crossroads of music performance and music education, psychology, and performance science. In addition to providing a solid foundation for sound research, it provides a wealth of practical guidance, presented both with breadth and in depth, to guide the reader through the essential steps and common pitfalls of conducting research in music, informed by perspectives from multiple fields and supported by helpful learning resources. This book will no doubt become a central tool for training the next generation of music researchers, allowing them to navigate from one field to another and contribute to the advancement of musical knowledge and understanding. * Isabelle Cossette, Associate Professor Schulich School of Music, McGill University / Centre for Interdisciplinary Research in Music Media and Technology *Table of ContentsPreface Introduction Planning Research 1: Research questions 2: Methodological approaches 3: Research ethics Conducting Research 4: Observations 5: Documentation 6: Interviews 7: Surveys 8: Experiments Analyzing Research 9: Qualitative Analysis 10: Descriptive Statistics 11: Inferential Statistics: Foundations 12: Inferential statistics: Differences 13: Inferential statistics: Relationships Communicating Research 14: Communication and dissemination Resources Glossary Abbreviations and Symbols
£42.27
Oxford University Press The Oxford Handbook of Music Psychology
Book SynopsisThe 2nd edition of the Oxford Handbook of Music Psychology updates the original landmark text, providing a comprehensive review of the latest developments in this fast growing area of research. With contributions from internationally recognised experts, it is an essential resource for students and researchers in psychology.Trade ReviewThe Oxford Handbook of Music Psychology presents an extraordinarily comprehensive view of the many elements that constitute the psychology of music. In essence, it is a treasure trove of information and research findings about the role music plays in our lives. * Alan Swope, PsycCRITIQUES (American Psychological Association) *Table of ContentsPart 1: The origins and functions of music 1: Ian Cross: The nature of music and its evolution 2: Catherine J. Stevens and Tim Bryon: Universals in music processing: Entrainment, acquiring expectations and learning 3: Ian Cross and Elizabeth Tolbert: Music and meaning 4: Martin Clayton: The social and personal functions of music in cross-cultural perspective Part 2: Music perception 5: Thomas Stainsby & Ian Cross: The perception of pitch 6: Psyche Loui: Absolute pitch 7: Emmanuel Bigand and Bénédicte Poulin-Charronnat: Tonal cognition 8: Stephen McAdams and Bruno L. Giordano: The perception of musical timbre 9: Mari Riess Jones: Musical time 10: Mark A. Schmuckler: Tonality and contour in melodic processing 11: Bob Snyder: Memory for music Part 3: Responses to music 12: Donald A. Hodges: Bodily Responses to Music 13: Patrik N. Juslin: Emotional reactions to music 14: Alf Gabrielsson: The relationship between musical structure and perceived expression 15: David Huron: Aesthetics 16: Donald A. Hodges: The neuroaesthetics of music 17: Alika Greasley and Alexandra Lamont: Musical preferences Part 4: Music and the Brain 18: Laurel J. Trainor and Robert J. Zatorre: The neurobiology of musical expectations from perception to emotion 19: Psyche Loui: Disorders of music cognition 20: Simone Dalla Bella: Music and brain plasticity 21: Sebastian Jentschke: The relationship between music and language 22: Daniel J. Cameron and Jessica A. Grahn: The neuroscience of rhythm Part 5: Musical development 23: Richard Parncutt: Prenatal development and the phylogeny and ontogeny of musical behaviour 24: Sandra E. Trehub: Infant musicality 25: Alexandra Lamont: Music development from the early years onwards 26: E. Glenn Schellenberg: Music training and nonmusical abilities Part 6: Learning musical skills 27: Gary McPherson and Susan Hallam: Musical potential 28: Harald Jørgensen and Susan Hallam: Practicing 29: Helena Gaunt and Susan Hallam: Individuality in the learning of musical skills 30: Susan Hallam: Motivation to learn 31: Andrea Creech: The role of the family in supporting learning 32: Graham Welch and Adam Ockelford: The role of the institution and teachers in supporting learning Part 7: Musical performance 33: Eckart Altenmüller & Shinichi Furuya: Planning and performance 34: Andreas Lehmann and Reinhardt Kopiez: Sight reading 35: Roger Chaffin, Alexander P. Demos and Topher Logan: Performing from memory 36: Jane W. Davidson and Mary C. Broughton: Bodily Mediated Coordination, Collaboration, and Communication in Music Performance 37: Patrik N. Juslin and Erik Lindstrom: Emotion in music performance 38: Erica Bisesi and W. Luke Windsor: Expression and communication of structure in music performance: measurements and models 39: Dianna Theadora Kenny and Bronwen J. Ackermann: Optimizing physical and psychological health in performing musicians Part 8: Composition and improvisation 40: Jonathan Impett: Making a mark: The psychology of composition 41: Richard Ashley: Musical Improvisation 42: Peter R. Webster: Pathways to the Study of Music Composition by Preschool to Precollege Students Part 9: The role of music in our everyday lives 43: Alexandra Lamont, Alika Greasley and John Sloboda: Choosing to hear music: motivation, process, and effect 44: Annabel J. Cohen: Music in performance arts: Film, theatre and dance 45: Alf Gabrielsson, John Whaley and John Sloboda: Peak experiences with music 46: David J. Hargreaves, Raymond MacDonald and Dorothy Miell: Musical identities 47: Susan Hallam and Raymond MacDonald: The effects of music in community and education settings 48: Adrian C. North, David J. Hargreaves and Amanda E. Krause: Music and consumer behavior Part 10: Music Therapy 49: Shannon De l'Etoile: Processes of music therapy: Clinical and Scientific Rationales and Models 50: Corene Hurt-Thaut: Clinical Practice in music therapy 51: Barabara L. Wheeler: Research in music therapy 52: Stefan Mainka, Ralph K. W. Spintge and Michael Thaut: Music Therapy in Medical and Neurological Rehabilitation Settings Part 11: Conceptual frameworks, research methods and future directions 53: Adam Ockelford: Beyond Music Psychology 54: Michael Thaut: History and research 55: Susan Hallam, Ian Cross and Michael Thaut: Where now?
£43.49
Oxford University Press Great Songwriting Techniques
Book SynopsisIn Great Songwriting Techniques, veteran composer and teacher Jack Perricone shares years of experience in the art, science, and pedagogy of songwriting to teach readers the craft.Trade ReviewThis book is nothing short of an in-depth depth instruction manual for writing great songs. Both newbies and diehard songwriting nerds will be delighted by the wealth of concepts and practical exercises for internalizing those techniques which will no doubt lead to some great songs. The examples from across popular music history make it easy and fun to understand even the most complex ideas. * Bleu, Songwriter and Producer of Demi Lovato, Selena Gomez, Michelle Branch, Disney's Legend of the Neverbeast *Jack Perricone is the greatest songwriting teacher I've met in my 30+ years in the music business. This book is a masterpiece that every serious songwriter needs to read. The crucial craft taught here will help people instantly love and remember your songs. And every technique you learn inspires you to write another song to use it. * Derek Sivers *There's something for every level of songwriter here, from novice to hit writer. Go as deep as you dare, then Jack Perricone will lead you down a path you were afraid to take, and you'll become a better, more inventive writer for the trip. Of course, read it through, but then use its sections as co-writers and reference resource to make your songs even better. Also, be sure to do the activities he suggests. You'll be amazed at what happens next. Thanks, Jack. * Pat Pattison, Professor, Berklee College of Music, and author of Writing Better Lyrics: The Essential Guide to Powerful Songwriting *Table of ContentsINTRODUCTIONTHE BASICS________________________________________________Chapter 1. BEGINNING A SONGChapter 2. INTRODUCTION TO MELODYChapter 3. RHYTHM AND RHYMEChapter 4. TONE TENDENCIESChapter 5. SETTING LYRICS TO MUSIC/SETTING MUSIC TO LYRICSChapter 6. SIMPLE BUT INTERESTING TONAL ENVIRONMENTS________________________________________________________________Chapter 7. TRADITIONAL MAJOR/MINOR ENVIRONMENTChapter 8. The BLUES, ROCK, R&B AND MODAL ENVIRONMENTS LARGE CONSIDERATIONS________________________________________________________________Chapter 9. DEVEOPMENTAL TECHNIQUESChapter 10. THE MELODIC OUTLINE AND THE MELODIC STEP PROGRESSION
£35.49
Oxford University Press Analyzing Classical Form An Approach for the Classroom
Book SynopsisAnalyzing Classical Form offers an approach to the analysis of musical form that is especially suited for classroom use at both undergraduate and graduate levels. Students will learn how to make complete harmonic and formal analyses of music drawn from the instrumental works of Haydn, Mozart, and Beethoven.Table of ContentsChapter 1 A Review of Harmony ; The Basics ; Harmonic vocabulary ; Harmonic progressions ; Let's Practice ; More Details ; Tonic function ; Dominant function ; Pre-dominant function ; Prolongational progressions ; Cadential progressions ; Sequential progressions ; Finer Points ; Reviewing the Theory ; Examples for Analysis ; Part 1 Conventional Theme-Types ; Chapter 2 The Sentence ; The Basics ; Presentation phrase ; Continuation phrase ; Let's Practice ; More Details ; Basic idea ; Repetition of the basic idea ; Tonic prolongation ; Presentation phrase versus presentation function ; Continuation function ; Cadential function ; Continuation ; Finer Points ; "Real" versus "notated" measures ; Modulating sentence ; Reviewing the Theory ; Examples for Analysis ; Model Composition ; Chapter 3 The Period ; The Basics ; Antecedent phrase ; Consequent phrase ; Let's Practice ; More Details ; Basic idea ; Contrasting idea ; Weak cadential closure ; Return of the basic idea ; Strong cadential closure ; Boundary processes: lead-in, elision ; Finer Points ; Antecedent (and consequent) as "mini-sentence" ; Modulating period; cadential strength ; Reinterpreted half cadence ; Sentence versus period ; Reviewing the Theory ; Examples for Analysis ; Model Composition ; Chapter 4 Hybrid Themes ; The Basics ; Hybrid types ; Let's Practice ; More Details ; Hybrid type: antecedent + continuation ; Hybrid type: antecedent + cadential ; Compound basic idea ; Hybrid type: compound basic idea + continuation ; Hybrid type: compound basic idea + consequent ; Finer Points ; Hybrid themes in relation to the sentence and period ; Appearances of the basic idea ; Phrase ambiguities ; Other "hybrid" possibilities ; Reviewing the Theory ; Examples for Analysis ; Model Composition ; Chapter 5 Phrase Deviations, Cadential Deviations, and Framing Functions ; The Basics ; Phrase deviations ; Cadential deviations ; Framing functions ; Let's Practice ; More Details ; Phrase deviations ; Cadential deviations ; Framing functions ; Finer Points ; Contrasting idea replaced by continuation phrase ; Codetta closes with cadence; cadence of limited scope ; Boundary process: melodic overlap ; Reviewing the Theory ; Examples for Analysis ; Model Composition ; Chapter 6 Compound Themes ; The Basics ; Compound Period ; Compound Sentence ; Let's Practice ; More Details ; Compound Period ; Compound Sentence ; Finer Points ; Compound period ; Real vs. notated measures ; Reviewing the Theory ; Examples for Analysis ; Model Composition ; Chapter 7 The Small Ternary (Rounded Binary) ; The Basics ; Exposition (A) ; Contrasting middle (B) ; Recapitulation (A') ; Let's Practice ; More Details ; Tight-knit versus loose formal organization ; Exposition (A) ; Contrasting middle (B) ; Recapitulation (A') ; Finer Points ; Contrasting middle (B) ; Recapitulation (A') ; Reviewing the Theory ; Examples for Analysis ; Model Composition ; Chapter 8 The Small Binary ; The Basics ; Part 1 ; Part 2 ; Let's Practice ; More Details ; Part 1 ; Part 2 ; Reviewing the Theory ; Examples for Analysis ; Model Composition ; Part 2 Sonata Form ; Chapter 9 Sonata Form-An Overview ; Large-scale formal structure ; Large-scale tonal structure ; Exposition ; Let's Practice ; Development ; Let's Practice ; Recapitulation ; Let's Practice ; Chapter 10 Exposition (I)-Main Theme ; The Basics ; More Details ; Conventional theme-types ; Nonconventional theme-types ; Finer Points ; Main-theme group ; Character and affect ; Reviewing the Theory ; Examples for Analysis ; Chapter 11 Exposition (II)-Transition ; The Basics ; Let's Practice ; More Details ; Style, character, dynamics ; Boundary processes: accompanimental overlap, elision ; Modulation techniques ; Opening strategies ; Phrase-structural organization; loosening devices ; Closure ; Finer Points ; Unusual opening strategies ; Two-part transition ; Omission of concluding function ; Reviewing the Theory ; Examples for Analysis ; Chapter 12 Exposition (III)-Subordinate Theme ; The Basics ; Let's Practice ; More Details ; Contrasting nature of the subordinate theme ; Looser sentential functions ; Internal half cadence (dominant arrival) ; Subordinate-theme group ; Closing section ; Finer Points ; Omission of initiating function ; Expanded periodic design ; Expanded repetition of a subordinate theme ; Harmonic-tonal loosening ; Thematic introduction ; Obscured boundary between transition and subordinate theme ; Reviewing the Theory ; Examples for Analysis ; Chapter 13 Development ; The Basics ; Tonal organization ; Phrase-structural organization ; Let's Practice ; More Details ; Melodic-motivic material ; Core ; Pre-core ; Retransition ; Finer Points ; Development sections without a core ; Transitional introduction ; Unusual endings ; Reviewing the Theory ; Examples for Analysis ; Chapter 14 Recapitulation ; The Basics ; An analytical methodology-comparison ; Tonal-harmonic organization ; Structural changes ; Let's Practice ; More Details ; Thematic functions of the recapitulation ; Structural changes: main theme ; Structural changes: transition ; Structural changes: subordinate theme (group) ; Finer Points ; Additional features of the recapitulation ; Fusion of main theme and transition ; Deviations from the norm ; Reviewing the Theory ; Examples for Analysis ; Chapter 15 Coda ; The Basics ; Let's Practice ; More Details ; Melodic-motivic material of the coda ; Start of the Coda ; Phrase structural organization of the coda ; Compensatory functions ; Reviewing the Theory ; Examples for Analysis ; Chapter 16 Slow Introduction ; The Basics ; Let's Practice ; More Details ; Style and affect ; Tonal, phrase-structural, and motivic organization ; Reviewing the Theory ; Examples for Analysis ; Part 3 Other Full-Movement Forms ; Chapter 17 Slow-Movement Forms ; The Basics ; Large Ternary ; Theme and Variations ; Sonata without development ; Let's Practice ; More Details ; Large ternary versus small ternary ; Large ternary-interior theme ; Large ternary-coda ; Theme and variations-structural alterations ; Finer Points ; Sonata form in slow movements ; Sonata without development-truncated recapitulation ; Ending a slow movement ; Reviewing the Theory ; Examples for Analysis ; Chapter 18 Minuet/Trio Form ; The Basics ; Minuet/trio form ; Minuet form ; Let's Practice ; More Details ; Exposition (A) ; Contrasting middle (B section) ; Recapitulation (A') ; Coda ; Trio ; Finer Points ; Binary minuet form ; Minuet/trio form-functional relations ; Reviewing the Theory ; Examples for Analysis ; Chapter 19 Rondo Forms ; The Basics ; Five-part rondo ; Sonata-rondo ; Let's Practice ; More Details ; Main theme ; Subordinate-theme complex ; Interior theme ; Returns of the main theme ; Development ; Coda ; Finer Points ; Deviations from the norm ; Enlargements of rondo form-seven-part rondo, nine-part sonata-rondo ; Reviewing the Theory ; Examples for Analysis ; Chapter 20 Concerto Form ; The Basics ; Opening ritornello ; Solo Exposition ; Subordinate-key ritornello ; Let's Practice ; More Details ; Opening ritornello ; Solo Exposition ; Subordinate-key ritornello ; Solo Development ; Solo Recapitulation ; Closing ritornello ; Reviewing the Theory ; Examples for Analysis ; Glossary of Terms ; Notes ; Index of Musical Compositions ; General Index
£92.25
The University of Chicago Press Django Generations Hearing Ethnorace Citizenship
Book SynopsisTrade Review“Django Generations offers a profound analysis of how Manouche Romanies navigate French denials of race and racism through what Siv B. Lie calls ‘ambivalent essentialism’—the set of incompatible qualities ascribed by and to this ethnicized and racialized group whose most famous ancestor is the guitarist Django Reinhardt. Drawing on deep ethnographic and historical research, Lie brilliantly develops a semiotic framework that both explicates the development and negotiation of local identities in jazz manouche and their connection to much broader processes of managing marginalization and the exigencies of capitalism.”” -- Ingrid Monson, Quincy Jones Professor of African American Music, Harvard University“A necessary addition for ethnomusicologists and scholars of Romani music, Django Generations is aptly named because it gives voice to groups of Romani musicians who are forging contemporary identities in modern contexts while acknowledging past histories and cultural roots.” -- Adriana Helbig, University of Pittsburgh“In this book, Siv B. Lie explores the paradoxes of jazz manouche’s history and its relationship to the Manouche community without taking sides in the complex debates between musicians, institutions, and the industry. Django Generations is a work of considerable intellectual sophistication.” -- Andy Fry, King’s College LondonTable of ContentsNotes on Terminology List of Figures Introduction Chapter One: Making Jazz Manouche Chapter Two: Cultural Activism’s Living Legacies Chapter Three: Generic Ontologies and the Stakes of Refusal Chapter Four: The Sound of Feeling Chapter Five: Heritage Stories Conclusion Acknowledgments Appendix 1: Glossary Appendix 2: List of Formal Interviews Notes References Index
£25.65
The University of Chicago Press Sounding Latin Music Hearing the Americas Big
Book SynopsisTrade Review“Original and insightful, Sounding Latin Music, Hearing the Americas is carefully researched in terms of historical framework, painstakingly structured and argued, and well written. Though the author's expertise is primarily musicological, his erudition spans several fields, and allows him to cover theoretical, historical, and disciplinary terrain that most scholars would be well advised not to attempt. In short, no one else could have written this tour de force.” * Jason R. Borge, University of Texas at Austin *“This is a powerful, insightful, and enlightening book by a major thinker in his field with an impressive command of the literature and musical repertoire of Latin America as well as Latinos in the United States. Moreno writes consciously as an intellectual ‘migrant’ at the crossroads of music studies, Latin American studies, cultural studies, and American studies. The theoretical contributions of this book are palpable, and it is humanized by the author being so conversant in popular music for mass audiences.” * Timothy Brennan, University of Minnesota *Table of ContentsPreface Introduction 1 Reckoning with Letters: “Pedro Navaja” and Aural Equality 2 Crossing Under (and Beyond) 3 Shakira’s Cosmopolitanisms 4 Histories and Economies of Afro-Latin Jazz 5 Act, Event, and Tradition: Miguel Zenón and the Aurality of the Unthinkable Conclusion Acknowledgments Notes Bibliography Index
£26.60
The University of Chicago Press Sikh Kirtan and Its Journeys
£24.70
Penguin Books Ltd Signifying Rappers
Book SynopsisDavid Foster Wallace, who died in 2008, was the author of the acclaimed novels Infinite Jest and The Broom of the System. His final novel, The Pale King, was published posthumously in 2011. He is also the author of the short-story collections Oblivion, Brief Interviews with Hideous Men and Girl with Curious Hair. His non-fiction includes several essay collections, including Both Flesh and Not, which was published in 2012, and the the full-length work Everything and More.Mark Costello is the author of two novels, including the National Book Award Finalist Big If. He lives in New York City.
£11.69
University of Illinois Press The Study of Ethnomusicology
Book SynopsisTrade Review"The Study of Ethnomusicology is a gift to the field, authored by one of the few scholars--a true giant--capable of such a monumental, broadly focused treatise." --Journal of Folklore Research"Anyone who has ever opened a book to study music will be fascinated with this latest from the indefatigable Bruno Nettl. . . . Nettl covers all the issues, concepts, and controversies of the now well-established field as only he can. Highly recommended."--Choice "An amazing repository of information recounted from texts and others sources, as well as from Nettl's own work and personal interpretations of events, relationships, ideas, directions, and experiences over the course of the history of the discipline. . . Overall, the text provides an excellent historical account of the discipline: it issues, concepts, ideas, methods, terminology, and seminal (and other) scholars." --Notes
£21.59
University of Illinois Press The Arithmetic of Listening
Book SynopsisTrade Review"Not only explains the materials and history of this music in great detail, but also—and probably most importantly—illustrates how these scales and harmonies are used in actual, living, breathing music. What has always been missing from the literature is an overarching guide to the field that is clearly written for both the amateur and professional. This is that book."--John Schneider, Grammy Award-winning producer"There is no other book that comes close to what Kyle Gann has accomplished here. The Arithmetic of Listening combines materials from ancient treatises and complex mathematical discussions of tunings with an artist's eye toward their expressive, musical use. It reads as though you are in a master class with a teacher who is patiently opening your eyes to a hidden history and your ears to hidden musical possibilities."--S. Andrew Granade, author Harry Partch: Hobo Composer"A lot of fun . . . this is indeed a practical book, not just for its instructions, but also in the interludes." --The Wire
£25.19
MIT Press Ltd Sweet Anticipation
Book SynopsisThe psychological theory of expectation that David Huron proposes in Sweet Anticipation grew out of the author''s experimental efforts to understand how music evokes emotions. These efforts evolved into a general theory of expectation that will prove informative to readers interested in cognitive science and evolutionary psychology as well as those interested in music. The book describes a set of psychological mechanisms and illustrates how these mechanisms work in the case of music. All examples of notated music can be heard on the Web.Huron proposes that emotions evoked by expectation involve five functionally distinct response systems: reaction responses (which engage defensive reflexes); tension responses (where uncertainty leads to stress); prediction responses (which reward accurate prediction); imagination responses (which facilitate deferred gratification); and appraisal responses (which occur after conscious thought is engaged). For real-world events, these five response systems typically produce a complex mixture of feelings. The book identifies some of the aesthetic possibilities afforded by expectation, and shows how common musical devices (such as syncopation, cadence, meter, tonality, and climax) exploit the psychological opportunities. The theory also provides new insights into the physiological psychology of awe, laughter, and spine-tingling chills. Huron traces the psychology of expectations from the patterns of the physical/cultural world through imperfectly learned heuristics used to predict that world to the phenomenal qualia we experienced as we apprehend the world.
£29.70
