Theory of music and musicology Books
Oxford University Press Inc The Science and Psychology of Music Performance
Book SynopsisMusic educators and practicing musicians have failed to benefit as much as they could from the past two decades of music psychology research. In this volume, Parncutt and McPherson propose to improve the situation by describing new approaches, informed by recent psychological research, to teaching music, learning music, and making music at all educational levels. Each chapter represents the collaboration between a music psychologist and a music educator. The articles begin by outlining music-psychological issues that are probably unfamiliar to musicians and music educators. Then, they propose teaching strategies and materials inspired by the psychologists'' findings. The volume''s twenty-one articles cover the broad issues of the developing musician, subskills of musical performance, and instruments and ensembles.Trade ReviewThis is a finely produced publication and a tribute to the expertise and, I should think, perseverance of its two editors. Its target audience of music educators and music psychologists will be well pleased and will find much to cite here. * British Journal of Music Education *... the breadth of [the authors'] enthusiasms and knowledge is infectious and stimulating. * British Journal of Music Education *Table of ContentsPART 1: THE DEVELOPING MUSICIAN; PART 2: SUBSKILLS OF MUSIC PERFORMANCE; PART 3: INSTRUMENTS AND ENSEMBLES
£64.60
Oxford University Press Classical Form A Theory of Formal Functions for the Instrumental Music of Haydn Mozart and Beethoven
Book SynopsisIntroducing a new theory of musical form for the analysis of instrumental music of the classical style. The book provides a broad set of principles and a comprehensive methodology for analysing phrases and themes to complete movements. Illustrated with over 250 annotated musical examples by Haydn, Mozart and Beethoven.Trade ReviewThis ambitious book offers nothing less than a new theory of form for the music of the Classical period ... In its combination of scholarship, musicality and sheer common sense, Caplan's Classical Form is a major achievement by any standards ... it should be read by anybody who teaches, studies or writes about this music. * Music and Letters *Table of ContentsIntroduction Part I. Preliminaries 1: Some Basic Formal Functions: An Overview 2: Fundamental Progressions of Harmony Part II. Tight-Knit Themes 3: Sentence 4: Period 5: Hybrid Themes and Compound Themes 6: Small Ternary 7: Small Binary Part III. Looser Formal Regions 8: Subordinate Theme 9: Transistion 10: Development 11: Recapitulation 12: Coda Part IV. Full-Movement Forms 13: Sonata Form 14: Slow-Movement Forms 15: Minuet/Trio Form 16: Rondo Forms 17: Concerto Form Glossary of Terms Notes Bibliography Index of Classical Compositions General Index
£61.75
Oxford University Press Syntagma Musicum III Early Music Series
Book SynopsisPresents a translation of the third volume of Syntagma musicum, a multi-volume work by a German composer and theorist. This volume deals with terminolgy and performance practice, and offers us a detailed commentary available from the 17th century about the performance of particular pieces of music.Trade Review...contains valuable commentary * William E Hettrick, Music and Letters *
£90.00
Oxford University Press Cognitive Foundations of Musical Pitch 17 Oxford Psychology Series
Book SynopsisThis text addresses the central problem of music cognition. Equally important, the work offers an analysis of the relationship between the psychological organization of music and its internal structure.Trade ReviewWe have before us a summary of some 12 years of assiduous and intelligent work by one of the very best minds in cognitive science. I have followed Carol Krumhansl's research for years with enthusiasm; it is a joy to see it reported so well ... Go read this excellent book! * American Scientist *Table of Contents1. Objectives and Methods ; 2. Quantifying Tonal Hierarchies and Key Distances ; 3. Musical Correlates of Perceived Tonal Hierarchies ; 4. A Key-Finding Algorithm Based on Tonal Hierarchies ; 5. Perceived Relations Between Musical Tones ; 6. Perceptual Organization and Pitch Memory ; 7. Quantifying Harmonic Hierarchies and Key Distances ; 8. Perceived Harmonic Relations ; 9. Perceiving Multiple Keys: Modulation and Polytonality ; 10. Tonal Hierarchies in Atonal and Non-Western Tonal Music ; 11. Music Cognition: Theoretical and Empirical Generalizations
£40.37
Oxford University Press The Critical Nexus ToneSystem Mode and Notation in Early Medieval Music AMS Studies in Music
Trade ReviewIf one were to describe this impressive book in a nutshell, one might simply say that it is a thorough and rigorous account of the medieval tone-system in its theoretical and practical aspects; but this would do scant justice to its depth and complexity * Music and Letters *Table of ContentsPROLOGUE; PART I. THE EIGHTH AND NINTH CENTURIES; PART II. THE SYNTHESIS OF ANCIENT GREEK THEORY AND MEDIEVAL PRACTICE; EPILOGUE: PROBLEMS AND SOLUTIONS; BIBLIOGRAPHY; INDEX
£60.30
Oxford University Press Inc Marvelous Images
Book SynopsisThe twelve essays by Kendall Walton in this volume address a broad range of issues concerning the arts. Walton introduces an innovative account of aesthetic value, and explores relations between aesthetic value and values of other kinds. His classic ''Categories of Art'' is included, as is ''Transparent Pictures'', his controversial account of what is special about photographs. A new essay investigates the fact that still pictures are still, although some of them depict motion. New postscripts have been added to several of the reprinted essays.Trade ReviewThe collection is indeed a joy to read... Each essay gives the tangible impression hearing an outstanding philosopher in direct engagement with the issues... For all the freshness and directness of style, there is an extraordinary level of subtle nuance and fine distinction... It is a principal conclusion of the opening chapter, which gives the collection its title, that a distinctive mark of aesthetic pleasure is the fact we take pleasure, not just in the object itself, but also in our admiration for the object. Just such a pleasure will be occasioned by this admirable volume. Marvelous indeed. * Ian Ground, Philosophy *Table of ContentsIntroduction Part I: Aesthetic and Moral Values 1: "How Marvelous": Toward a Theory of Aesthetic Value Postscripts to "How Marvelous!" 2: The Test of Time 3: Morals in Fiction and Fictional Morality 4: On the (So-Called) Puzzle of Imaginative Resistance Part II: Pictures and Photographs 5: Pictures & Hobby Horses: Make-Believe Beyond Childhood 6: Transparent Pictures: On the Nature of Photographic Realism Postscripts to "Transparent Pictures" 7: On Pictures & Photographs: Objections Answered 8: Seeing In and Seeing Fictionally 9: Depiction, Perception, & Imagination: Responses to Richard Wollheim 10: Experiencing Still Photographs: What Do You See and How Long Do You See It? Part III: Categories and Styles 11: Categories of Art 12: Style and the Products and Processes of Art
£31.02
Oxford University Press Tonal Pitch Space
Book SynopsisTonal Pitch Space presents a model of diatonic space that quantifies intuitions of the relative distances of pitches, chords, and keys. The model assigns prolongational structure, represents paths through the space, and computers patterns of tension and attraction as musical events unfold.Trade Review"Tonal Pitch Space is one of the most important books to come along in music theory and music cognition in a while. The degree of detail that Lerdahl builds into his model is extraordinary, and the consistency with which he references not only the research literature of cognitive psychology but also that of the full breadth of the history of music theory will ensure its importance to both groups of scholars for some time to come."--Computer Music Journal"A Generative Theory of Tonal Music by Fred Lerdahl and Ray Jackendoff is one of the most important works in music theory in the last half of the 20th century, and likewise it has taken its place among the foundational texts in music perception and cognition. Thus the publication of Lerdahl's Tonal Pitch Space, a book which extends the GTTM project, is a significant event."--Music Perception"[Tonal Pitch Space] is an awe-inspiring achievement. It is bursting at the seams with interesting ideas and perceptive analytic insights. It breaks new ground in establishing rigorous, algorithmic procedures for sophisticated music theories and in forging strong connections between music theory and music psychology. It engages other work in the field in the most exemplary way (one can only marvel at the wealth of references, not only to music theory past and present but also to psychology and other disciplines)--building on the ideas of others but always offering fresh insights and perspectives."--Musicae Scientiae"This book assembles and fully systematizes Lerdahl's work of the past decade and in many ways completes the project begun with 'A Generative Theory of Tonal Music.' In its scope, the detail of its argument, and in its claim to very precisely model musical cognition on a grand scale, this work is virtually without precedent."--Christopher Hasty, Professor of Music, University of Pennsylvania"Fred Lerdahl's 'Tonal Pitch Space' is an extraordinary achievement in music theory. It promises to have a major impact on our understanding of how music works and how music is understood. It sketches a theory of enormous potential, with which theorists and cognitive scientists should be concerned for decades hence."--Jonathan Kramer, Professor of Music, Columbia University
£36.12
Oxford University Press END EARLY MUSIC PER PERF HIST MUSIC 21 C
Trade ReviewHaynes always writes as the insider performer, and his writing is fresh and direct...likely to be enjoyed by most musicians. * David Ledbetter, British Clavichord Society *Bruce's arguments are rich, not obvious, and very convincing. Read Bruce's ideas: applaud, question, be infuriated. But you will never think about early music as you did before. * Clifford Bartlett, Early Music Review *Table of ContentsList of Musical Examples List of Recorded Excerpts Preface: If this Muses Come to Call Acknowledgements Part I: Performing Styles One: Performing Style: When You Say Something Differently, You Say Something Different Two: Mind the Gap: Current Styles Three: Mainstream Style: "Chops, but no Soul" Part II: How Romantic Are We? Four: Classical Music's Coarse Caress Five: The Transparent Performer Six: Changing Meanings, Permanent Symbols Part III: Anachronism and Authenticity Seven: Original Ears Eight: Ways of Copying the Past Nine: The Medium is the Message: Period Instruments Ten: Baroque Oratory Compared with Romantic Autobiography Eleven: Gestural Phrasing Part V: The End of "Early" Music Twelve: Passive and Active Musicking: Stop Staring and Grow Your Own Thirteen: Mainstream Musicking as "Early Music" Fourteen: Perpetual Revolution Notes List of Bibliographic Abbreviations Bibliography Index
£49.40
OUP USA Exploring Research in Music Education and Music Therapy
Trade ReviewThis book would fit beautifully into our graduate program. Phillips has hit the nail on the head by including introductions to research types with actual examples from the literature. I especially like the idea of the Study and Discussion Questions (and the foci of the particular ones he has chosen), and the Suggested Activities. I appreciate how Phillips pushes students into new areas without frightening them. I applaud the inclusion of qualitative and action research. I would adopt this text into a music education research course in a second. * Bruce Gleason, University of St. Thomas *I would like to say bravo for putting this text together. I think we need it in our field, and I appreciate the level-headed approach. Phillips does a good job of covering all the methodologies. And I like that he uses articles to illustrate the different methodologies. * Diana Hollinger, San Jose State University *Table of ContentsEACH CHAPTER ENDS WITH STUDY AND DISCUSSION QUESTIONS AND SUGGESTED ACTIVITIES; PART ONE. RESEARCH BASICS; 1. RESEARCH IN MUSIC EDUCATION AND MUSIC THERAPY; 2. THE RESEARCH STUDY; 3. READING RESEARCH: A COMMENTARY; JUDITH A. JELLISON (2002). "ON-TASK PARTICIPATION OF TYPICAL STUDENTS CLOSE TO AND AWAY FROM CLASSMATES WITH DISABILITIES IN AN ELEMENTARY MUSIC CLASSROOM."; PART TWO. HISTORICAL AND PHILOSOPHICAL RESEARCH; 4. HISTORICAL RESEARCH; MARTHA CHRISMAN RILEY (1990). "PORTRAIT OF A NINETEENTH-CENTURY SCHOOL MUSIC PROGRAM."; 5. PHILOSOPHICAL RESEARCH; ESTELLE JORGENSEN (2006). "REFLECTIONS ON FUTURES FOR MUSIC EDUCATION PHILOSOPHY."; PART THREE. QUALITATIVE RESEARCH; 6. PRINCIPLES OF QUALITATIVE RESEARCH; MANNY BRAND (2002). "AN ETHNOGRAPHIC STUDY OF HONG KONG AND AMERICAN MUSIC EDUCATION STUDENTS."; 7. CRITICAL READING OF QUALITATIVE RESEARCH; JOHN W. SCHEIB (2003). "ROLE STRESS IN THE PROFESSIONAL LIFE OF THE SCHOOL MUSIC TEACHER: A COLLECTIVE CASE STUDY."; 8. REFLECTING ON QUALITATIVE RESEARCH; LOUIS SCHLEUTER (1994/1995). "QUALITATIVE STUDY OF DIALOGUE: A THOUGHT PROCESS."; BARBARA L. WHEELER (2002). "EXPERIENCES AND CONCERNS OF STUDENTS DURING MUSIC THERAPY PRACTICA."; PART FOUR. QUANTITATIVE RESEARCH; 9. PRINCIPLES OF QUANTITATIVE RESEARCH; 10. ANALYSIS OF THE DATA; 11. QUANTITATIVE RESEARCH: DESCRIPTIVE; KATE GFELLER, STEVEN K. HEDDEN, AND ALICE-ANN DARROW (1990). "PERCEIVED EFFECTIVENESS OF MAINSTREAMING IN IOWA AND KANSAS SCHOOLS."; CORNELIA YARBROUGH AND HARRY E. PRICE (1989). "SEQUENTIAL PATTERNS OF INSTRUCTION IN MUSIC."; 12. QUANTITATIVE RESEARCH: EXPERIMENTAL; KENNETH H. PHILLIPS AND STEVEN W. EMGE (1994). "VOCAL REGISTRATION AS IT AFFECTS VOCAL RANGE FOR SEVENTH- AND EIGHTH-GRADE BOYS."; KENNETH H. PHILLIPS (1985). "THE EFFECTS OF GROUP BREATH-CONTROL TRAINING ON THE SINGING ABILITY OF ELEMENTARY STUDENTS."; KARIN HARFST SEHMANN (2000). "THE EFFECTS OF BREATH MANAGEMENT INSTRUCTION ON THE PERFORMANCE OF ELEMENTARY BRASS PLAYERS."; 13. QUANTITATIVE RESEARCH: CLINICAL; REBECCA L. ENGEN (2005). "THE SINGER'S BREATH: IMPLICATIONS FOR TREATMENT OF PERSONS WITH EMPHYSEMA."; CHRIS TURNER, BRUCE GANTZ, MARY LOWDER, AND KATE GFELLER (2005). "BENEFITS SEEN IN ACOUSTIC HEARING + ELECTRIC SIMULATION IN SAME EAR."; 14. MIXED METHODS RESEARCH; CLIFFORD K. MADSEN AND STEVEN N. KELLY (2002). "FIRST REMEMBRANCES OF WANTING TO BECOME A MUSIC TEACHER."; LOIS SCHLEUTER (1991). "STUDENT TEACHERS' PREACTIVE AND POSTACTIVE CURRICULAR THINKING."; PART 5. RESEARCH AND THE CLASSROOM; 15. ACTION RESEARCH; COLLEEN M. CONWAY AND JAMES BORST (2001). "ACTION RESEARCH IN MUSIC EDUCATION."; 16. INTEGRATING RESEARCH AND TEACHING; URSULA CASANOVA (1989). "RESEARCH AND PRACTICE: WE CAN INTEGRATE THEM."; EPILOGUE
£38.99
Oxford University Press The Imaginary Museum of Musical Works An Essay in the Philosophy of Music
Trade ReviewEditor: Suzanne Ryan "In my opinion, this is the most important book on music aesthetics to appear in the last several decades.... Goehr does not seek a universal definition for music and its meanings but instead traces the history of the 'work concept' in Western music. She both reveals the developments that cemented the notion of the musical work in the 19th century and also examines the limits of that notion."--Susan McClary, Professor of Musicology, University of California -- Los Angeles"This book is not only a major contribution to the philosophy of music, but is also vitally important to understanding music history and performance practice. Further, those interested in rethinking the conventions of today's classical music world should not miss it."--Bernard Sherman, Iowa Public Radio, author of Inside Early Music: Conversations with Performers, co-editor of Performing BrahmsTable of ContentsFOREWORD; INTRODUCTORY ESSAY: HIS MASTER'S CHOICE; INTRODUCTION; PART I. THE ANALYTIC APPROACH; PART II. THE HISTORICAL APPROACH; BIBLIOGRAPHY OF WORKS CITED; INDEX
£44.80
Oxford University Press Inc A Geometry of Music Harmony and Counterpoint in
Book SynopsisIn this groundbreaking book, Tymoczko uses contemporary geometry to provide a new framework for thinking about music, one that emphasizes the commonalities among styles from Medieval polyphony to contemporary jazz.Trade Reviewa tour de force, a rich and suggestive summation of an exciting new perspective, a jumping-off point for further explorations. * Peter Pesic, Times Literary Supplement *Table of ContentsPREFACE; PART I. THEORY; 1.1 THE FIVE FEATURES; 1.2. PERCEPTION AND THE FIVE FEATURES; 1.3 FOUR CLAIMS; A. HARMONY AND COUNTERPOINT CONSTRAIN EACH OTHER; B. SCALE, MACROHARMONY, AND CENTRICITY ARE INDEPENDENT; C. MODULATION INVOLVES VOICE LEADING; D. MUSIC CAN BE UNDERSTOOD GEOMETRICALLY; 1.4 MUSIC, MAGIC, AND LANGUAGE; 1.5 OUTLINE OF THE BOOK, AND A SUGGESTION FOR IMPATIENT READERS; 2.1 LINEAR PITCH SPACE; 2.2 CIRCULAR PITCH-CLASS SPACE; 2.3 TRANSPOSITION AND INVERSION AS DISTANCE-PRESERVING FUNCTIONS; 2.4 MUSICAL OBJECTS; 2.5 VOICE LEADINGS AND CHORD PROGRESSIONS; 2.6 COMPARING VOICE LEADINGS; 2.7 VOICE-LEADING SIZE; 2.8 NEAR IDENTITY; 2.9 HARMONY AND COUNTERPOINT REVISITED; 2.10 ACOUSTIC CONSONANCE AND NEAR-EVENNESS; 3.1 ORDERED PITCH SPACE; 3.2 THE PARABLE OF THE ANT; 3.3 TWO-NOTE CHORD SPACE; 3.4 CHORD PROGRESSIONS AND VOICE LEADINGS IN TWO-NOTE CHORD SPACE; 3.5 GEOMETRY IN ANALYSIS; 3.6 HARMONIC CONSISTENCY AND EFFICIENT VOICE LEADING; 3.7 PURE PARALLEL AND PURE CONTRARY MOTION; 3.8 THREE-DIMENSIONAL CHORD SPACE; 3.9 HIGHER-DIMENSIONAL CHORD SPACES; 3.10 VOICE LEADING LATTICES; 3.11 TRIADS ARE FROM MARS, SEVENTH CHORDS ARE FROM VENUS; 3.12 TWO MUSICAL GEOMETRIES; 3.13 STUDY GUIDE; 4.1 A SCALE IS A RULER; 4.2 SCALE DEGREES, SCALAR TRANSPOSITION, SCALAR INVERSION; 4.3 EVENNESS AND SCALAR TRANSPOSITION; 4.4 CONSTRUCTING COMMON SCALES; 4.5 MODULATION AND VOICE LEADING; 4.6 VOICE LEADING BETWEEN COMMON SCALES ; 4.7 TWO EXAMPLES; 4.8 SCALAR AND INTERSCALAR TRANSPOSITION; 4.9 INTERSCALAR TRANSPOSITION AND VOICE LEADING; 4.10 COMBINING INTERSCALAR AND CHROMATIC TRANSPOSITIONS; 5.1 MACROHARMONY; 5.2 SMALL-GAP MACROHARMONY; 5.3 PITCH-CLASS CIRCULATION; 5.4 MODULATING THE RATE OF PITCH-CLASS CIRCULATION; 5.5 MACROHARMONIC CONSISTENCY; 5.6 CENTRICITY; 5.7 WHERE DOES CENTRICITY COME FROM?; 5.8 BEYOND "TONAL" AND "ATONAL."; PART II. HISTORY AND ANALYSIS; 6.1 DISCLAIMERS; 6.2 TWO-VOICE MEDIEVAL COUNTERPOINT; 6.3 TRIADS AND THE RENAISSANCE; 6.4 FUNCTIONAL HARMONY; 6.5 SCHUMANN'S CHOPIN; 6.6 CHROMATICISM; 6.7 TWENTIETH-CENTURY SCALAR MUSIC; 6.8 THE EXTENDED COMMON PRACTICE; 7.1 THE THIRDS-BASED GRAMMAR OF ELEMENTARY TONAL HARMONY; 7.2 VOICE LEADING IN FUNCTIONAL HARMONY; 7.3 SEQUENCES; 7.4 MODULATION AND KEY DISTANCE; 7.5 THE TWO LATTICES; 7.6 A CHALLENGE FROM SCHENKER; 8.1 DECORATIVE CHROMATICISM; 8.2 GENERALIZED AUGMENTED SIXTHS; 8.3 BRAHMS AND SCHOENBERG; 8.4 SCHUBERT AND THE MAJOR-THIRD SYSTEM; 8.5 CHOPIN'S TESSERACT; 8.6 THE TRISTAN PRELUDE; 8.7 ALTERNATIVE APPROACHES; 8.8 CONCLUSION; 9.1 THREE SCALAR TECHNIQUES; 9.2 CHORD-FIRST COMPOSITION; A. GRIEG'S "DROMMESYN," (VISION), OP. 62 NO. 5 (1895); B. DEBUSSY'S "FETES" (1899); C. MICHAEL NYMAN'S "THE MOOD THAT PASSES THROUGH YOU" (1993); 9.3 SCALE-FIRST COMPOSITION; A. DEBUSSY'S "DES PAS SUR LA NEIGE" (1910); B. JANACEK'S "ON AN OVERGROWN PATH," SERIES II, NO. 1 (1908); C. SHOSTAKOVICH'S FS MINOR PRELUDE AND FUGUE, OP. 87 (1950); D. REICH'S "NEW YORK COUNTERPOINT" (1985); E. REICH'S "THE DESERT MUSIC," MOVEMENT 1 (1984); F. THE WHO'S "CAN'T EXPLAIN" (1965) AND BOB SEGER'S "TURN THE PAGE" (1973); 9.4 THE SUBSET TECHNIQUE; A. GRIEG'S "KLOKKEKLANG," (BELL RINGING), OP. 54 NO. 6 (1891); B. "PETIT AIRS," FROM STRAVINSKY'S HISTOIRE DU SOLDAT (1918); C. REICH'S "CITY LIFE" (1995); D. STRAVINSKY'S "DANCE OF THE ADOLESCENTS" (1913); E. THE MILES DAVIS GROUP'S "FREEDOM JAZZ DANCE" (1966); 9.5 CONCLUSION; 10.1 BASIC JAZZ VOICINGS; 10.2 FROM THIRDS TO FOURTHS; 10.3 TRITONE SUBSTITUTION; 10.4 ALTERED CHORDS AND SCALES; 10.5 BASS AND UPPER-VOICE TRITONE SUBSTITUTIONS; 10.6 POLYTONALITY, SIDESTEPPING, AND "PLAYING OUT."; 10.7 BILL EVANS'S "OLEO."; 10.8 JAZZ AS MODERNIST SYNTHESIS; CONCLUSION; APPENDIX A. MEASURING VOICE-LEADING SIZE; APPENDIX B. CHORD GEOMETRY: A TECHNICAL LOOK; APPENDIX C. DISCRETE VOICE LEADING LATTICES; APPENDIX D. THE INTERSCALAR INTERVAL MATRIX; APPENDIX E. SCALE, MACROHARMONY, AND LERDAHL'S "BASIC SPACE."; APPENDIX F. SOME STUDY QUESTIONS, PROBLEMS, AND ACTIVITIES; BIBLIOGRAPHY; INDEX
£86.83
Oxford University Press Crossing Paths Schubert Schumann and Brahms
Table of ContentsIntroduction: At the Intersection of Old and New Paths ; Part I: Schumann's One and Only Schubert ; Chapter 1: Schumann and Schubert's "Immortal" Piano Trio in E flat ; Chapter 2: The Gestus of Remembering: Schubert's Critique of Schubert's Impromptus ; Part II: Uttering CLARA in Tones ; Chapter 3: Schumann: Cryptographer or Pictographer? ; Chapter 4: Brahms's Musical Ciphers: Acts of Homage and Gestures of Effacement ; Chapter 5: The Folded Fan ; Part III: A Noble Model ; Chapter 6: Metaphysical Chess Games ; Chapter 7: Brahms, the Schumann Circle, and the Style hongrois: Contexts for the "Double" Concerto ; Epilogue: Crossing Paths and Modes of Experience
£33.14
Oxford University Press Dancefilm Choreography and the Moving Image
Book SynopsisDancefilm: Choreography and the Moving Image examines the choreographic in cinema - the way choreographic elements inform cinematic operations in dancefilm. It examines some of the most significant collaborations between dancers, choreographers, and filmmakers and presents new models of cinematic movement that are historically informed and interdisciplinary in nature.Trade ReviewThis is a book of tremendous reach and range, shuttling easily up and down the decades, moving nimbly between dance history and film theory, and hopping happily back and forth between big mainstream movies and small experimental gems. It's a book be-jeweled with zinging phrases, memorable quotations and big ideas tautly expressed. Best of all, it's an hospitable book with a great cast of characters, wherein film-stars rub shoulders with theorists and the commercial converses with the avant garde. * David Hinton, Film-maker *This book makes a convincing case for recognizing that work choreographed by and with the camera is an artform with its own distinct properties. Drawing on philosophy, dance studies, and film theory, Brannigan offers acute insights into the nature of dancefilm. * Ramsay Burt, Professor of Dance History, De Montfort University *Images move; dancers make images: the complexities of this choreographic interweave are here explored in a range of illuminating ways. Erin Brannigan's book is an innovative contribution of equal importance to Cinema Studies and Dance Research. * Jane Goodall, Adjunct Professor, Writing and Society Research Group, The University of Western Sydney *Tackling a large-scale agenda from a meticulously researched and unapologetically dance-centred perspective, Dancefilm is a much-needed resource for the serious scholar. * RealTime *A significant contribution to the field. Brannigan has provided us with an historical context, terminology and other tools for discussing dancefilm. She has assembled a particular cast of theorists, historians, choreographers, filmmakers and dancefilm artists. She has provided a platform upon which further development of screendance can spring. Can we now step forward, respond to and acknowledge her offering, and continue the conversation? * Dancefilm Journal *Table of ContentsPREFACE; ABOUT THE COMPANION WEBSITE; INTRODUCTION; FILMMOGRAPHY; BIBLIOGRAPHY
£34.79
Oxford University Press The Music Teaching Artists Bible Becoming a Virtuoso Educator
Trade Reviewa readable and constantly intelligent book * Tim Homfray, The Strad *Table of ContentsPART I: CONTEXT ; 1. What is a Teaching Artist? ; 2. Teaching Artists in the Arts Learning Ecosystem ; 3. Guidelines for Teaching Artistry ; 4. The Best Reason for Being a Teaching Artist ; 5. Balancing the Two Economies of Today's Musician ; PART II: THE OVERLOOKED ESSENTIALS ; 6. Role Play: The Four Angles in Arts Learning ; 7. Inside the Liminal Zone ; 8. The Habits of Mind of Musical Learning ; 9. The Essential Skills of the 21st Century Artist ; 10. Creating the Playground ; PART III: LEARNING TO BE A TEACHING ARTIST ; 11. The Entry Point Question-Where to Begin? ; 12. A Teaching Artist's Curriculum ; 13. What Does "Better" Look Like? ; 14. Mentoring: Myths and Mission ; PART IV: THE FUNDAMENTALS OF WORKING IN EDUCATION SETTINGS ; 15. Truth and Dare in Education Programs ; 16. How to Succeed in School Environments ; 17. Getting Schooled on School Performances ; 18. Art for Art's Sake or for the School's Sake? ; 19. Blind Dates, Steady Dating, and Musical Marriages ; PART V: CURRENT CHALLENGES ; 20. Arts Integration: The Hot Zone ; 21. Reflecting on Reflection ; 22. The Dos and Don'ts of Assessment ; 23. Feedback: Giving and Getting It Right ; PART VI: BRINGING TEACHING ARTISTRY INTO PERFORMANCES ; 24. Fuller Audience Engagement: What Does It Look Like? ; 25. Speak Up or Shut Up?: Using Words in Performance ; 26. Interactive Performances ; 27. The Very Open Rehearsal ; PART VII EXPANDING THE ROLES OF THE TEACHING ARTIST ; 28. The Essential Educational Entrepreneur ; 29. The Private Music Lesson ; 30. The Everyday Advocate ; 31. The Telling Facts of Advocacy ; PART VIII BEYOND THE BORDERS ; 32. They Take the High Road ; 33. The Planet Gets It Together ; 34. The Guiding Spirit ; Index
£28.04
Oxford University Press Inc Music in Words
£20.57
Oxford University Press Inc Graduate Review of Tonal Theory A Recasting of
Book SynopsisThis text is the first graduate music theory review designed specifically to address the one-semester course for beginning graduate students in music. Based on The Complete Musician, the text is more than a shortened version of an undergraduate tonal harmony text; it addresses students as colleagues and explores analytical applications that are appealing and practical, extending beyond the undergraduate level. The text provides a means to discuss the perception and cognition, the analysis and performance, and the composition and reception of common-practice tonal music. The clarity and brevity of this text relies on the presentation of only those crucial concepts and procedures that are manifested in the vast majority of tonal pieces. The only text exercises are at chapter ends: two- to three-page Analytical extensions, which introduce one new topic through one or two works from the repertoire, and then develop the topic in a model analysis. Appendixes will include keyboard exercises, Trade Review"I would point to the extremely solid conceptual grounding; the musical utility of the long-range thinking it encourages; the logical progression of topics; the clarity and efficiency of presentation; the quality of analytical insight; and the possibility of having everything you need in one place. The workbook provides a very impressive range of tasks-much more varied and interesting than one usually finds. One gets the sense that the author[s] understand exactly the nature of graduate review courses." -Roman Ivanovitch, Indiana University "[The workbook] exercises are inspirationally clever. . . . I like the wide variety of 'real music' examples as well and I suspect my grad students would be equally appreciative. . . . I like the summaries, point-by-point reminders, and suggestions about matters such as how to figure a bass or how to write a sequence. Students will find such lists to be both very clear and very comforting."-Neil Minturn, University of MissouriTable of ContentsPreface ; Setting the Stage ; Part One: Contextualizing Theory and Analysis; Fundamentals ; Chapter 1: Musical Time and Space ; The metrical realm ; Accent in music ; Temporal accents ; Non-temporal accents ; Metrical disturbance ; The pitch realm ; Pitches and pitch classes ; Scales ; Keys ; Intervals ; Consonance and dissonance ; Melody: Characteristics and writing ; Chapter 2: Harnessing Musical Time and Space ; Species counterpoint ; First-species (1:1) counterpoint ; Contrapuntal motions ; Rules and guidelines ; Second-species (2;1) counterpoint ; Rules and guidelines ; Adding voices: Triads and seventh chords ; Triads ; Figured bass ; Triads and the scale: Harmonic analysis ; Seventh chords ; Musical texture ; Chapter 3: Making Choices: When Harmony, Melody, and Rhythm Merge ; Tonal hierarchy in music ; Tones of figuration ; Melodic fluency ; Part Two: Diatonic Harmony: Functions, Expansions, and the Phrase Model ; Chapter 4: Composition and Analysis: Using I, V, and V7 ; Tonic and dominant as tonal pillars and introduction to voice leading ; The cadence ; Introduction to voice leading ; Texture and register ; Spacing ; Summary of voice-leading rules and guidelines ; The dominant seventh and chordal dissonance ; Part writing with the dominant seventh chord ; Analytical extension: The interaction of harmony, melody, meter, and rhythm ; Embellishment ; Reduction ; Second-level analysis ; Chapter 5: Contrapuntal Expansions of Tonic and Dominant ; Contrapuntal expansions with first inversion triads ; Chordal leaps in the bass: I6 and V6 ; Neighboring tones in the bass: V6 ; Structural and subordinate harmonies ; Passing tones in the bass: vii 6 and IV6 ; Tonic expansion with arpeggiating bass: IV6 ; Contrapuntal expansions with seventh chords ; V7 and its inversions ; Voice leading inversions of V7 ; Leading-tone seventh chords: vii 7 ; Analytical extension: Invertible counterpoint ; Invertible counterpoint below the music's ; surface ; Chapter 6: The Pre-Dominant, Phrase Model, and Additional Embellishments ; The pre-dominant function ; The subdominant (IV in major; iv in minor) ; The supertonic (ii in major; ii in minor) ; Part writing pre-dominants ; Extending the pre-dominant ; Introduction to the phrase model ; Accented and chromatic dissonances ; Accented and Chromatic passing tones ; Accented and Chromatic neighbor tones ; Appoggiatura ; Suspension ; Labeling suspensions ; Writing suspensions ; Anticipation ; Pedal ; Analytical extension: Revisiting the subdominant ; Contrapuntal expansion with IV ; Plagal cadence ; Part Three: Elaborating the Phrase Model and Combining Phrases ; Chapter 7: Six-Four Chords, Non-Dominant Seventh Chords, and Refining the Phrase Model ; Six-Four Chords ; Unaccented six-four chords ; Accented six-four chords ; Writing six-four chords ; Summary of contrapuntal expansions ; Non-dominant seventh chords: IV7 (IV65) and ii7 (ii65) ; Partwriting non-dominant seventh chords ; Embedding the phrase model ; Analytical extension: Expanding the pre-dominant ; Chapter 8: The Submediant and Mediant Harmonies ; Submediant (vi in major; VI in minor): ; As bridge in the descending third ; progression ; In the descending circle of fifths progression ; As tonic substitute in the ascending second ; progression ; As pre-dominant ; Voice leading for the submediant ; The step descent in the bass ; Mediant (iii in major; III in minor) ; A special case: Preparing the III chord in ; minor ; Voice leading for the mediant ; General summary of harmonic progression ; Analytical extension: The back-relating dominant ; Chapter 9: The Period, Double Period, and Sentence ; The period ; Types of periods ; Period labels ; The double period ; The sentence ; Analytical extension: Modified periods ; Chapter 10: Harmonic Sequences: Concepts and Patterns ; Components and types of sequences ; The "descending fifths" sequence (-5/+4) ; The (-5/+4) sequence in inversion ; The "Pachelbel" or "descending 5-6" ; sequence ; The (-4/+2) sequence in inversion ; The "Ascending Fifths" sequence (+5/-4) ; The "Ascending 5-6" Sequence: (-3/+4) ; Sequences with diatonic seventh chords ; Writing sequences ; Analytical extension: Melodic sequences and ; compound melody ; Chapter 8: The Submediant and Mediant Harmonies ; Submediant (vi in major; VI in minor): ; As bridge in the descending third ; progression ; In the descending circle of fifths progression ; As tonic substitute in the ascending second ; progression ; As pre-dominant ; Voice leading for the submediant ; The step descent in the bass ; Mediant (iii in major; III in minor) ; A special case: Preparing the III chord in ; minor ; Voice leading for the mediant ; General summary of harmonic progression ; Analytical extension: The back-relating dominant ; Chapter 9: The Period, Double Period, and Sentence ; The period ; Types of periods ; Period labels ; The double period ; The sentence ; Analytical extension: Modified periods ; Chapter 10: Harmonic Sequences: Concepts and Patterns ; Components and types of sequences ; The "descending fifths" sequence (-5/+4) ; The (-5/+4) sequence in inversion ; The "Pachelbel" or "descending 5-6" ; sequence ; The (-4/+2) sequence in inversion ; The "Ascending Fifths" sequence (+5/-4) ; The "Ascending 5-6" Sequence: (-3/+4) ; Sequences with diatonic seventh chords ; Writing sequences ; Analytical extension: Melodic sequences and ; compound melody ; Part Four: Chromaticism and Larger Forms ; Chapter 11: Applied Chords and Tonicization ; Applied dominant chords ; Applied chords in inversion ; Voice leading for applied dominant chords ; Applied leading-tone chords ; Extended tonicization ; Analytical extension: Sequences with applied chords ; Chapter 12: Modulation and Binary Form ; Modulation ; Closely related keys ; Analyzing modulations ; Writing modulations ; Modulation in the larger musical context ; The sequence as a tool in modulation ; Binary form ; Summary of binary form types ; Analytical extension: Binary form and Baroque dance ; suites ; Chapter 13: Expressive Chromaticism: Modal Mixture and Chromatic Modulation ; Modal mixture ; Altered pre-dominant harmonies: iv and ii ; Altered submediant harmony: bVI ; Altered tonic harmony: i ; Altered mediant harmony: bIII ; Voice leading for mixture harmonies ; Plagal motions ; Modal mixture, applied chords, and other chromatic harmonies ; Expansion of modal mixture harmonies: Chromatic ; modulation ; Chromatic pivot-chord modulations ; Writing chromatic pivot-chord modulations ; Unprepared and common-tone ; chromatic modulations ; Analytical extension: Modal mixture and text-music ; relations ; Chapter 14: The Neapolitan and Augmented Sixth Chords ; The Neapolitan chord ; Writing the Neapolitan chord ; Other uses for the Neapolitan chord ; The augmented sixth chord ; Types of augmented sixth chords ; Writing augmented sixth chords ; bVI and the Ger 65 chord ; The augmented sixth chord as a pivot chord ; Analytical extension: Prolongation with bII and +6 ; chords ; Augmented sixth chords as part of PD ; expansions ; Chapter 15: Ternary and Sonata Forms ; Ternary form ; Transitions and retransitions ; Da capo form: Compound ternary form ; Minuet-trio form ; Sonata ; The binary model for sonata form ; Transition ; Closing section ; Development and retransition ; Recapitulation and coda ; Analytical extension: Motivic expansion ; Exposition ; Development ; AppendixA: Additional Formal Procedures ; Subphrases and composite phrases ; Variation techniques ; Ternary form and the nineteenth-century character ; piece ; Rondo ; Further characteristics of sonata form ; Appendix B: Glossary of Abbreviations ; Appendix C: Terminological Equivalents ; Index of Terms and Concepts ; Index of Musical Examples and Exercises
£87.30
Oxford University Press STUD WORKB ACC GRAD REV TONAL THEORY P A
Book SynopsisTrade Review"The exercises are inspirationally clever. . . . I like the wide variety of 'real music' examples as well and I suspect that my grad students would be equally appreciative. . . . I like the summaries, point-by-point reminders, and suggestions about such matters as how to figure a bass or how to write a sequence. Students will find such lists to be both very clear and very comforting."--Neil Minturn, University of MissouriTable of ContentsPreface Chapter 1: Musical Time and Space Assignment 1.1: Rhythm, Meter, and Accent Assignment 1.2: More Metrical Issues, Scales, and Key Signatures Assignment 1.3: More Scales, Intervals Assignment 1.4: More intervals and Melody Chapter 2: Harnessing Musical Time and Space Assignment 2.1: Contrapuntal Motions and 1:1 Counterpoint Assignment 2.2: 1:1 and 2:1 Counterpoint Assignment 2.3: 2:1 Counterpoint, Triads Assignment 2.4: Triads and Figured Bass Assignment 2.5: Figured Bass and Harmonic Analysis Assignment 2.6: Seventh Chords Assignment 2.7: Seventh Chords, Texture Chapter 3: Making Choices: When Harmony, Melody, and Rhythm Merge Assignment 3.1: Tones of Figuration and Harmonic Analysis Assignment 3.2: Melodic Fluency Assignment 3.3: Embellishment Chapter 4: Composition and Analysis: Using I, V, and V7 Assignment 4.1: Writing and Analyzing I and V Assignment 4.2: More Writing of Tonic and Dominant Assignment 4.3: V7 Chapter 5: Contrapuntal Expansions of Tonic and Dominant Assignment 5.1: Six-Three Chords Assignment 5.2: More Six-Threes Assignment 5.3: V7 and viio7 Assignment 5.4: More Seventh Chords Chapter 6: A New Harmonic Function; Additional Melodic and Harmonic Embellishments Assignment 6.1: The Pre-Dominant Assignment 6.2: More Pre-Dominants Assignment 6.3: Accented Tones of Figuration Assignment 6.4: All Tones of Figuration Chapter 7: Six Four Chords, Non-Dominant Seventh Chords, and Refining the Phrase Model Assignment 7.1: Six-Four Chords Assignment 7.2: More Six-Four Chords and Non-Dominant Seventh Chords Assignment 7.3: More Non-Dominant Seventh Chords Assignment 7.4: Embedded Phrase Models Chapter 8: The Submediant and Mediant Assignment 8.1: The Submediant Assignment 8.2: Submediant and Mediant Assignment 8.3: More Submediant and Mediant Assignment 8.4: Paradigms and Composition Chapter 9: The Period, Double Period, and Sentence Assignment 9.1: Period and Sentence Assignment 9.2: Composition Assignment 9.3: Period, Sentence, and Double Period Chapter 10: Harmonic Sequences: Concepts and Patterns Assignment 10.1: Triadic Sequences Assignment 10.2: More Triadic Sequences Assignment 10.3: Triadic and Seventh Chord Sequences Chapter 11: Applied Chords Assignment 11.1: Spelling, Recognizing, and Writing Applied Chords Assignment 11.2: Applied viio7 Assignment 11.3: Harmonization and Applied Chord Sequences Assignment 11.4: Extended Tonicization Chapter 12: Modulation and Binary Form Assignment 12.1: Closely Related Keys, Pivots, and Modulation Assignment 12.2: More Modulation; More Writing Assignment 12.3: Two-Voice Modulations, Modulation, and Binary Form Assignment 12.4: Modulation and Binary Form Assignment 12.5: Binary Form Chapter 13: Expressive Chromaticism: Modal Mixture and Chromatic Tonicization Assignment 13.1: Melodic and Harmonic Mixture Assignment 13.2: Plagal motions Assignment 13.3: Chromatic Tonicization Assignment 13.4: Prepared and Common-Tone Chromatic Modulations Chapter 14: The Neapolitan and Augmented Sixth Chords Assignment 14.1: Identifying and Writing the Neapolitan Chord Assignment 14.2: More Neapolitan Assignment 14.3: Tonicization of the Neapolitan Assignment 14.4: Augmented Sixth Chords Assignment 14.5: More Augmented Sixth Chords Assignment 14.6: More Writing of Augmented Sixth Chords, +6 in Modulation Chapter 15: Ternary and Sonata Forms Assignment 15.1: Analysis of Ternary Assignment 15.2: Ternary and Binary Forms Assignment 15.3: Sonata Keyboard Exercises
£93.75
Oxford University Press Analytical and CrossCultural Studies in World Music
Book SynopsisThis collection presents intriguing explanations of extraordinary musical creations from across the world, concentrating on how the music works as sound in process.Trade ReviewAn interesting sampler of the world's music and practitioners...Recommended. * CHOICE *Table of ContentsAbout the Companion Website ; Introduction, John Roeder ; Part I: Analytical Encounters with Music in Diverse Cultures ; 1. Surface and Deep Structure in the Togaku Ensemble of Japanese Court Music (Gagaku). Naoko Terauchi ; 2. Form, Counterpoint, and Meaning in a Fourteenth-Century French Courtly Song. ; Eva Elizabeth Leach ; 3. Nuances of Continual Variation in the Brazilian Pagode Song <"Sorriso Aberto>". ; Jason Stanyek and Fabio Oliveira ; 4. Thelonious Monk's Harmony, Rhythm, and Pianism. Evan Ziporyn and Michael Tenzer ; 5. Dynamics of Melodic Discourse in Indian Music: Budhaditya Mukherjee's ?l?p in R?g P?riy?-Kaly?n. Richard Widdess ; 6. Timbre-and-Form: The BSC and the Boston Improvising Community, Lou Bunk ; 7. Rhythm and Folk Drumming (P'ungmul) as the Musical Embodiment of Communal Consciousness in South Korean Village Society. Nathan Hesselink ; 8. Strophic Form and Asymmetrical Repetition in Four American Indian Songs. ; Victoria Lindsay Levine and Bruno Nettl ; 9. Musical Form and
£38.24
Oxford University Press ART OF PARTIMENTO C History Theory and Practice
Book SynopsisIn The Art of Partimento, performer and historian Giorgio Sanguinetti provides students and scholars of composition and music theory an historical chronicle as well as a practical guide, offering them the opportunity not only to understand the life of this fascinating tradition, but to participate in it as well.Trade ReviewGiorgio Sanguinettis The art of partimento is a very impressive accomplishment, not only for its groundbreaking effort to sketch the history of this largely uncovered repertory, but also for the very useful list of sources on the companion website and for the beautiful linearity of many of his realizations in the third part of the book. This book will benefit not only keyboardists but also advanced players of the lute and theorbo, at least those who have acquired skills in playing without tablature. Sanguinettis monograph has the potential to enrich deeply the study of harmony, counterpoint and fugue, as it enables the reader to reconstruct a unique and historically founded synthesis between practical playing and theoretical learning, using teaching material from some of the most distinguished masters of the 18th century. * Peter van Tour, Early Music *This wonderful book explores the rules of this multifaceted compositional shorthand. * Music Teacher *Sanguinetti's book is a comprehensive and highly organized account of an exceedingly complex musical art. * David Chapman, Notes *Table of ContentsPart One: History ; 1. Of Some Odd Musical Manuscripts ; 2. What are Partimenti? ; 3.The Partimento in Italy and in Naples ; 4. The Neapolitan Conservatori: an Historical Outline ; 5. Teaching Methods in the Conservatories of Naples ; 6. Partimento Sources: Transmission and Typology ; 7. A Genealogy of Masters ; Part Two: Theory ; 8. Partimento as Composition Theory ; 9. The Rules: a Synoptic View ; Part Three: Practice ; 10. Prelude to Realization ; 11. The Unfigured Partimento ; 12. The Art of Diminution ; 13. Imitation ; 14. Motivic Coherence ; 15. "Authentic" Realizations ; Part Four: A Guide to Realization ; 16. Lezione, Prelude, Modular Etude ; 17. Tutti/solo: Concerto and Toccata ; 18. Sonata ; 19. Fantasia, Variation, Dance ; 20. Imitative Genres ; 21. Fugue ; Epilogue ; List of Souces ; Bibliography ; Index.
£67.45
Oxford University Press, USA Ear Training and Sight Singing A Developmental
Book SynopsisEar Training and Sight Singing is an introductory text designed to present a wealth of material suitable for use in ear training and sight singing courses for a 4-semester university or college programme anywhere in North America.Trade Review"The author is not only a music expert-he is also an excellent communicator. . . . He understands that the journey to knowledge involves leading the student to discover, rather than simply using recitation and regurgitation of preset information." --Jennifer Knelman, University of Guelph "The integrated approach is very effective: written exercises within reading assignments and references to repertoire excerpts and pop music are included directly in the text, rather than in an accompanying anthology or another appendix. Addressing various musical aspects (i.e., melody, harmony, rhythm) in each chapter works well, and the ready-made drills and dictation exercises will be appreciated by instructors." --Heather Harty Scott, Douglas CollegeTable of ContentsAUTHOR'S PREFACE AND ACKNOWLEDGEMENTS ; PUBLISHER'S PREFACE ; PART I BASIC DIATONIC AND RHYTHMIC MATERIAL ; SCALES ; THE MAJOR SCALE ; THE SOLFEGE SYSTEM ; MOVABLE DO ; SINGING MAJOR SCALES USING SOLFEGE ; CURWEN HAND SIGNS ; INTERVALS ; SECONDS AND THIRDS ; SINGING MELODIC INTERVALS: SCALE-DEGREE PATTERNS AND REFERENTIAL MELODIES ; HEARING HARMONIC SECONDS AND THIRDS ; MELODY ; TRANSCRIBING SCALAR MELODIES ; SINGING SCALAR MELODIES USING SOLFEGE ; TRIADS ; THE MAJOR TRIAD ; SINGING MAJOR TRIADS FROM THE ROOT ; RHYTHM ; SIMPLE METER: NOTATION AND TRANSCRIPTION ; READING AND PERFORMING RHYTHMS IN SIMPLE TIME ; CONDUCTING PATTERNS ; VOCALIZING STRATEGIES ; HARMONY ; TONIC DOMINANT: GETTING THE BASS LINE ; ASSIGNMENTS ; ASSIGNMENT 1 ; ONLINE ASSIGNMENT 1 ; REPERTOIRE ; SCALE DEGREE EXERCISES ; SOLFEGE MELODIES ; RHYTHMS ; SCALES ; THE MINOR SCALES ; SINGING THE NATURAL MINOR SCALE ; THE HARMONIC FORM OF THE MINOR SCALE ; SINGING THE HARMONIC MINOR SCALE ; INTERVALS ; PERFECT FOURTHS,FIFTHS, AND OCTAVES ; MELODY ; THE TONIC TRIAD (I/I) ; SINGING MELODIES WITH TONIC ARPEGGIOS ; TRIADS ; THE MINOR TRIAD ; SINGING MINOR TRIADS FROM THE ROOT ; RHYTHM ; SIMPLE: RESTS ; SIMPLE: TIED NOTES ; TRANSCRIBING RESTS AND TIED NOTES IN SIMPLE METER ; HARMONY ; I, IV, V, AND V7 IN ROOT POSITION ; SUBDOMINANT HARMONY (IV AND IV) ; ASSIGNMENTS ; ASSIGNMENT 2 ; ONLINE ASSIGNMENT 2 ; REPERTOIRE ; SCALE DEGREE EXERCISES ; SOLFEGE MELODIES AND DUETS ; RHYTHMS ; SCALES ; THE MELODIC FORM OF THE MINOR SCALE ; SINGING THE MELODIC MINOR SCALE ; INTERVALS ; MAJOR AND MINOR SIXTHS ; MELODY ; THE DOMINANT TRIAD (V) AND DOMINANT-SEVENTH CHORD (V7) ; SINGING MELODIES WITH DOMINANT AND DOMINANT-SEVENTH ARPEGGIOS ; TRIADS ; SINGING MAJOR AND MINOR TRIADS FROM THE THIRD AND FIFTH ; RHYTHM ; COMPOUND METERS: NOTATION, TRANSCRIPTION, AND READING ; HARMONY ; I, IV, V IN ROOT POSITION AND FIRST INVERSION, V7 IN ROOT POSITION ; ASSIGNMENTS ; ASSIGNMENT 3 ; ONLINE ASSIGNMENT 3 ; REPERTOIRE ; SCALE DEGREE EXERCISES ; SOLFEGE MELODIES ; SOLFEGE DUETS ; RHYTHMS ; SCALES ; MORE PRACTICE WITH THE MAJOR SCALE AND ALL FORMS OF MINOR SCALES ; INTERVALS ; MAJOR AND MINOR SEVENTHS ; THREE METHODS FOR SINGING SEVENTHS ; MELODY ; THE SUBDOMINANT TRIAD (IV AND IV) ; SINGING MELODIES WITH SUBDOMINANT ARPEGGIOS ; TRIADS ; ISOLATING OUTER VOICES (FACTORS) IN MAJOR AND MINOR TRIADS ; RHYTHM ; COMPOUND METER: TIED NOTES AND RESTS ; HARMONY ; LINEAR PROGRESSION: THE VIIO6 HARMONY ; FOCUS: THE BASS VOICE ; THE MINOR DOMINANT (V6) IN MINOR KEYS ; ASSIGNMENTS ; ASSIGNMENT 4 ; ONLINE ASSIGNMENT 4 ; REPERTOIRE ; SCALE DEGREE EXERCISES ; SOLFEGE MELODIES ; SOLFEGE DUETS ; RHYTHMS ; SCALES ; THE JAZZ MELODIC MINOR SCALE ; INTERVALS ; TRITONES ; SINGING TRITONES: REFERENTIAL MELODIES ; MELODY ; TRITONE LEAPS ; SINGING MELODIES WITH TRITONE LEAPS AND SUPERTONIC ARPEGGIOS ; TRIADS ; OUTER VOICES IN MAJOR AND MINOR TRIADS: ALTERNATIVE DOUBLINGS ; RHYTHM ; THE ANACRUSIS (UPBEAT) ; COMPOUND AND SIMPLE METERS:NEW BEAT AND DIVISION VALUES ; HARMONY ; SUPERTONIC HARMONY: II, II6, AND IIO6 ; SUBMEDIANT (VI/VI) AND MEDIANT (III/III) HARMONIES ; THE MINOR SUPERTONIC IN MINOR KEYS ; ASSIGNMENTS ; ASSIGNMENT 5 ; ONLINE ASSIGNMENTS 5 AND 6 ; REPERTOIRE ; SCALE DEGREES EXERCISES ; SOLFEGE MELODIES ; SOLFEGE DUETS ; RHYTHMS ; SCALES ; THE CHURCH MODES ; THE LYDIAN MODE ; INTERVALS ; MORE PRACTICE WITH INTERVALS TO THE PERFECT OCTAVE ; MELODY ; PRACTICE MELODIES FOR TRANSCRIPTION ; PRACTICE MELODIES FOR SIGHT-SINGING ; TRIADS ; THE DIMINISHED TRIAD ; SINGING THE DIMINISHED TRIAD ; RHYTHM ; MORE PRACTICE WITH RHYTHMIC TRANSCRIPTION ; HARMONY ; REVIEW OF ROOT POSITION AND FIRST INVERSION HARMONIES ; PASSING AND NEIGHBOURING TONES ; SPECIAL HARMONIES IN MINOR KEYS AND THE SUBTONIC; DIMINISHED SUBMEDIANT ; ASSIGNMENTS ; ASSIGNMENT 6 ; ONLINE ASSIGNMENT 7 (REVIEW) AND 8 ; REPERTOIRE ; SCALE-DEGREE EXERCISES ; SOLFEGE MELODIES ; SOLFEGE DUETS ; RHYTHMS ; PART II INTERMEDIATE DIATONIC AND RHYTHMIC MATERIAL ; SCALES ; MORE PRACTICE WITH LYDIAN MODE ; INTERVALS ; MELODIC INTERVALS IN SERIES ; MELODY ; THE LEADING-TONE TRIAD (VIIO) ; SINGING MELODIES WITH LEADING-TONE ARPEGGIOS ; TRIADS ; THE AUGMENTED TRIAD ; SINGING THE AUGMENTED TRIAD ; RHYTHM ; SIMPLE METER: BEAT DIVISION INTO FOUR ; HARMONY ; THE PASSING SIX-FOUR (P6/4) HARMONY ; ASSIGNMENTS ; ASSIGNMENT 7 ; ONLINE ASSIGNMENT 9 ; REPERTOIRE ; SCALE DEGREE EXERCISES ; SOLFEGE MELODIES ; SOLFEGE DUETS ; RHYTHMS ; SCALES ; THE MIXOLYDIAN MODE ; INTERVALS ; HARMONIC INTERVALS IN SERIES ; MELODY ; PRACTICE MELODIES FOR TRANSCRIPTION AND SINGING ; TRIADS ; SINGING MAJOR AND MINOR TRIADS IN ROOT POSITION GIVEN THE THIRD OR FIFTH ; IDENTIFYING OUTER VOICES IN DIMINISHED TRIADS ; RHYTHM ; HARMONY ; THE NEIGHBOURING SIX-FOUR (N6/4) HARMONY ; THE CIRCLE OF FIFTHS ; ASSIGNMENTS ; ASSIGNMENT 8 ; ONLINE ASSIGNMENT 10 ; REPERTOIRE ; SCALE DEGREE EXERCISES ; SOLFEGE MELODIES ; SOLFEGE DUETS ; RHYTHMS ; SCALES ; MORE PRACTICE WITH MIXOLYDIAN MODE ; MORE PRACTICE WITH MAJOR AND MINOR SCALES ; INTERVALS ; SINGING MELODIC INTERVALS IN SERIES ; MORE PRACTICE HEARING SERIES OF HARMONIC INTERVALS ; MELODY ; INTRODUCTION TO TWO-PART MELODIC DICTATION ; REVIEW OF SUPERTONIC AND LEADING-TONE ARPEGGIOS ; REVIEW OF MIXOLYDIAN MODE ; TRIADS ; SINGING MAJOR AND MINOR TRIADS IN INVERSION ; RHYTHM ; MORE CHALLENGING EXERCISES WITH TIES AND RESTS ; INTRODUCTION TO TWO-PART RHYTHM READING ; HARMONY ; THE CADENTIAL SIX-FOUR (C6/4) HARMONY ; LONGER HARMONIC PROGRESSIONS ; ASSIGNMENTS ; ASSIGNMENT 9 ; ONLINE ASSIGNMENT 11 ; REPERTOIRE ; SCALE DEGREE EXERCISES ; SOLFEGE MELODIES ; SOLFEGE DUETS ; RHYTHMS ; TWO-PART RHYTHMS ; SCALES ; THE DORIAN MODE ; INTERVALS ; LONGER SERIES OF MELODIC AND HARMONIC INTERVALS ; MELODY ; TRANSCRIPTION AND SINGING IN DIFFERENT MODES ; MORE TWO-PART MELODIC TRANSCRIPTION ; TRIADS ; SINGING THE DIMINISHED TRIAD IN FIRST INVERSION ; RHYTHM ; MORE PRACTICE WITH SIMPLE AND COMPOUND METERS READING TWO-PART RHYTHMS WITH RESTS AND TIES ; HARMONY ; THE ARPEGGIO SIX-FOUR (A6/4) HARMONY ; REVIEW OF ALL SIX-FOUR HARMONIES ; ASSIGNMENTS ; ASSIGNMENT 10 ; ONLINE ASSIGNMENTS 12 AND 13 ; REPERTOIRE ; SCALE DEGREE EXERCISES ; SOLFEGE MELODIES ; SOLFEGE DUETS ; RHYTHMS ; TWO-PART RHYTHMS ; SCALES ; REVIEW OF MAJOR AND MINOR SCALES; LYDIAN, MIXOLYDIAN, AND DORIAN MODES ; INTERVALS ; REVIEW OF ALL INTERVALS UP TO THE PERFECT OCTAVE ; MELODY ; EIGHT-MEASURE MELODIES FOR TRANSCRIPTION, PART 1 ; REVIEW OF MAJOR AND MINOR MELODIES WITH WIDE-INTERVAL LEAPS ; TRIADS ; REVIEW OF ALL TRIADS ; RHYTHM ; HARMONY ; OUTER-VOICE TRANSCRIPTIONS IN MUSICAL NOTATION ; INVERTED HARMONY: THE V6/5 CHORD ; CLEFS ; ALTO AND TENOR CLEFS ; ASSIGNMENTS ; ASSIGNMENT 11 ; ONLINE ASSIGNMENTS 14 (REVIEW) AND 15 ; REPERTOIRE ; MELODIES ; DUETS ; RHYTHMS ; TWO-PART RHYTHMS ; PART III ADVANCED DIATONIC AND RHYTHMIC MATERIAL ; SCALES ; THE PHRYGIAN MODE ; INTERVALS ; COMPOUND INTERVALS: NINTHS AND TENTHS ; MELODY ; EIGHT-MEASURE MELODIES FOR TRANSCRIPTION, PART 2 ; MORE PRACTICE MELODIES FOR SINGING ; CHORDS ; CHORDS OUT OF CONTEXT: THE MAJOR-MINOR-SEVENTH CHORD (MM7) ; RHYTHM ; MORE PRACTICE WITH COMPOUND AND SIMPLE TIME METERS ; TWO-PART RHYTHMIC TRANSCRIPTION ; HARMONY ; INVERTED DOMINANT-SEVENTH HARMONY: THE V4/2 CHORD ; NON-HARMONIC TONES: UNACCENTED NHTS ; ASSIGNMENTS ; ASSIGNMENT 12 ; ONLINE ASSIGNMENT 16 ; REPERTOIRE ; MELODIES ; DUETS ; RHYTHMS ; TWO-PART RHYTHMS ; SCALES ; THE LOCRIAN MODE ; INTERVALS ; COMPOUND INTERVALS: PERFECT ELEVENTHS, TWELFTHS, AND FIFTEENTHS ; SINGING ELEVENTHS, TWELFTHS, AND FIFTEENTHS ; MELODY ; EIGHT-MEASURE MELODIES FOR TRANSCRIPTION: SENTENCE STRUCTURE ; SINGING MELODIES: FOCUS ON CADENCES ; CHORDS ; CHORDS OUT OF CONTEXT: THE MINOR-SEVENTH CHORD (MM7) AND THE MAJOR-SEVENTH CHORD (MM7) ; RHYTHM ; BORROWED DIVISION: TRIPLETS IN SIMPLE METER ; MORE PRACTICE WITH SECOND-LEVEL DIVISION IN COMPOUND METER ; HARMONY ; INVERTED DOMINANT-SEVENTH HARMONY: THE V4/3 CHORD ; NON-HARMONIC TONES: ACCENTED NHTS ; ASSIGNMENTS ; ASSIGNMENT 13 ; ONLINE ASSIGNMENT 17 ; REPERTOIRE ; MELODIES ; DUETS ; RHYTHMS ; TWO-PART RHYTHMS ; SCALES ; MORE PRACTICE WITH SCALES AND MODES ; INTERVALS ; COMPOUND INTERVALS: THIRTEENTHS,FOURTEENTHS AND THE COMPOUND TRITONE ; MELODY ; EIGHT-MEASURE MELODIES FOR TRANSCRIPTION: PERIOD STRUCTURE ; SINGING MELODIES: FOCUS ON STRUCTURE ; CHORDS ; MORE PRACTICE WITH MM7 AND THE MM7 CHORDS ; RHYTHM ; SYNCOPATION FROM SIXTEENTH-NOTES ; SIMPLE METER: TWO-PART RHYTHMIC DICTATION USING TRIPLETS ; HARMONY ; OTHER SEVENTH-CHORDS: I7, IV7, AND II7 (ROOT POSITION ONLY) ; SEQUENCE: THE CIRCLE OF FIFTHS ; ASSIGNMENT 14 ; ASSIGNMENT 14 ; ONLINE ASSIGNMENT 18 ; REPERTOIRE ; MELODIES ; DUETS ; RHYTHMS ; TWO-PART RHYTHMS ; SCALES ; THE PENTATONIC SCALE ; INTERVALS ; MORE PRACTICE WITH COMPOUND INTERVALS ; MELODY ; MORE MELODIES FOR TRANSCRIPTION AND SINGING ; CHORDS ; HEARING THE UPPER VOICE IN MM7, MM7, AND MM7 ; RHYTHM ; BORROWED DIVISION: DUPLETS IN COMPOUND METERS ; COMPOUND METERS: OTHER DOTTED-RHYTHM CELLS ; HARMONY ; INVERTED PREDOMINANT SEVENTHS: II6/5 AND IIO6/5 ; ASSIGNMENTS ; ASSIGNMENT 15 ; ONLINE ASSIGNMENT 19 AND 20 (REVIEW) ; REPERTOIRE ; MELODIES ; DUETS ; RHYTHMS ; TWO-PART RHYTHMS ; SCALES ; THE WHOLE-TONE SCALE ; INTERVALS ; MULTIPLE COMPOUND INTERVALS, PART 1 ; SIMPLE MELODIC AND HARMONIC INTERVALS IN SERIES ; MELODY ; MELODIES WITH CHROMATICISM ; SINGING MELODIES WITH CHROMATICISM ; CHORDS ; CHORDS OUT OF CONTEXT: THE HALF-DIMINISHED-SEVENTH CHORD (DM7 OR O7) ; MM7 CHORDS AS V7: IDENTIFYING THE UPPER VOICE AND THE INVERSION ; RHYTHM ; IRREGULAR METERS : 5/4 AND 7/8 ; HARMONY ; ALL DIATONIC HARMONIES REVIEW ; MODAL MIXTURE ; ASSIGNMENTS ; ASSIGNMENT 16 ; ONLINE ASSIGNMENT 21 (REVIEW) AND 22 ; REPERTOIRE ; MELODIES ; DUETS ; RHYTHMS ; TWO-PART RHYTHMS ; SCALES ; THE OCTATONIC SCALE ; INTERVALS ; MULTIPLE COMPOUND INTERVALS, PART 2: FURTHER EXERCISES ; MELODY ; MORE PRACTICE WITH HEARING CHROMATICISM IN MELODIES ; MORE PRACTICE WITH SINGING CHROMATICISM IN MELODIES ; CHORDS ; ALL TRIADS: ADDING INNER VOICES ; CHORDS OUT OF CONTEXT: THE FULLY-DIMINISHED-SEVENTH CHORD (DD7 OR O7) ; RHYTHM ; IRREGULAR METER: 8/8 ; BORROWED DIVISION: MORE TUPLETS ; HARMONY ; HEARING VIIO7 AND VIIO7 ; ASSIGNMENTS ; ASSIGNMENT 17 ; ONLINE ASSIGNMENT 23 ; REPERTOIRE ; MELODIES ; DUETS ; RHYTHMS ; TWO-PART RHYTHMS ; PART IV CHROMATIC AND ATONAL MATERIAL; MORE ADVANCED RHYTHMIC MATERIAL ; SCALES ; THE BLUES SCALE ; INTERVALS ; MELODIC ATONAL INTERVALS IN SERIES ; SINGING MELODIC ATONAL INTERVALS IN SERIES ; MELODY ; MODULATING MELODIES ; SINGING MODULATING MELODIES ; SIMPLE CHROMATICISM IN TWO-PART MELODIES ; CHORDS ; MM7 CHORDS: ADDING UPPER VOICES ; RHYTHM ; CHANGING METERS ; HARMONY ; CHROMATIC HARMONY: THE NEAPOLITAN SIXTH CHORD (BII6) ; ASSIGNMENTS ; ASSIGNMENT 18 ; ONLINE ASSIGNMENT 24 ; REPERTOIRE ; MELODIES ; DUETS ; RHYTHMS ; TWO-PART RHYTHMS ; SCALES ; NON-TRADITIONAL SCALES ; INTERVALS ; HARMONIC COMPOUND INTERVALS IN SERIES ; MORE PRACTICE WITH MELODIC ATONAL INTERVALS IN SERIES ; MELODY ; MORE MODULATING MELODIES ; MODULATING MELODIES WITH CHROMATICISM ; MORE CHROMATICISM IN TWO-PART MELODIES ; CHORDS ; OTHER SEVENTH CHORDS: ADDING INNER VOICES ; RHYTHM ; MORE PRACTICE WITH TRIPLETS, TUPLETS, AND DUPLETS FURTHER LEVELS OF BEAT DIVISION ; BORROWED DIVISIONS: THE SUBTRIPLET AND THE SUPERTRIPLET ; HARMONY ; CHROMATIC HARMONY: THE AUGMENTED SIXTH CHORDS ; ASSIGNMENTS ; ASSIGNMENT 19 ; ONLINE ASSIGNMENT 25 ; REPERTOIRE ; MELODIES ; DUETS ; RHYTHMS ; TWO-PART RHYTHMS ; SCALES ; OLIVIER MESSIAEN'S MODES OF LIMITED TRANSPOSITION ; INTERVALS ; MORE PRACTICE WITH HARMONIC COMPOUND INTERVALS IN SERIES ; MORE PRACTICE WITH MELODIC ATONAL INTERVALS IN SERIES ; MELODY ; MELODIES THAT MODULATE TO OTHER KEY AREAS ; MORE CHROMATICISM IN MODULATING MELODIES ; CHORDS ; CHORDS OUT OF CONTEXT: THE DOMINANT-NINTH CHORD (V9) ; SINGING DOMINANT-NINTH ARPEGGIOS ; THE MM7 CHORD ; RHYTHM ; ADVANCED RHYTHM TRANSCRIPTION AND READING ; HARMONY ; V9 IN HARMONIC PROGRESSIONS ; APPLIED DOMINANTS: [V7] AND [V6/5] ; ASSIGNMENTS ; ASSIGNMENT 20 ; ONLINE ASSIGNMENT 26, 27, 28 ; REPERTOIRE ; MELODIES ; DUETS ; RHYTHMS ; TWO-PART RHYTHMS ; APPENDIX I: CURWEN HAND SIGNS ; APPENDIX II: REFERENTIAL MELODIES ; APPENDIX III: RHYTHMIC SHORTHAND ; APPENDIX IV: CHROMATIC VARIANTS OF THE MOVABLE-DO SOLFEGE SYSTEM ; GLOSSARY OF MUSICAL TERMS ; INDEX
£59.84
British Academy Huju Traditional Opera in Modern Shanghai British
Book SynopsisAn account of Huju, a Shanghai operatic tradition which blends music and acting with portrayal of the lives of ordinary people, this study follows the genre as it develops in China's largest city from rural entertainment to urban ballad, revolutionary drama, and contemporary opera.Trade ReviewJonathan Stock has made a valuable contribution to the field of Chinese music studies in particular and to musicology in general. * Music and Letters *Table of ContentsIntroduction ; The Rise of Local Opera form in east China, up to 1920 ; Female roles and the Rise of Actresses, 1915-c.1950 ; Place and Music: Local Opera in Shanghai, 1912-49 ; Huju and the politics of revolution, post-1949 ; Ethnomusicological Research in an Urban Setting
£57.00
Oxford University Press Imaginative Minds
Book SynopsisImagination is one of the most distinctive characteristics of human thought. The supreme powers of flexibility, supposition and inventiveness that are its hallmarks, whether in science, technology, business or the visual, literary and performing arts, are highly prized in contemporary societies. Yet in the fields of psychology and cognitive science, where we might expect to find the topic ''centre-stage'', there has been comparatively little work. This volumes addresses this omission by bringing together the theories and methods of these disciplines with other perspectives offering important insights into the imagination. The 15 chapters address key questions about the imaginative workings of the mind, including how the capacity for imagination evolved, how it is expressed and what roles it plays in children''s thinking, what psychological processes and brain mechanisms are involved, and how imagination operates in universal cultural phenomena such as music, fiction and religion, whichTrade Reviewthe reviews cover a wide range of standpoints with modesty and caution...In summary this fascinating book provides a comprehensive survey of a neglected and scientifically challenging field. It should help further research. * Alan Kerr Journal of Consciousness Studies *Table of ContentsINTRODUCTION ; EVOLUTION OF THE IMAGINATION ; DEVELOPMENT OF IMAGINATION IN CHILDREN ; MIND INTO CULTURE: PERSPECTIVES ON MUSICAL IMAGINATION ; IMAGINATION, COGNITION AND CREATIVE THINKING ; COGNITIVE ARCHITECTURE OF THE IMAGINATION ; ATYPICAL IMAGINATION AND BRAIN MECHANISMS
£76.00
British Academy Red Strains Music and Communism Outside the
Book SynopsisThe end of global communism has erased from memory the prior influence of communist ideology outside of the communist bloc. Many western musicians were involved in communist movements and organisations which often had a decisive impact upon their music. This book recalls the meeting of music and communism in societies outside of a communist state.Table of ContentsI. MUSICIANS' PERSPECTIVES; II. TO 1960; III. FROM 1960
£66.50
OUP Oxford Defining the Discographic Self
Book SynopsisDesert Island Discs has run on BBC radio since 1942 and its archive is now accessible. This book is the first to assess the programme from a scholarly perspective. Chapters by musicologists, sociologists, and media scholars are complemented by personal spins by 'castaways', who reflect on talking publicly about the role of music in their lives.
£76.00
Oxford University Press, USA The Music Road Coherence and Diversity in Music
Book SynopsisThe Music Road (the western half of the famous "Silk Road") explores transmissions, migrations and discourses of music, dance and theatre in the area between the Mediterranean and India, from the first to the 20th century. This scholarly panorama explores this cultural world and considers its fascinating inner diversity.Table of ContentsIntroduction 1: Reinhard Strohm: The Music Road: an expedition across time and space Keynote 2: Martin Stokes: The Middle East in music history: An ethnomusicological perspective Alexandrian Tracks 3: Gabriela Currie: Sonic entanglements, visual records and the Gandharan nexus 4: Ciro Lo Muzio: Persian 'snap': Iranian dancers in Gandhra 5: Donatella Restani: Listening between the lines: Alexander's musical legacy in Italy (13th-15th centuries) Intercultural Islam 6: Andrew Hicks: Mysticism's musical modalities: Philosophies of audition in medieval Persian Sufism 7: Lisa Nielson: Samac intertwined in practice: Eight treatises from the ninth to fifteenth centuries 8: Slawomira Zeranska-Kominek: Writing the history of unwritten music: On the treatise of Darwesh 'Ali Changi (17th c.) 9: Owen Wright: Bridging the Safavid-Ottoman divide 10: Kevin Dawe: Musical instruments and world history: A case study of the guitar in the Republic of Turkey Indian Encounters 11: Margaret Walker: 11 The 'Nautch', the Veil, and the Bayadère: The Indian dance as musical nexus 12: Nalini Ghuman: Maud MacCarthy: 'The musicking body' Hellas between West and East 13: Katy Romanou: The music of the modern Greeks in Western and Eastern music literature, from the ninth to the 19th century 14: Walter Puchner: A typology of Western music and theatre activity in South-East Europe, the Eastern Mediterranean and the Black Sea region in premodern times (16th-19th century) 15: Kostas Kardamis: Orientalism in the art music of the Ionian islands 16: Avra Xepapadakou: European itinerant opera and operetta companies touring in the Near and Middle East A Gypsy Epilogue 17: Anna G. Piotrowska: From 'rhapsodic gypsy' to 'gypsy rhapsody' General bibliography Index
£85.50
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 Music the Market and the Marvellous
Book Synopsis
£85.50
Oxford University Press Song in the Novel
Book Synopsis
£76.00
Oxford University Press Inc General Music Dimensions of Practice
Book SynopsisTrade ReviewThis thoughtful undertaking provides a full flowering of principal features of 'General Music', that holistic realm of experience and education that extends across all facets of meaningful musical participation for elementary and secondary school students. With its extensive coverage, theoretical notions, and pedagogical considerations, Abril and Gault have framed a fine guide to music practice for classrooms of children and youth, and have invited an excellent crew of expert authors to detail participatory musicking in ways that carefully attend to the cognitive, kinesthetic, and affective development of diverse learners. * Patricia Shehan Campbell, Donald E. Peterson Professor of Music, University of Washington *This masterfully edited collection of essays is a first to position general music as a holistic, interconnected, and complex activity that is intimately linked with intrapersonal and interpersonal human connections. Supported by the most recent research and theoretical work, each chapter offers teaching ideas on the many areas and themes that compose the mosaic of general music, including presentational and participatory musicking, singing, performance, listening, appreciation, creativity, pop, folk and world music, technology, and community building. This must-read book will inspire teachers, students, researchers, and anyone interested in the art of general music education. * Associate Professor of Music Education, University of Southern California *Table of Contents1. General Music as Holistic Music Education Carlos R. Abril and Brent M. Gault Performing 2. Singing in the Elementary General Music Classroom Sarah J. Bartolome 3. Playing with Orff and Classroom Instruments Amy Beegle 4. Participatory Music Making with Fretted Instruments Martina Vasil 5. Pedagogical Approaches in Modern Band Gareth Dylan Smith and Warren Gramm 6. Teaching and Learning World Music Karen Howard Connecting 7. Teaching Music for Human Connections Carlos R. Abril and Loneka W. Battiste 8. Fostering Historical Empathy through Music, Art, and Poetry Janet Revell Barrett 9. Connecting with Repertoire: On the Efficacy of Folksong Jacqueline Kelly-McHale 10. Toward School and Community Musical Engagements Kari K. Veblen 11. How Do We Connect? Music Education in Online and Hybrid Learning Nyssa M. Brown Creating 12. Frames for Improvising Una MacGlone 13. New Ways to Think about Composing and Producing Katherine Strand and Michele Kaschub 14. Demystifying Songwriting Kat Reinhart 15. Digital Media, Digital Technology, and Participatory Culture Ann C. Clements Responding 16. Movement: An Integral Component of General Music Marja-Leena Juntunen 17. Engaging Learners in Active Music Listening Brent M. Gault 18. Perceiving and Responding through Analysis Andrew S. Paney and Nathan O. Buonviri Index
£46.06
Oxford University Press Inc Seeking Connections
Book SynopsisMusic connects the lives of students, teachers, and school communities in many ways. Music is also integrally related to other art forms, history, culture, and other subjects commonly taught in schools. These relationships deserve critical attention, particularly as educators seek to reorient their curricula and pedagogy toward the pressing aims of social justice. Seeking Connections encourages interdisciplinarity as a capacity to be exercised-an orientation or habit of mind that teachers and students can develop. This capacity depends upon viewing music as permeable, recognizing that music influences related ways of knowing, just as related ways of knowing influence music. This book invites teachers to create educational experiences that engage students in exploring an expansive relationship with music. With imaginative examples drawn from diverse musical genres, visual art, poetry, and historical cases, Seeking Connections provides thoughtful principles, models, and instructional strTrade ReviewBuilding upon decades of work on interdisciplinarity in the music curriculum, Janet Revell Barrett invites music educators to consider ways music learning can be more interconnected to other disciplines, contemporary society, and studentsâ lives. She masterfully accomplishes this through compelling arguments, unique cases from the field, detailed pedagogical models, reflective questioning, and thought-provoking stories. Music educators will find this book to be most informative and inspiring. * Carlos R. Abril, Professor of Music Education, Frost School of Music, University of Miami *Table of ContentsPreface Orienting questions Chapter 1: Adopting an interdisciplinary perspective Chapter 2: Interdisciplinarity from the inside out Chapter 3: Multidimensionality as a springboard for connections: The Facets Model Chapter 4: The musics of our time Chapter 5: The foundations of an interdisciplinary pedagogy Chapter 6: Triptych play Chapter 7: Bridges of inspiration: Synergy between music and art Chapter 8: Connecting contexts: Music and history Chapter 9: Assessing the strength of connections Chapter 10: The music curriculum in an interdisciplinary landscape References
£23.61
Oxford University Press Inc Instrument of the State A Century of Music in
Book SynopsisTable of ContentsForewords by Calvin Lewis, Myron Hodges, and Wayne Kramer List of Figures Note to the reader Introduction The Book as a Multi-Movement Musical Piece Uncovering Histories The Musicality of Prison A Brief Overview of Louisiana Behind Bars 1. Astonishment 2. Association 3. Politics 4. Surfaces 5. Inflection 6. Recapitulation Notes Bibliography Index
£27.97
Oxford University Press Inc Music Teacher as Music Producer
Book SynopsisNever has there been such an exciting time to be a music teacher. Band, choir, and orchestra are ubiquitous in schools and have come to be known as the primary mode that students experience music at the secondary level. Similarly, elementary school classrooms feature approaches by Orff, Kodaly, Dalcroze, and Music Learning Theory, among a host of others. But, what is next? In this enlightening guide, author Clint A. Randles provides music educators with the practical tools to turn their classrooms into student production studios. Addressing everything from a new conceptualization of the physical classroom space to the cables and other audio equipment no music educator should be without, Randles puts creativity, technology, recording arts, songwriting, music production, and live performance at the center of music classrooms.Table of ContentsChapter 1. Introduction: A Different Kind of Music Classroom, A Different Kind of Teacher Chapter 2. The Room(s): Where the Magic Happens Chapter 3. How Technology Can Help You Chapter 4. Instruments: Tools for Creative Expression Chapter 5. Setting the Stage for Success: Literally and Figuratively Chapter 6. Gear Considerations & Acoustics Chapter 7. Diversifying Performance Chapter 8. Classroom as Recording Studio Chapter 9. Making Technology Work for You Chapter 10. A Whole New World of Musical Products Chapter 11. The End is the Beginning Index Bibliography
£26.59
Oxford University Press Inc Rock and Rhapsodies The Music of Queen
Book SynopsisWhat, exactly, gave Queen's songs their magical and distinct musical identity? Rock and Rhapsodies answers this question through a fascinating musicological study of the band's output.Trade ReviewBraae weaves music analysis, critical theory, and production techniques to investigate the band and their work from an impressively large range of angles. Not only is this book for those of us who think Queen is the greatest band to ever grace the world stage, but the ideas and methods herein are also incredibly useful to scholars interested in popular music analysis more generally. * Justin Williams, Senior Lecturer in Music, University of Bristol *While Queen's output may now be historical, Braae draws upon and synthesizes a wide range of current theoretical positions, extending outside music itself, in order to encapsulate it. In asking many apposite questions, the book is excellent in seeing behind individual songs, towards what makes them tick as a body of work. It is also engagingly written, a model both for understanding Queen and for addressing any band's idiolect. * Allan F. Moore, Emeritus Professor in Music, University of Surrey *Braae's book is a brilliant analytical journey of how Queen created their unique and identifiable sound. It is an insightful, original and much-needed text that explores not just the notes, but also the historical, performative and production contexts that shaped their music. * Jadey O'Regan, Lecturer in Contemporary Music, Sydney Conservatorium of Music, University of Sydney *Table of ContentsNotes on Musical Examples Acknowledgements List of Tables and Figures 1. Introduction The Book The Study of Queen Issues of Style 2. Queen's Idiolect: A Primer Harmonic Structure and Gestures Textural Foundations and the Sound-Box Arrangement and Performance Gestures Sounds Like Queen, and other Conclusions 3. Artistic Craft and Crafted Artistry: Queen's Structural Archetypes Introduction and Definitions Conventional Forms Variations on Conventional Forms Episodic Songs Artistic Craft and Crafted Artistry 4. Temporal Processes in Queen's Large-Scale Songs Time and Popular Song Phrase and Intra-Sectional Linearity Sectional Temporality Closure Queen's Temporal Processes and Exceptions 5. Brian May and Roger Taylor Analyzing the Voice The Voices of Brian May and Roger Taylor May, Taylor, and Rock Authenticity 6. Freddie Mercury The Voices Structural Dynamics Stylistic Incongruities, Queer and Camp Voices, and the "Real" Freddie Mercury, Rock Authenticity, and Interpretation Coda 7. Hard Rock, Glam Rock and Progressive Rock in the 1970s Commentary and Conceptual Considerations Queen's "Dominant Voice": The Hard Rock Connection The Glam Rock Connection: Exaggeration, Irony, and Play Progressive Rock, and Interplay 8. The Musical World(s) of Queen A "Unique" Sonic Fingerprint and Pastiche in the 1970s Queen's Sonic Patterns and Stylistic Connections The Musical World(s) of Queen 9. A Day at the Races and the Gestural Unity of Queen Queen in 1976 and the Ideal of Evolution The Notion of Gestural Unity: Idiolect Revisited A Day at the Races The Gestural Unity of Queen 10. Was It All Worth It? Queen in the 1980s A Decade of Changing Fortunes From "Save Me" to "Staying Power" The Rock Ballads Revisited Hard Rock by Numbers Was It All Worth It? 11. Queen's Jubilee: The Late Style of Innuendo Introduction "Innuendo" "The Show Must Go On" A Late Style of Queen 12. Legacy Post-1991 Replacing Freddie "No One But You" We Will Rock You The Influence of Queen The End of the Story Bibliography Appendix A
£24.49
Oxford University Press Inc The Oxford Handbook of Jewish Music Studies
Book SynopsisThe Oxford Handbook of Jewish Music Studies is the most comprehensive and expansive critical handbook of Jewish music published to date. It is the first endeavor to address the diverse range of sounds, texts, archives, traditions, histories, geographic and political contexts, and critical discourses in the field. The thirty-one experts from thirteen countries who prepared the thirty original and groundbreaking chapters in this handbook are leaders in the disciplines of musicology and Jewish studies as well as adjacent fields. Chapters in the handbook provide a broad coverage of the subject area with considerable expansion of the topics that are normally covered in a resource of this type. Designed around eight distinct sections -- Land, City, Ghetto, Stage, Sacred and Ritual Spaces, Destruction / Remembrance, and Spirit -- the range and scope of The Oxford Handbook of Jewish Music Studies most significantly suggests a new framework for the study of Jewish music centered on spatiality aTable of Contents1. Introduction: Mapping Jewish Music Studies, Tina Frühauf Part I: Land 2. Adamot - Art Music - Israel, Assaf Shelleg 3. Land, Voice, Nation: Jewish Music in the Adamot of Al-Andalus, Vanessa Paloma Elbaz 4. "We Shall Sing Songs and Praise to the Lord Who Created Us Last in the World": Hakham Joseph Hayyim of Baghdad, Leadership with Poetry and Music, Merav Rosenfeld-Hadad Part II: City 5. Jewish Refugees from the Nazi State in Shanghai, 1938-1949, Sophie Fetthauer 6. Jewish Émigré Musicians in Buenos Aires: Integration and Cultural Impact, 1933-1945, Silvia Glocer 7. From a City of Greeks to Greeks in a City: Migration and Musical Taste Cultures between Salonika and Tel Aviv-Jaffa, Oded Erez 8. Berlin Klezmer and Urban Scenes, Phil Alexander Part III: Ghetto 9. Hearing the Ancient Temple in Early Modernity: Abraham Portaleone and the Cultivation of Music in Seventeenth-Century Mantua, Rebecca Cypess and Yoel Greenberg 10. Sonic Transformations: Urban Musical Culture in the Warsaw Ghetto, 1940-1942, J. Mackenzie Pierce 11. Sounding Out the Ghetto: Spatial Aspects of Jewish Musical Life during the Nazi Era, Tobias Reichard Part IV: Stage 12. Hasidic Cantors "Out of Context": Venues of Contemporary Cantorial Performance, Jeremiah Lockwood 13. Jewish Music and Totalitarianism in the Post-Stalinist Soviet Union, Jascha Nemtsov 14. Art Music in the Yishuv and in Early-Statehood Israel, Jehoash Hirshberg 15. The Yiddish Theater Republic of Sounds and the Performance of Listening, Ruthie Abeliovich Part V: Collection 16. The YIVO Sound Archive as a Living Space: Archiving and Revitalizing Klezmer, Eléonore Biezunski 17. Jewish Music Sound Recording Collections in the United States, Judith S. Pinnolis 18. Postcustodialism in the Jewish Music Archive, Joseph Toltz Part VI: Sacred and Ritual Spaces 19. Reimagining Spiritual Experience and Music: Perspectives from Jewish Worship in the United States, Jeffrey A. Summit 20. Sonic Collectivity at the Kotel ha-Ma'aravi (Western Wall), Abigail Wood 21. Singing at the Sabbath Table: Zemiroth as a Family History, Naomi Cohn Zentner 22. Early-Modern Yiddish Wedding Songs: Synchronic and Diachronic Functions, Diana Matut 23. Bukharian Jewish Weddings and Creative Uses of the Central Asian Past, Evan Rapport Part VII: Destruction / Remembrance 24. Remembering the Destruction, Re-animating the Collective: Romaniote Liturgical Music after the Holocaust, Miranda L. Crowdus 25. "We Live Forever": Music of the Surviving Remnant in Sweden, Simo Muir 26. "Ferramonti We Do Not Forget": Jews, Music, and Internment in Italy, Silvia Del Zoppo 27. "I Say She Is a Mutriba": Faded Memories of Aleppo's Jewish Women Musicians, Clara Wenz Part VIII: Spirit 28. Ultra-Orthodox Women and the Musical Shekhinah: Performance, Technology, and the Artist in North America, Jessica Roda 29. "On a Harp of Ten Strings I Will Sing Praises to You": Envisioning Women and Music in the Oppenheimer Siddur, Suzanne Wijsman 30. The Concept of Harmony in Pre- and Early Modern Jewish Literature, Alexandre Cerveux Index
£118.75
Oxford University Press Inc The Oxford Handbook of Choral Pedagogy
Book SynopsisWhere, in the digitizing world, is the field of choral pedagogy moving? Editors Frank Abrahams and Paul D. Head, both experienced choral conductors and teachers, offer here a comprehensive handbook of newly-commissioned chapters that provide key scholarly-critical perspectives on teaching and learning in the field of choral music, written by academic scholars and researchers in tandem with active choral conductors.Trade ReviewThe Oxford Handbook of Choral Pedagogy is crafted for all practitioners of the choral arts. The plethora of information within this handbook provides new insights and pedagogical practices to better understand choral pedagogy in the twenty-first century. * Alan Davis, Choral Journal *This book undoubtedly makes a major contribution to choral pedagogy. Uncompromisingly academic in tone and intent, there is much to ponder here. Often challenging accepted notions, this fine handbook is an excellent marker for where choral pedagogy is right now. Where the practice will be, say, in 50 years time, no one can know. But Abrahams and Head's volume will surely remain an essential reference tool for at least the next half century. * Philip Reed, hoir & Organ *Table of ContentsTheory I. Challenging Traditional Paradigms 1. Critical Pedagogy as Choral Pedagogy Frank Abrahams 2. Choral Pedagogy Responds to the Media: American Idol, Glee, The Voice, The Sing-Off, and DEL Patricia Madura Ward-Steinman 3. The Choral Experience - Turned Inside Out Paul Head 4. Going Green: The Application of Lucy Green's Informal Music Learning Strategies in High School Choral Ensembles Frank Abrahams 5. "Let the Whole World Rejoice!" Choral Music Education: The Kodály Perspective László Norbert Nemes II. Construction of Identity and Meaning 6. Fostering Musical and Personal Agency: Considering the Conductor Daniel Abrahams 7. Choral Pedagogy and the Construction of Identity Liz Garnett 8. Choral Pedagogy and the Construction of Identity: Boys Scott Harrison and Anthony Young 9. Choral Pedagogy and the Construction of Identity: Girls Matthew Owens and Graham Welch 10. Collaboration and Meaning-Making in the Women's Choral Rehearsal Nana Wolfe-Hill 11. Choral Pedagogy and the Construction of Meaning Frank Abrahams and Daniel Abrahams III. World Perspectives 12. The Framing of Choirs and the Conductors: A U.K. Perspective Colin Durrant 13. Striving for Authenticity in Learning and Teaching South African Choral Music Mollie Stone 14. Conducting Corporate Choirs in Brazil Eduardo Lakschevitz 15. Investigating Choral Pedagogies: The State of the Choral Art in Germany Martin Ramroth Practice IV. Repertoire as Pedagogy 16. The Art of Successful Programming: Study, Selection, and Synthesis Richard Bjella 17. Choral Repertoire as Pedagogy: Western Art Music Dennis Shrock 18. Diverse Cultures Mary Goetze V. Teaching and Conducting Diverse Populations 19. Adult Community Choruses: A Lifespan Perspective Susan Avery 20. "A different kind of goose bump": Notes towards an LGBTQ Choral Pedagogy Charles Beale 21. The Inclusion Conundrum and Community Children's Choirs in Canada Deborah Bradley 22. Professional Adult Choirs Jason Vodicka and Simon Carrington 23. Teaching and Conducting Diverse Populations: Boychoir Craig Denison 24. Black Gospel Choral Music: Identity, Race, Religion, and Community J. Donald Dumpson 25. The Gang Mentality of Choirs: How Choirs Have the Capacity to Transform Lives Arreon Harley 26. Collegiate Men's Chorus Paul Rardin VI. Choral Pedagogy and the Voice 27. Vocal Pedagogy in the Choral Rehearsal Duane Cottrell
£59.55
Oxford University Press Inc Indigenous Audibilities
Book SynopsisIn the middle of the twentieth century, transnational networks sparked a range of cultural projects focused on collecting Indigenous music and folklore in the Americas. Indigenous Audibilities follows the social relations that created these collections in four interconnected case studies linking the U.S., Mexico, Nicaragua, and Chile. Indigenous collections were embedded in political projects that negotiated issues of cultural diplomacy, national canons, and heritage. The case studies recuperate the traces of marginalized voices in archives, paying special attention to women and Indigenous people. Despite the dominant agendas of national and international institutions, the diverse actors and the multi-directional influences often led to unexpected outcomes. Author Amanda Minks brings together vivid storytelling and theories of collection, voice, and recording to challenge the transparency of archives as a historical source. The book presents a social-historical method of listening, reaTable of ContentsAcknowledgments List of Figures A Note on Terminology and Abbreviations Introduction 1. Between the Ear and the Letter: Oral History and U.S. Borderlands 2. Radio, Recording, and Inter-American Indigenismo in Mexico 3. Folklore, Region, and Revolution in Nicaragua 4. Indigenous Collections and Integrative Arts in Chile Epilogue References Index
£22.63
Oxford University Press Inc Rebel Music in the Triumphant Empire Punk Rock in
Book SynopsisThis history of the 1990s underground punk renaissance in the US traces punk participation in protest movements, Latino and women-led bands, and the debate over staying DIY versus "selling out." It is full of accessible musical analysis of various styles of punk, including crust-punk, extreme hardcore, and So-Cal punk.Trade ReviewI have never read a book about the origins of the politics of punk that includes music notation of punk songs and musicology analysis that explores the bonds of sonics and lyrics. A singular book on punk that even my jazz-piano-playing son would read! * Michelle Cruz Gonzales, author of The Spitboy Rule: Tales of a Xicana in a Female Punk Band *Table of ContentsAcknowledgements Introduction Chapter 1: Out of the "Dregs of the Eighties" and Screaming at the New World Order Chapter 2: Crust-Punk/Dis-Core and the Codification of Propaganda Music Chapter 3: The Dystopian Sublime of Extreme Hardcore Punk Chapter 4: Whose Rebellion was Punk in the 1990s? Part 1: "Hispanisizing Punk" Part 2: Not Just Boys' Fun Chapter 5: Punk's Popularity Anxieties and the Introspective Aggression of So-Cal Punk. Part 1: Punk's Popularity Anxieties Part 2: The Introspective Aggression of So-Cal Punk Conclusion Bibliography Index
£43.67
Oxford University Press Inc Bachs Art of Fugue and Musical Offering
Book SynopsisThe initial volume in a series of American Bach Society Guides, Bach''s Art of Fugue and Musical Offering is a comprehensive study of two closely related masterworks of the late Baroque fugal style. This compact guide, intended for practitioners, music scholars, and a general readership, summarizes a considerable body of knowledge about these famously cerebral collections in an engaging and accessible style. Bach specialist and keyboard player Matthew Dirst explains the Art of Fugue and Musical Offering''s idiosyncratic musical language while reviewing how both projects took shape during Bach''s final decade. They reflect Bach''s lifelong fascination with learned counterpoint, as demonstrated in elaborate series of fugues and canons in both and in an unusually intricate trio sonata in the latter. Dirst provides commentary on individual movements and groups of pieces and on the historical reception of this music, including its impact on other disciplines. Recurring themes include Bach''Table of ContentsForeword Acknowledgements Introduction 1. Contrapuntal Pursuits 2. Origins and Audience 3. From One, Many 4. Musical Gaming 5. Paying Tribute 6. Elusive Ideals Glossary Bibliography Index
£12.99
Oxford University Press Inc Queer Ear
Book SynopsisThrough provisional, idiosyncratic, and non-normative listening practices, Queer Ear: Remaking Music Theory counters music theory''s continuing tendencies towards rationality, unity, unilinearity, teleology, and logical certainty. In this volume, editor Gavin S.K. Lee brings together a diverse group of music theorists who issue queer challenges to both music theory and musicology and show that queerness is integral to music-theoretical practice. These investigations of the queer ear and queer soundings, while drawing upon a broad range of approaches, are united by the repurposing of hard music-theoretical apparatuses, as well as soft apparatuses like narratology and cultural theory, for queer ends. Such repurposings contribute to the search for general principles--or a theory--of queering that counters mainstream music theory''s proclivities, instead encouraging everyone to experiment with queer ways of listening.Through the lenses of queer temporality, queer narratology, and queer music analysis, the essays examine a wide variety of artists and composers, including Sun Ra, Cowell, Czernowin, Henze, Schubert, and Schumann; theories ranging from Schenker to queer shame, disability studies, and posthumanism; and authors such as Edward Cone and Edward Prime-Stevenson. Together, they rethink the field''s major tenets, examine hidden histories, and view listening practices from the perspective of non-normative subjectivities. Ultimately, Queer Ear works to queer the field of music theory while paying heed to the ways in which music theory intersects with diverse, embodied LGBTQ lives.Trade ReviewThe first monograph on queer music theory, and a much-needed contribution to the field. The essays in Queer Ear challenge us to recognize the importance of gender, sexuality, and race in analysis, while breaking down the traditional divide between music theory and musicology. * Patricia Hall, Professor of Music, University of Michigan *Table of ContentsIntroduction: Queer Ear Gavin S.k. Lee 1 Queer and Critical Race Theory, Figuring Out Music Theory Gavin S.K. Lee, Philip Ewell, and Robert Hatten Queer Music Analysis 2 Music Analysis; Queer Academy James Currie 3 Queering Schubert's "Der Atlas": Reflections on Positionality and Close Reading David Bretherton 4 The Expression of Queerness in Hans Werner Henze's Music Federica Marsico 5 Multiplicities, Truth, Ethics: a queering analysis of Chaya Czernowin's Anea Crystal Judith Lochhead Queer Temporality 6 Sun Ra's Fletcher Henderson Chris Stover 7 The Chronographic Fallacy of Unilinear Music Theory, Or, Un(Re)productive Temporality in Dichterliebe Gavin S.K. Lee 8 Queering Musical Chrononormativity: Percussion Works of the West Coast Group Bill Solomon Queer Narratology 9 Queer Sexuality and Musical Narrative Fred Everett Maus 10 "Legendary In-Reading": Musical Meaning, Analysis, and Biography in Edward Prime-Stevenson's Music Criticism and Sexology Kristin Franseen 11 Animating Musical Agency Vivian Luong Index
£25.99
Oxford University Press Inc A Sonata Theory Handbook
Book SynopsisSonata form is the most commonly encountered organizational plan in the works of the classical-music masters, from Haydn, Mozart, and Beethoven to Schubert, Brahms, and beyond. Sonata Theory, an analytic approach developed by James Hepokoski and Warren Darcy in their award-winning Elements of Sonata Theory (2006), has emerged as one of the most influential frameworks for understanding this musical structure. What can this method from the new Formenlehre teach us about how these composers put together their most iconic pieces and to what expressive ends?In this new Sonata Theory Handbook, Hepokoski introduces readers step-by-step to the main ideas of this approach. At the heart of the book are close readings of eight individual movements from Mozart''s Piano Sonata in B-flat, K. 333, to such structurally complex pieces as Schubert''s Death and the Maiden String Quartet and the finale of Brahms''s Symphony No 1 that show this analytical method in action. These illustrative analyses areTrade ReviewAn excellent addition and deepening of the standard work from 2006 * Stefan Keym, Die Musikforschung *The analyses are consistently subtle and convincing ... A Sonata Theory Handbook will get a lot of use. Incidentally, Hepokoski and Darcy's indexing scheme -- segregation by names, works, and concepts -- remains the best method ever devised. * B. J. Murray, CHOICE *Highly Recommended. * CHOICE *Much more than simply a how-to guide, this handbook vividly presents and clarifies the concepts of Sonata Theory through a series of penetrating analyses, inviting its readers to share in the exciting interpretive possibilities offered by this landmark approach. * L. Poundie Burstein, author of Journeys through Galant Expositions *This book is so much more than a companion piece to the influential Elements of Sonata Theory — it is an invitation to listen to some old favorites from Mozart to Brahms with fresh ears. Each page is brimming with compelling detail and vivid prose. Hepokoski brings sonata form to life. * Alexander Rehding, Fanny Peabody Professor of Music, Harvard University *Table of ContentsAcknowledgments Overture Chapter 1: What Is Sonata Theory? Chapter 2: Mozart, Piano Sonata in B-flat, K. 333/i (Allegro) Chapter 3: Mozart, Symphony No. 34 in C, K. 338/ii (Andante di molto più tosto allegretto) Chapter 4: The Basics: Sonata Types 3 and 1 Chapter 5: Haydn, Symphony No. 100 in G, "Military," first movement (Adagio allegro) Chapter 6: Haydn, String Quartet in G, op. 76 no. 1/i (Allegro con spirito) Chapter 7: Beethoven, Symphony No. 2 in D, op. 36/i (Adagio molto-Allegro con brio) Chapter 8: The Minor-Mode Sonata Chapter 9: Beethoven, String Quartet in E Minor, op. 59 no. 2/i (Allegro) Chapter 10: Schubert, String Quartet No. 14 in D Minor, D. 810/i (Allegro) Chapter 11: The Type 2 Sonata Chapter 12: Brahms, Symphony No. 1 in C Minor, op. 68/iv (Adagio--Più andante--Allegro non troppo, ma con brio--Più allegro) Appendix: Sonata Types 4 and 5 Bibliography
£99.00
Oxford University Press Inc Elements of Music 4e
Book Synopsis.Trade ReviewThis is my favorite fundamentals text I've encountered. It's clear, well-ordered, and comprehensive. It has a ton of in-class exercises, which makes lesson planning a breeze. * Marcelle Pierson, University of Pittsburgh *Elements of Music is very concise in its explanations, has plenty of possible activities to do in class, and includes good exercises for homeworkassignments. It also has musical examples to demonstrate every topic, and is organized in a way that makes sense for the progression of music theory fundamentals. * Stephen Komer, Indiana University *A very good introduction to the fundamentals of aural and written theory for non-majors. * Somangshu Mukerji, University of Michigan *Table of ContentsPreface Acknowledgments Chapter 1 Pitch Lesson 1: Staff The five-line staff, pitches and notes, noteheads, ascending and descending motion, steps and leaps, ledger lines Lesson 2: Keyboard Piano keyboard, black and white keys, letter names for notes, steps and leaps, octaves, piano fingering Lesson 3: Treble clef Treble clef, accidentals (sharp, flat, and natural), semitones, enharmonic equivalence Lesson 4: Bass clef Bass clef, accidentals (sharp, flat, natural), semitones Lesson 5: Great staff Great staff Chapter 1: Supplementary Lesson Alto clef, tenor clef, octave signs (8va and 8vb), octave designations, double flats, and double sharps Chapter 1: Self-Test Chapter 2 Rhythm and Meter Lesson 6: Quarter notes, half notes, and whole notes in 4/4 meter Quarter notes, half notes, whole notes, stems, beats, measures (bars) and barlines, meter ("common time"), upbeat, downbeat, accent, conducting patterns, tempo Lesson 7: Eighth notes and sixteenth notes Eighth notes and sixteenth notes, flags, beams Lesson 8: Dots and ties Augmentation dot, dotted rhythms, ties, anacrusis Lesson 9: Rests Rests Lesson 10: Duple meter 2/4 and 2/2 meter, upbeat, downbeat, conducting patterns Lesson 11: Triple meter 3/4 meter and its conducting pattern Lesson 12: Compound meter Compound meter, 6/8 meter, and its conducting pattern Lesson 13: Syncopation Syncopation, accent marks, ties, and subdivision Chapter 2: Supplementary Lesson Stem direction, anacrusis, rhythmic values smaller than a sixteenth note, triplets, other duple, triple, and quadruple meters Chapter 2: Self-Test Chapter 3 Major and Minor Scales Lesson 14: Major scale (C major) Major scale, arrangement of semitones and whole tones, scale-degree numbers, scale-degree names, solfège syllables Lesson 15: Major scales other than C major Transposition, major scales with sharps, major scales with flats, circle of fifths Lesson 16: Major keys and key signatures Major keys and key signatures Lesson 17: Minor scale (A minor) Minor scale, arrangement of semitones and whole tones, scale-degree numbers, scale-degree names, solfège syllables, and raising scale-degrees Lesson 18: Minor scales other than A minor Transposition, minor scales with sharps, minor scales with flats, circle of fifths Lesson 19: Minor keys and key signatures Minor keys, minor key signatures, relative keys, parallel keys Lesson 20: Harmonic and melodic minor Harmonic minor and melodic minor scales Chapter 3: Supplementary Lesson Modes and the pentatonic scale Chapter 3: Self-Test Chapter 4 Intervals Lesson 21: Interval size Intervals, melodic and harmonic intervals, interval size, compound intervals Lesson 22: Seconds and thirds Interval quality, natural intervals, major and minor intervals, diminished and augmented intervals, enharmonically equivalent intervals Lesson 23: Sixths and Sevenths Sixths and sevenths, enharmonically equivalent intervals, interval inversion Lesson 24: Fourths and fifths, unisons and octaves Perfect intervals, fourths and fifths, unisons and octaves, interval inversion, enharmonically equivalent intervals Lesson 25: Intervals in a major key Intervals in a major key, intervals and scale degrees, consonance and dissonance Lesson 26: Intervals in a minor key Intervals in a minor key, intervals and scale degrees Chapter 4: Supplementary Lesson All intervals, doubly diminished and doubly augmented intervals, intervals in harmonic and melodic minor Chapter 4: Self-Test Chapter 5 Triads and Seventh Chords Lesson 27: Triads Triads (root, third, and fifth), triad qualities (major, minor, diminished, augmented), natural triads, chord symbols Lesson 28: Triads in inversion Soprano and bass, inversion of triads (root position, first inversion, second inversion), figured bass ( , , ) Lesson 29: Triads in major keys Triad names, Roman numerals, triad qualities in major keys Lesson 30: Triads in minor keys Triad names, Roman numerals, triad qualities in minor keys, and the effect of raising the leading tone Lesson 31: Seventh chords Seventh chords, major-minor (dominant) seventh chords, inversions of seventh chords, dominant seventh chords in major and minor keys, figured bass symbols, chord names Chapter 5: Supplementary Lesson Qualities of seventh chords, natural seventh chords, inversions of seventh chords, and seventh chords in major and minor keys Chapter 5: Self-Test Chapter 6 Harmony and Form Lesson 32: Tonic and dominant Harmonic progression, tonic harmony, dominant and dominant seventh harmonies, harmonizing a melody Lesson 33: Extending a harmonic progression Dominant preparation chords (ii and IV), preceding a dominant preparation chord (vi), and moving directly from IV to I Lesson 34: Phrase and cadence Phrase, authentic cadence, half cadence, and plagal cadence Lesson 35: Form Combining four-measure phrases into longer groupings (eight-, twelve-, and sixteen-measure periods) and song forms (A-B-A and A-A-B-A) Chapter 6: Supplementary Lesson Nonharmonic tones, doubling, tendency tones, voice-leading smoothness, and parallel fifths and octaves Glossary
£115.99
Oxford University Press Inc Vocal Virtuosity The Origins of the Coloratura
Book SynopsisTrade ReviewVocal Virtuosity presents fascinating insight into the French coloratura voice type, one that will dispel any perception of superficiality and dramatic limitation...It is highly recommneded. * Debra Greschner, Journal of Singing *The chronology contains mesmerizing descriptions of the cultural and social milieu of nineteenth century France ... Vocal Virtuosity presents fascinating insight into the French coloratura voice type, one that will dispel any perception of superficiality and dramatic limitation. The volume also paints masterful portraits of the singers who established a new genre and created new heroines, both on and off stage. It is highly recommended. * Debra Greschner, Journal of Singing *Contributes in important ways to both a performance-centred historical musicology and feminist musicology, reclaiming a space for coloratura sopranos in the history of opera...Sean Parr makes a compelling case for the agency of prima donnas who shaped French operatic life during the nineteenth century, defining a supremely thrilling and moving voice type. * Barbara Gentili, reviewed in Music & Letters (2022) *An eye-opener. * Benjamin Ivry, Opera Now Magazine *Sean Parr's detailed chapters dive into the art and tradition of coloratura singing, its technical and emotional aspects, as well as the history of this most adulated voice type. He explores many facets, in particular, of bel canto and French composers' use of coloratura writing to heighten the interpretative possibilities of demanding soprano roles. I hope that every singer of this repertoire takes time to read this book and discover some of the lesser known gems he describes. With this resource, I feel inspired to explore new facets of my own singing, as well as to empower other singers to do the same. * Lisette Oropesa, Lyric Coloratura Soprano, Metropolitan Opera, and Masterclass Leader *A provocative, engaging, and thoroughly original chronicle of vocal virtuosity in nineteenth-century French operatic culture. Sean Parr's dexterous embrace of a range of eclectic sources results in a beautifully written account that opens up direct access to the long-lost music of prima donnas whose voices rang gloriously through opera houses prior to the age of recording. * Hilary Poriss, Associate Professor, Department of Music, Northeastern University *Table of ContentsList of Tables, Figures, and Examples Acknowledgements About the Companion Website Introduction: Coloratura and Female Vocality Chapter 1: The New Franco-Italian School of Singing Chapter 2: Verdi and the End of Italian Coloratura Chapter 3: Melismatic Madness and Technology Chapter 4: Caroline Carvalho and Her World Chapter 5: Carvalho, Gounod, and the Waltz Chapter 6: Vestiges of Virtuosity: The French Coloratura Soprano Epilogue: Unending Coloratura Bibliography Index
£86.46
Oxford University Press Inc Socialist Laments Musical Mourning in the German
Book SynopsisHow do individuals, communities, and societies use music as a form of mourning? This book demonstrates how music became a crucial outlet for processing loss in communist East Germany, where the ruling Socialist Unity Party tightly regulated expressions of loss.Trade ReviewSprigge's inventive study invites us to hear a sonic history of East Germany through its threnody culture, debunking tenacious Cold War shibboleths along the way. Socialist Laments is a vital contribution to German Studies, Trauma Studies, and Musicology. * Joy Calico, Cornelius Vanderbilt Professor of Musicology, Professor of German Studies, Blair School of Music at Vanderbilt University *How do Marxists mourn? In her moving, deeply researched study of commemoration in the former East Germany, Martha Sprigge answers this question through music * music that was composed, performed, and heard in postwar ruins, churches, former concentration camps, and cemeteries. In these places of authorized mourning, East Germans were able come to terms with their losses in the service of Hitler's war without repudiating the official memory regime of their new socialist state. A tour-de-force of musical, political, and emotional analysis, illuminating an essential aspect of both postwar Germanies.Celia Applegate, William R. Kenan, Jr. Professor of History and Professor of Musicology and Ethnomusicology, Vanderbilt University *Table of ContentsAcknowledgments List of Abbreviations Listening Guide for East German Commemorative Music Introduction Chapter 1: The Ruin Chapter 2: The Socialists' Cemetery Chapter 3: The Church Chapter 4: Concentration Camp Memorials Chapter 5: The Artists' Cemetery Bibliography Index
£74.81
Oxford University Press Inc The Music Professor Online
Book SynopsisThe Music Professor Online is a practical volume that provides a window into online music instruction in higher education. Author Judith Bowman highlights commonalities between online and face-to-face teaching, presents a theoretical framework for online learning, and provides practical models and techniques based on interviews with professors teaching online in various music disciplines. This book offers keys for thinking about music education in a post-COVID world, when the importance and interest of online education is of central concern.Part I reviews the growth and significance of online learning and online learning in music, identifies similarities and differences between face-to-face and online teaching, and presents standards and principles for online instruction. It explores development of an online teaching persona, explains teaching presence, and emphasizes the central role of the instructor as director of learning, always in relation to specific disciplines and their signatTrade ReviewThe Music Professor Online is a very timely treasure trove of pedagogical best practices for music teaching online. Readers will find the interviews with expert online music educators on the learner-centered teaching strategies and tools that worked best for them extremely helpful. Now that most of us have had a taste of virtual music teaching in some form or other, this book is an invaluable must read. * Gena R. Greher, Professor of Music & Music Education, UMass, Lowell *The Music Professor Online is a valuable resource for anyone curious about teaching in hybrid or fully online environments. While targeted specifically toward music professors, this book presents resources, research and pedagogical techniques that could be useful in many content areas. The 'Lessons from the Field' section, which is based on case studies of online music professors, makes the theoretical and research-based content come alive for the reader. This is a useful, timely addition to any music professor's library. * Janice Smith, Professor of Music Education, Queens College *Table of ContentsPreface Introduction PART I EXPOSITION: THE CHANGING LANDSCAPE 1 In Person and Online: What's the Difference 2 Teaching Persona: Who Are You When You Teach 3 Pedagogy: How Will You Teach Music Online PART II DEVELOPMENT: PERSPECTIVES FROM THE FIELD 4 Applied Music 5 Music Theory 6 Music History/Musicology 7 Music Appreciation 8 Music Education PART III RECAPITULATION: EXPANDING YOUR OPTIONS 9 Moving Forward, Planning What's Next 10 Coda: Teaching in the Time of Pandemics and Other Disruptions Glossary Bibliography Index
£44.84
Oxford University Press Inc Hypermetric Manipulations in Haydn and Mozart
Book SynopsisFor the past four decades, the concept of hypermeter has been routinely applied to eighteenth-century music. But was this concept familiar in the eighteenth century? If so, how is it reflected in writings of eighteenth-century music theorists? And how does it relate to their discussion of phrase structure? In this book, a follow-up to the award-winning Metric Manipulations in Haydn and Mozart, author Danuta Mirka unearthes a number of cues that point to eighteenth-century recognition of what today is called hypermeter, and retraces the line of tradition that led from eighteenth-century music theory to the emergence of the modern concept of hypermeter in the twentieth century. Mirka describes the proto-theory of hypermeter developed by German music theorists, recounts the recent history of this concept in American music theory, evaluates contributions made to it by authors working within different theoretical traditions, and introduces a dynamic model of hypermeter which allows the analyst to trace the effect of hypermetric manipulations in real time. This model is applied in analyses of Haydn''s and Mozart''s chamber music for strings, which shed a new light upon this celebrated repertoire, but the aim of this book goes far beyond an analytical survey of specific compositions. Rather, it is to offer a systematic classification of hypermetrical irregularities in relation to phrase structure and to give a comprehensive account of the ways in which phrase structure and hypermeter were described by eighteenth-century music theorists, conceived by eighteenth-century composers, and perceived by eighteenth-century listeners.Trade ReviewWhat makes the book so compelling is how Mirka synthesizes four decades of music-theoretical research on rhythm and metre and deftly weaves in insights from topic theory, schema theory, historical music theory and music cognition. The result is an impressive set of new theoretical tools for eighteenth-century music that pertain not only to hypermetre but also to the analysis of melody, rhythm and small-scale forms. * Roger Mathew Grant, Eighteenth-Century Music *fascinating book * W.E. Grim, CHOICE Connect, Vol. 59 No. 8 *In its brilliant synthesis of historical music theories, current theoretical and cognitive research, and detailed analyses, this book sets the standard for future discussions of rhythmic structure in music of the Classical style. * Fred Lerdahl, Fritz Reiner Professor Emeritus of Musical Composition, Columbia University *With the rigor characteristic of Metric Manipulations, Mirka now expertly weaves together historical and contemporary approaches to hypermetric manipulations, grounding rhythmic theory and eighteenth-century style and form in listener experience. * Leigh VanHandel, Associate Professor of Music Theory, University of British Columbia *This book represents music theory scholarship at its very best. It sets new standards for how musicians can employ sophisticated historical concepts in a comprehensive and creative fashion, as it shares exciting insights into some of the most beloved works from the Classical repertoire. * L. Poundie Burstein, author of Journeys Through Galant Expositions *Table of ContentsIntroduction Note on Terminology, Language, and Musical Examples Chapter 1. Hypermeter 1.1. Accents 1.2. Counting 1.3. Phrases and Hypermeasures 1.4. Dynamic Model of Hypermeter Chapter 2. Phrase Structure 2.1. Caesuras and Melodic Sections Contained by Them 2.2. Length and Proportion of Melodic Sections Chapter 3. Hypermetrical Irregularity in Basic Phrases 3.1. Irregular Phrases 3.2. Subdivisions 3.3. Long Phrases without Subdivisions Chapter 4. Hypermetrical Irregularities in Compound Phrases 4.1. Left Elision, Right Elision, and Overlap 4.2. Right and Left Deletion 4.3. Phrase-Rhythmic Scenarios after a Cadence 4.4. Shadow Hypermeter Chapter 5. Hypermetrical Irregularities in Expanded Phrases 5.1. Parenthesis 5.2. Repetition 5.3. Appendix Chapter 6. Further Means of Phrase Expansion 6.1. Overridden Caesuras 6.2. Twisted Caesuras 6.3. Loops 6.4. Stretches 6.5. Written-out Rallentando Chapter 7. Hypermeter Beyond Phrase Structure 7.1. Sequences 7.2. Fugato 7.3. Augmented Cadences Chapter 8. Hypermeter, Phrase Structure, and Rhetorical Figures 8.1. Ellipsis 8.2. Anadiplosis Chapter 9. Beyond Rhetoric 9.1. Haydn, String Quartet in E flat major, Op. 50 No. 3, First Movement 9.2. Haydn, String Quartet in C major, Op. 64 No. 1, First Movement 9.3. Fiddler on the Roof in Haydn's String Quartets Bibliography Index of Compositions by Haydn and Mozart General Index
£116.14
Oxford University Press Inc Choral Sight Reading A Kodály Perspective for
Book SynopsisChoral Sight Reading provides a practical and organic approach to teaching middle school to college level choral singing and sight-reading according to the Kodály Concept of Music Education, through a series of step-by-step practical lesson plans and instructions that can be used in choral rehearsals.Trade ReviewBy covering a broad range of topics, from the logistics of running a school choral program to a thoughtfully-sequenced music literacy pedagogy, Choral Artistry and Sightreading are a significant contribution to the literature, and a compelling argument for the broad application of Kodály-inspired philosophy at any level. * Joshua Habermann, Artistic Director, Santa Fe Desert Chorale *These volumes cover a wide expanse of pedagogical practices for secondary and collegiate-level ensembles progressing from the step-by-step nuts and bolts to complex theoretical concepts. Furthermore, they provide a deeper understanding of processes for developing a solid singing foundation that are accessible for all levels of abilities - from beginners to more advanced ensembles. * Lynn M. Brinckmeyer, Professor of Music, Associate Dean of the College of Fine Arts and Communication, and Director of Choral Music Education, Texas State University *Too many times I meet people who do not understand what is special in being a choral conductor, why does one need to study it. Their opinion is, that any musician can do it. This wonderful book answers this question. This book teaches you the real craft, what is 'behind the scenes', behind the well-trained and well-practiced gestures. It will take you through the steps in the process with great detail on every level. What we see on the stage, what we hear when a choir sings beautifully is just the icing on the cake. This book will show you the way to achieve it in a holistic, unhurried and honest way. * Esther Hargittai, Guildhall School of Music and Drama, Liszt Academy/Kodály Institute *Table of ContentsUnit 1 Phrase and Form Unit 2 Beat, Meter, Rhythm Unit 3 Simple Melodic Patterns Unit 4 Simple Rhythm Patterns: First Division of the Beat Unit 5 Orientation to the Pentatonic Scale: Trichord 1 Unit 6 Orientation to the Pentatonic Scale: Trichord 2 Unit 7 Simple Meter: Second Division of the Beat and Basic Patterns Unit 8 Major Pentatonic Melodies Unit 9 Simple Meter: Second Division of the Beat and More Complicated Patterns Unit 10 The Extended Pentatonic Scale Unit 11 Upbeats Unit 12 Syncopation Unit 13 Minor Pentatonic Melodies Unit 14 Dotted Notes Unit 15 Orientation to the Major Scale Pentachord and Hexachord Melodies Unit 16 Simple Meter: Second Division of the Beat and Dotted Note Combinations Unit 17 Major Scale Unit 18 Triple Meter and Changing Meter Unit 19 Orientation to Minor Scales Unit 20 Compound Meter: First Division of the Beat Unit 21 Natural Minor Scale Unit 22 Compound Meter: Second Division of the Beat Unit 23 Harmonic Minor Scale Unit 24 Compound Meter: Second Division of the Beat and Dotted Notes Unit 25 Melodic Minor Scale Unit 26 Renaissance Style Compositions Unit 27 Baroque Style Compositions Unit 28 Classical Style Compositions Unit 29 Romantic and Twentieth Century Style Compositions
£24.49
Oxford University Press Inc Inventing the Recording The Phonograph and
Book SynopsisInventing the Recording focuses on the decades in which recorded sound went from a technological possibility to a commercial and cultural artefact, through the analysis of a specific and unique national context: Spain.Table of ContentsAcknowledgements Introduction Chapter 1: Imagining the phonograph, 1877-1888 Chapter 2: Travelling phonographs, 1888-1900 Chapter 3: Inventing the recording: gabinetes fonográficos and early commercial phonography in Madrid, 1896-1905 Chapter 4: Science, urban space and early phonography in Barcelona, 1898-1914 Chapter 5: Gabinetes fonográficos in Valencia, 1899-1901 Chapter 6: (Dis)embodied voices: recording singers, 1896-1914 Chapter 7: Consuming and collecting records in Spain, 1896-1905 Conclusion Table 1 Table 2 Table 3 Table 4 Bibliography
£53.20
Oxford University Press Inc Acoustics of Empire
Book SynopsisMusic and sound studies have increasingly turned their attention to questions of empire and postcolonial thought in recent years, raising new questions about the forms and circulation of cultural, technological, political, and military power as manifest in and through sound. However, most of this scholarship has focused on the twentieth and twenty-first centuries. Conversely, sound and media studies have made nineteenth-century histories of science and technology a central part of their canonical repertoire, but largely overlooked the ways in which these technological developments emerged from contexts of empire. Acoustics of Empire provides a cultural history of global acoustics in the Age of Empire. Examining histories of sound, listening practices, and audiovisual technologies of the long nineteenth century through the lens of geopolitical power, the authors recover a sonic history that is irrefutably entangled with questions of imperial power and colonial rule. This volume brings t
£25.99
