Theory of music and musicology Books

Book SynopsisFeaturing chapters by emerging and established scholars as well as by leading practitioners in the field, this Handbook both describes the state of algorithmic composition and also set the agenda for critical research on and analysis of algorithmic music.Trade Reviewit is undoubtedly an important didactic resource for students of algorithmic composition, including beginners, who want to get a wide and up-to-date overview of the various applications of algorithms in music scenarios. * Alessandro Anatrini, Musicae Scientiae *Table of ContentsSection 1: Grounding algorithmic music 1. Musical Algorithms as Tools, Languages and Partners: A Perspective Alex McLean, Roger T. Dean 2. Algorithmic Music and the Philosophy of Time Julian Rohrhuber 3. Action and Perception: Embodying Algorithms and the Extended Mind Palle Dahlstedt 4. Origins of Algorithmic Thinking in Music Nick Collins 5. Algorithmic Thinking and Central Javanese Gamelan Charles Matthews Perspectives on Practice A 6. Thoughts on Composing with Algorithms Laurie Spiegel 7. Mexico and India: Diversifying and Expanding the Live Coding Community Alexandra Cardenas 8. Deautomatization of Breakfast Perceptions Renate Wieser 9. Why Do We Want Our Computers to Improvise? George Lewis Section 2: What can algorithms in music do? 10. Compositions Created with Constraint Programming Torsten Anders 11. Linking Sonic Aesthetics With Mathematical Theories Andy Milne 12. Machine Learning and Listening in Composition and Performance Rebecca Fiebrink and Baptiste Caramiaux 13. Biologically-Inspired and Agent-Based Algorithms for Music Alice Eldridge and Oliver Bown 14. Performing with Patterns of Time Thor Magnusson, University of Sussex, Alex McLean, FoAM Kernow 15. Computational Creativity and Live Algorithms Geraint Wiggins and Jamie Forth 16. Tensions and Techniques in Live Coding Performance Charlie Roberts and Graham Wakefield Perspectives on Practice B 17. When Algorithms Meet Machines Sarah Angliss 18. Notes on Pattern Synthesis Mark Fell 19. Performing algorithms Kristin Erickson Section 3: Purposes of algorithms for the music maker 20. Network music and the algorithmic ensemble David Ogborn 21. Sonification != music Carla Scaletti 22. Color is the Keyboard: Transcoding from Visual to Sonic Margaret Schedel 23. Designing Interfaces for Musical Algorithms Jamie Bullock, Integra Lab, Birmingham Conservatoire 24. Ecooperatic Music Game Theory David Kanaga 25. Algorithmic Spatialisation Jan C Schacher Perspectives on Practice C 26. Form, Chaos and the Nuance of Beauty Mileece I'Anson 27. Beyond Me Kaffe Matthews 28. Mathematical Theory in Music Practice Jan Beran 29. Thoughts on Algorithmic Practice Warren Burt Section 4: Algorithmic Culture 30. The Audience Reception of Algorithmic Music Mary Simoni 31. Technology, Creativity and The Social in Algorithmic Music Christopher Haworth 32. Algorithms and Computation in Music Education Andrew Brown 33. (Micro) Politics of Algorithmic Music: Towards a Tactical Media Archaeology Geoff Cox and Morten Riis 34. Algorithmic Music for Mass Consumption and Universal Production Yuli Levtov Perspectives on Practice D 35. Algorithmic Trajectories Alex McLean and Roger Dean

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Book SynopsisTechnology is an increasingly popular part of music education in schools that attracts students to school music who might not otherwise be involved. In many teacher preparation programs, music technology is an afterthought that does not receive the same extensive treatment as do traditional areas of music teaching such as band, orchestra, choir, and general music. This book helps to establish a theoretical and practical foundation for how to teach students to use technology as the major means for developing their musicianship. Including discussions of lesson planning, lesson delivery, and assessment, readers will learn how to gain comfort in the music technology lab. Theory and Practice of Technology-Based Music Instruction also includes profiles of practice that dive into the experiences of real teachers in music technology classes, their struggles, their successes, and lessons we can learn from both. In this second edition, new profiles feature Teachers of Color who use technology exTrade ReviewJay Dorfman combines perspectives from music classrooms with an emphasis on student engagement and creativity to provide music educators with both applied ideas and useful frameworks for meaningfully designing learning experiences with technology. * Julie Bannerman, Assistant Professor of Music Education, The University of Alabama *Finally a book that takes a critical look at the real life practice and application of technology in the music classroom * a much-needed resource in a time of widespread technology adoption. What impresses me the most about what Dorfman has done with Technology-Based Music Instruction is his presentation of case studies, including models of assessment and reflections on the successes and shortcomings of the integration of technology. This book gets right to the heart of what is actually being done in classroomstruly fascinating. This is a must-read for any music educator or administrator with an eye on the future of music education.James Frankel, Head of Digital Education for the Music Sales Group; Adjunct Professor, Teachers College Columbia University *Jay Dorfman's model of 'technology-based music instruction' (TBMI) forms the foundation for this text, which is filled with practical examples for the practicing or pre-service teacher. The profiles of practice, lesson plans, and insightful critical analyses constitute a useful resource, advancing our understanding of the role of technology in music learning. * Dr. Scott D. Lipscomb, Associate Professor & Division Head, Music Education & Music Therapy and Associate Director, University of Minnesota School of Music *Table of ContentsForeword Acknowledgments Introduction to the Second Edition 1. Introducing Technology-Based Music Instruction 2. Models of Music Pedagogy and their Influences on Technology-Based Music Instruction 3. Theoretical Foundations 4. Materials for Technology-Based Music Instruction 5. Teaching Methods and Teacher Behaviors 6. Lesson Design in Technology-Based Music Instruction 7. Assessment and Technology-Based Music Instruction 8. Accountability Concerns 9. Teacher Preparation Considerations 10. Future Considerations for Technology-Based Music Instruction Appendix Bibliography Index

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Book SynopsisUnderpinned by author John Rink''s internationally acclaimed scholarship and experience as a musician, this book addresses fascinating topics in the field of musical performance studies concerning the history, analysis and psychology of music, as well as artistic research. It offers manifold practical insights into musical performance, ranging from detailed technical features to overall shape. The volume has four main parts, focusing on performance and performance studies, historical performance, analysis and performance, and artistic research. Case studies of romantic piano pieces appear throughout, including Liszt''s ''Vallée d''Obermann'', Brahms''s Fantasien Op. 116, and select preludes and concertos by Rachmaninoff and Chopin. The book also includes discussions of recordings by such artists as Alfred Brendel, Artur Rubinstein and Nikita Magaloff along with some outstanding performances in the International Fryderyk Chopin Piano Competition in 2015.Rink explores issues surrounding Trade ReviewWritten in characteristically lucid and incisive prose this book is both a seminal and a culminating contribution to the field that Rink helped to define, and will be essential reading for anyone interested in musical performance. * Eric F. Clarke, Emeritus Professor of Music, University of Oxford *Building on and developing key writings published in a wide range of sources, this book provides an overview of Rink's thinking that will be equally indispensable for academics interested in performance and for performers seeking to understand and develop their creative agency. * Nicholas Cook, Emeritus Professor of Music, University of Cambridge *A twelve-step scrutiny of music performance studies, John Rink's Music in Profile offers the reader an astute, insightful and subtly personalised perspective on the discipline. Approaching the subject as both scholar and musical practitioner, the author maps a conception of performers' strategies, analysis, and self-reflection. * Lina Navickaitė-Martinelli, Professor and Senior Researcher, Lithuanian Academy of Music and Theatre. *This book brings together three decades of John Rink's work rethinking and recasting scholarship on musical performance. His musicality, scholarship, and deep affection for Romantic piano music come through on every page. * Edward Klorman, Associate Professor, Schulich School of Music, McGill University *This collection of essays surveys the thinking of a pioneering figure in performance research, distinguished by methodological adventurousness, and steeped in love for the Romantic keyboard repertoire. * Natasha Loges, Professor at Hochschule für Musik Freiburg *John Rink explores how performance and scholarship-so unalike in their nature, culture and procedures-can communicate, interact, sometimes even merge. Judiciously and humanely, he enriches the reader's sense of how variously they may make music together. * Daniel Leech-Wilkinson, Emeritus Professor of Music, King's College London *Table of ContentsList of figures List of music examples List of tables Acknowledgements Credits Note to readers Preface Part 1 On performance and performance studies Chapter 1 The state of play in musical performance studies Chapter 2 Impersonating the music in performance Chapter 3 The work of the performer Part 2 On historical performance Chapter 4 Moments of truth: performing musicology Chapter 5 Translating musical meaning: the performer as narrator Chapter 6 Authentic Chopin Part 3 On analysis and performance Chapter 7 From analysis to 'performer's analysis' Chapter 8 Playing in time Chapter 9 Analysing motif and gesture in performance Chapter 10 The (f)utility of performance analysis Part 4 On artistic research Chapter 11 Judging Chopin: an evaluation of musical experience Chapter 12 Between practice and theory: performance studies and/as artistic research Notes References Index

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Book SynopsisThe Ideology of Competition in School Music explores competition as a structuring force in school music and provides critiques of that system from multiple philosophical and theoretical perspectives. Competition is seen by many music teachers, students, and supporters as natural and inevitable--a taken-for-granted aspect of music education or an irresistible force, rather than a choice. This book uncovers this ideological nature of competition and examines its effect on student learning, teacher agency, and equity within music education. It considers ways in which music educators might reconsider the role of competition in their teaching practice and offers alternative frameworks for organizing school music.In this book, author Sean Robert Powell views competition as a microcosm of the wider neoliberal capitalist society, in which subjects are interpolated in an antagonistic competitive field as market logic dictates a system of accountability, reduction, and audit culture. Music teachTable of ContentsChapter 1. Introduction Chapter 2. It's Easier to Imagine the End of Music Education Than the End of Competition Chapter 3. The One-Dimensional Music Program Chapter 4. Cynicism Chapter 5. The Lost Trophy Chapter 6. Contingency | Agency | Act Chapter 7. Solidarity Bibliography Index

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Book SynopsisThe Oxford Handbook of Music Composition Pedagogy presents an illuminating collection of perspectives on teaching and learning in the field of music composition, supplying music educators with knowledge about young composers and their work. The Handbook''s forward-looking practices offer teachers tools and strategies for every child to experience music composition as part of their music education. Editor Michele Kaschub, along with an outstanding team of contributing authors, offers a comprehensive handbook providing key scholarly, critical, and practical perspectives on teaching composers and learning to compose. Written by academic scholars, researchers, and music teachers, the 43 chapters of the volume addresses nine major themes: philosophical foundations; identity and inclusion; compositional processes; approaches to composition teaching and learning; nurturing young composers; composing in classroom and ensemble settings; international perspectives on composition in music educati

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Book SynopsisThis guide introduces concertgoers, serious listeners, and music students to Gustav Mahler''s Second Symphony, one of the composer''s most popular and most powerful works. It examines the symphony from several perspectives: Mahler''s struggle to create what he called the New Symphony; his innovative approaches to traditional musical form; how he addressed the daunting challenges of writing music on a monumental scale; and how he dealt with the ineluctable force of Beethoven''s symphonic precedent, especially that of the Ninth Symphony.The central focus of Inside Mahler''s Second Symphony is on the music itself: how it works, how it works its magic on the listener, how it translates the earnest existential concerns that motivate the symphony into powerful and highly expressive music. Beyond this, the book ushers the Listener''s Guide into the digital age with 185 dedicated audio examples. They are brief, accessible, and arranged to flow from one to another to simulate how the symphony mTrade ReviewReaders can prepare for an enlightened appreciation of the whole symphony in performance. * M. Dineen, CHOICE *This book offers an intriguing, engaging and provocative account of a monumental masterpiece. At one and the same time, Bernstein has written a closely argued guide to the work, helpful to the first-time listener, and also a sophisticated and often unconventional interpretation that can inspire the scholar and connoisseur to reflect not only on Mahler, but on how music creates and conveys meaning and helps to fashion beliefs, faith and values. This is a novel and valuable contribution to our understanding of an icon within the symphonic repertoire. * Leon Botstein, President, Bard College; Music Director, American Symphony Orchestra *It is as if the author were looking over Mahler's shoulder while he composed his extraordinary second symphony. I have never read such an illuminating, so detailed, yet always accessible analysis of this universal masterwork on life, suffering, death, and resurrection. Bernstein is able to convey his profound love for the piece majestically, revealing the true meaning of the music while sharing its composer's most intimate creative process. He is indeed the ultimate guide who, with the use of many audio examples online, invites everyone on a fascinating journey, to climb Mahler's formidable mountain and see the primeval light at the summit. * Stéphane Denève, Music Director, St. Louis Symphony Orchestra and Brussels Philharmonic *Bernstein proves an authoritative and engaging guide through Mahler's epic work. His book will be of great value to any listener or performer seeking a deeper appreciation of this keystone of the symphonic repertory. * Walter Frisch, Gumm/von Tilzer Professsor of Music, Columbia University *Table of ContentsList of Figures and Tables List of Music Examples List of Audio Examples Acknowledgements Preface The Recording How to Use this Book Part One: Preliminaries Chapter 1 Setting the Stage for the Second Symphony Part Two: The Five Movements Chapter 2 First Movement: The Opening and a Two-part Exposition Chapter 3 First Movement: Development and Recapitulation Chapter 4 The Second Movement Chapter 5 A Song Serves as a Study for the Third Movement Chapter 6 The Third Movement: Scherzo and Trio Chapter 7 The Fourth Movement: "Urlicht" Chapter 8 How to Complete the Symphony Chapter 9 The Last Movement, Part 1: References to Judgment and the Airing of Themes Chapter 10 The Last Movement, Part 2: Judgment in Action, Musical Development, and Some Continuing Enigmas Chapter 11 The Last Movement, Part 3: Collapse, Climactic Resolution, a Stunning Reversal, and Celebration Appendices Appendix 1 The Formal Template for the First Movement: Sonata Form Appendix 2 Second-Movement Forms Appendix 3 The Origins, Character, and Form of the Scherzo Appendix 4 Complete Performances of Each Movement Glossary Bibliography Index

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Book SynopsisTeaching Music for Social Justice offers a fresh, innovative approach to teaching general music. This book is a timely collection of lesson plans and units that artfully blend music making with relevant issues of social justice. Particularly accessible to middle and high school classroom music teachers, it includes a companion website with links to all of the music listening and videos. Authors Lisa C. DeLorenzo and Marissa Silverman, accomplished music educators with extensive careers thinking about the relationship between music education and social justice, have composed student-centered lessons with thoughtful discussion prompts, experiences with diverse genres and styles of music, and technology-integrated music making projects that will activate students'' creativity and empathy. Unit topics-ranging from War to Climate Change-include cross-disciplinary lessons with the arts playing a central role in developing understanding. Well-researched introductory materials as well as how-tTrade ReviewMusic Lesson Plans for Social Justice is a tantalizing glimpse of the possibilities when students learn music in a context that is immediately relevant to them. The instructional framework laid out here is ambitious, inspiring, and most importantly, fun. I found myself thinking, time and time again — I can't wait to try that! * Richard Lawton, Orff Teacher Educator/Music Teacher, The Westland School, Los Angeles *Even at their first glance, secondary school music educators will immediately recognize the substantive contributions of this work for developing the social consciousness of their students through musical study and experience. This book will move teachers and students beyond general (Western) theory and history courses to musical encounters in gem-like curricular designs that address timely topics of societal turmoil and tension, and of peace, compassion and love. * Patricia Shehan Campbell, Donald E. Peterson Professor of Music, University of Washington *Music Lessons Plans for Social Justice provides ready-to-use resources suitable for any curriculum in any part of the world. I find this publication relevant to various topics including areas that focus on decolonization, socio-cultural significance of music, and learner engagement with music education for situations beyond the classroom. Indeed '...students learn more fully when they are engaged in music making that has contextual relevance to them'. This publication presents contexts that are socially relevant to today's learner. * Emily Achieng' Akuno, Professor of Music, The Technical University of Kenya, President of the International Society for Music Education - ISME (2020-2022) *Table of ContentsAcknowledgments 1. Introduction 2. American Protest Unit 3. War Unit 4. Heroes and Heroines Unit 5. Love Unit 6. Climate Change Unit 7. Peace Unit 8. Epilogue: Creating Your Own Socially Just Music Lessons Index

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Book SynopsisWe often think of music in terms of sounds intentionally organized into patterns, but music performed in signed languages poses considerable challenges to this sound-based definition. Performances of sign language music are defined culturally as music, but they do not necessarily make sound their only--or even primary--mode of transmission. How can we analyze and understand sign language music? And what can sign language music tell us about how humans engage with music more broadly?In Seeing Voices: Analyzing Sign Language Music, author Anabel Maler argues that music is best understood as culturally defined and intentionally organized movement, rather than organized sound. This re-definition of music means that sign language music, rather than being peripheral or marginal to histories and theories about music, is in fact central and crucial to our understanding of all musical expression and perception. Sign language music teaches us a great deal about how, when, and why movement becomes musical in a cultural context, and urges us to think about music as a multisensory experience that goes beyond the sense of hearing. Using a blend of tools from music theory, cognitive science, musicology, and ethnography, Maler presents the history of music in Deaf culture from the early nineteenth century and contextualizes contemporary Deaf music through ethnographic interviews with Deaf musicians. She also provides detailed analyses of a wide variety of genres of sign language music--showing how Deaf musicians create musical parameters like rhythm and melody through the movement of their bodies.The book centers the musical experience and knowledge of Deaf persons, bringing the long and rich history of sign language music to the attention of music scholars and lovers, and challenges the notion that music is transmitted from the hearing to the Deaf. Finally, Maler proposes that members of the Deaf, DeafBlind, hard-of-hearing, and signing communities have a great deal to teach us about music. As she demonstrates, sign language music shows us that the fundamental elements of music such as vocal technique, entrainment, pulse, rhythm, meter, melody, meaning, and form can thrive in visual and tactile forms of music-making.

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Book Synopsis.Trade ReviewNothing comes close to Discovering Music in terms of value, quality and extra resources. This book does a fantastic job at giving an overview of music history. It can be difficult to get the balance right talking about too few pieces or too many; or getting too in depth for undergraduates or too shallow. Discovering Music gets it right. It's got a great selection and diversity of pieces without getting too bogged down on any one topic. It is near-perfectly paced for a one semester course on music appreciation. Best of all, it is a great value for students and has lots of complementary resources making it easy for the instructors to prepare and teach." - Michael Wahlquist, Brigham Young UniversityIt ranks up there with the best of Music Appreciation textbooks." - Kevin Ayesh, Blue Ridge Community CollegeThis text provides an overview of music history in a typical chronological order using examples of both the traditional canonic composers and more inclusive multi-gendered and multiracial examples. Audio and video examples are included within the text and integrated multi-level listening guides help students listen deeply to the works." - Melissa Cummins, Sam Houston State UniversityTable of ContentsAbout the Author Preface Acknowledgments PART I The Elements of Music The Listening Experience Musical Elements: An Overview What Is Classical Music? timeline CHAPTER 1 Pitch, Melody, and Key Pitch Notating Pitch making connections: The Physics of Sound: The Octave Melody making connections: The Ancient Greeks and Consonances Key check your knowledge CHAPTER 2 Rhythm, Meter, Texture, and Dynamics Rhythmic Values Tempo Markings making connections: The Metronome Pulse or Beat Measures Texture Harmony Tonality Dynamics making connections: The Sound of Silence check your knowledge CHAPTER 3 Timbre, Instruments, and Ensembles Timbre The Voice The Family of Musical Instruments Musical Ensembles Benjamin Britten, The Young Person's Guide to the Orchestra (1946) check your knowledge listening map 1: Benjamin Britten, The Young Person's Guide to the Orchestra [1946] CHAPTER 4 Musical Form Binary and Ternary Form making connections: Musical Form in Architecture and Painting check your knowledge CHAPTER 5 Learning How to Listen Listening to Hamilton, "My Shot" Mapping the Listening Experience listening map 2: Lin-Manuel Miranda, Hamilton, "My Shot" [2015] check your knowledge part i summary PART II?The Middle Ages Why Listen to Medieval Music? timeline Milestones of the Medieval Era CHAPTER 6 Origins of Medieval Music check your knowledge CHAPTER 7 Music for the Christian Church Gregorian Chant The Divine Office and the Mass Medieval Christmas Music: Viderunt omnes check your knowledge listening map 3: Anonymous, Viderunt omnes ("All the Ends of the Earth") [fifth century] CHAPTER 8 Hildegard of Bingen listening map 4: Hildegard of Bingen, O viridissima virga ("O Greenest Branch") [twelfth century] check your knowledge CHAPTER 9 Léonin and the Rise of Polyphony making connections: Gothic Cathedrals and Polyphonic Architecture check your knowledge listening map 5: Léonin, First Respond from Viderunt omnes ("All the Ends of the Earth") [twelfth century] CHAPTER 10 Secular Medieval Music Musical Instruments Secular Medieval Song check your knowledge CHAPTER 11 Machaut and the Rise of Secular Polyphony check your knowledge listening map 6: Guillaume de Machaut, Puis qu'en oubli sui de vous ("Since you have forgotten me") [ca. 1365] part ii summary global connections: Myanmar: Buddhist Chant and Ritual Music making connections: Music for Celebrations PART III The Renaissance Why Listen to Renaissance Music? Humanism Rebirth timeline Classical Revival Artists as Individual Creators Transition to Modernity CHAPTER 12 The Development of Renaissance Music making connections: The Renaissance Rediscovers Classical Antiquity check your knowledge CHAPTER 13 Guillaume Dufay and the Franco-Flemish Style making connections: Brunelleschi's Dome listening map 7: Guillaume Dufay, Mass Se la face ay pale, Kyrie [ca. 1450] check your knowledge CHAPTER 14 Josquin Desprez making connections: Lorenzo the Magnificent check your knowledge listening map 8: Josquin Desprez, Ave Maria [ca. 1485] CHAPTER 15 Palestrina and the Counter-Reformation making connections: Martin Luther and the Reformation check your knowledge CHAPTER 16 New Currents: National Styles The Italian Madrigal making connections: Art Imitates Life: The Shocking Music of Carlo Gesualdo, Prince of Venosa The English Madrigal listening map 9: Thomas Weelkes, "As Vesta Was from Latmos Hill Descending" [1601] check your knowledge CHAPTER 17 The Rise of Instrumental Music making connections: The English Reformation listening map 10: William Byrd, "Pavana Lachrymae" for harpsichord solo, based on John Dowland's lute song "Flow My Tears" [ca. 1600] check your knowledge part iii summary global connections: Bali: Gamelan Music making connections: The Gamelan and the West PART IV The Baroque Why Listen to Baroque Music? Baroque Art and Architecture The Musical Legacy of the Baroque timeline CHAPTER 18 Elements of Baroque Music The Development of Tonality The Basso Continuo Melody, Rhythm, and Dynamics in Baroque Music check your knowledge CHAPTER 19 Claudio Monteverdi and the Rise of Italian Opera making connections: St. Mark's Basilica, Venice making connections: Orfeo and the Rise of the Orchestra listening map 11: Claudio Monteverdi, Orfeo, Act III, "Possente spirto" ("O Powerful Spirit"), excerpt [1607] Barbara Strozzi and the Chamber Cantata listening map 12: Barbara Strozzi, "Voglio morire" ("I Wish to Die") from L'Amante segreto (The Secret Lover) [1651] check your knowledge CHAPTER 20 The Spread of Opera Opera in France making connections: Music as Royal Power: Lully at the Court of Louis XIV Henry Purcell and English Opera check your knowledge listening map 13: Henry Purcell, Dido and Aeneas, Act III, "When I Am Laid in Earth" [1689] CHAPTER 21 Baroque Instrumental Music The Violin Family The Harpsichord The Organ New Musical Genres Arcangelo Corelli The Baroque Concerto listening map 14: Arcangelo Corelli, Trio Sonata in A Minor, Op. 3 No. 10 [1689] check your knowledge CHAPTER 22 Antonio Vivaldi listening map 15: Antonio Vivaldi, Spring from The Four Seasons, Op. 8 No. 1, First Movement [ca. 1725] check your knowledge CHAPTER 23 Johann Sebastian Bach's Life and Career Bach's Early Life and Career Beginnings The Move to Cöthen Final Years in Leipzig making connections: Bach's Children and Wives check your knowledge CHAPTER 24 Bach's Instrumental Music Bach and the Fugue making connections: Fugues beyond Music listening map 16: J. S. Bach, " ("The Roman Saltarello") in A Minor, Op. 6 No. 4 [1841] check your knowledge CHAPTER 37 Orchestral Music Felix Mendelssohn Bartholdy making connections: Mendelssohn as Conductor listening map 45: Felix Mendelssohn, Overture to A Midsummer Night's Dream, Op. 21 [1826] Hector Berlioz making connections: The Romantics and Opium listening map 46: Hector Berlioz, Fantastic Symphony, Finale, "Dream of a Witches' Sabbath" [1830] check your knowledge CHAPTER 38 Romantic Opera Italian Romantic Opera French Romantic Opera listening map 47: Giuseppe Verdi, Rigoletto, Act III, Canzone,

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Book SynopsisPostgraduate Research in Music: A Step-by-Step Guide to Writing a Thesis is an essential text for music students who are undertaking postgraduate research. Unique in its approach and scope, this is a how to book, a practical guide that sets out, step-by-step, how to write a thesis. It discusses all key aspects of the research process in the order in which they are encountered, from the initial stages of a research project to completion of a thesis. It also offers a music-specific focus, with explanations and examples that are immediately relevant for all music research and which take into account the special characteristics of music as a discipline. At the same time, the book provides a useful teaching framework for lecturers.All key concepts are illustrated with music-relevant examples. Exercises, and in some chapters class seminar topics as well, are included to reinforce the concepts being discussed. Reading lists are appended at the end of most chapters, enabling students to explore topics in greater depth. Valuable supplementary information, such as referencing examples, is provided in the appendices.Postgraduate Research in Music is based on the premise that there are certain principles that underpin good scholarship, regardless of the area in which the research is conducted. In distilling and discussing these principles, this book speaks to all scholars working within the discipline of music.

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Book SynopsisThe second edition of Choral Repertoire is a comprehensive reference book about choral music in Western culture from Gregorian chant to compositions of the early twenty-first century, now expanded to include dozens of new composers with the aim of further expanding and diversifying the western choral repertoire.Trade ReviewChoral Repertoire is the essential source for both quick reference and extended study of choral music. This text should be in the library of every choral conductor and aspiring student. Dennis Shrock is the quintessential choral scholar of our day. * Dr. Donald Trott, Director of Choral Activities, University of Mississippi *Any choral musician who thinks they don't need another book hasn't seen this new edition of Dennis Shrock's comprehensive tome covering not only 588 different important choral composers of note, but 58 additions including more women composers and composers of color. Organized by period, by country, and by composer, this invaluable resource is a must for every choral conductor, whether student or master! Dennis has done it again—researched the field and given us the most up-to-date information on the western choral canon! * Dr. Charlene Archibeque, Professor Emerita, San Jose State University *Dennis Shrock's new edition of Choral Repertoire incorporates a wealth of meticulously researched composers in response to the expansion of the art form. This overview—as explained in his preface—is focused on western choral composers and their music. As was the case with Shrock's 1st edition, this comprehensive text is chronologically structured, geographically contextualized, and is a must-have for international choral music scholars, educators, and conductors. * Dr. Gregory Gentry, Director of Choral Studies and Lynn Whitten Choral Music Faculty Fellow, University of Colorado Boulder *A major contribution to the history and literature of choral music. A vital and necessary addition to the library shelves, certain to be referred to regularly. * Pasatiempo *Choral Repertoire is an invaluable resource book for the choral conductor, conducting student and choral singer. It should be a part of the curriculum of any music education or conductor degree program. It rightfully deserves a place among the standard music reference publications. Dennis Shrock has provided us with a must-have! * Joseph Jennings, Music Director, Chanticleer *Dr. Dennis Shrock is indisputably one of the very top choral scholars in the United States. Add to this his expertise as a choral director and you have a superbly qualified author. Every choral director should have this compact, scholarly, practical historical survey of our field. It reads superbly, yet with ease. What a treasure! * Weston Noble, Professor Emeritus, Luther College (Decorah, Iowa) *This is the most complete volume on choral music ever written. This is for all choral enthusiasts; professionals, singers, conductors, academicians, students both graduate and undergraduate, church musicians * whatever your interest, this is a book for you. It is fascinating reading, whether you are researching a specific composer or seeking ideas for repertoire. Details abound!Vance George, Freelance Conductor and Conductor Emeritus, San Francisco Symphony Chorus *Table of Contents1. The Medieval Era 2. The Renaissance Era 3. The Baroque Era 4. The Classical Era 5. The Romantic Era 6. The Modern Era Glossary Index

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Book SynopsisGrounded in new archival research documenting a significant presence of foreign and racially-marked individuals in Medici Florence, this book argues for the relevance of such individuals to the history of Western music and for the importance of sound-particularly musical and vocal sounds-to systems of racial and ethnic difference. Many of the individuals discussed in these pages were subject to enslavement or conditions of unfree labor; some labored at tasks that were explicitly musical or theatrical, while all intersected with sound and with practices of listening that afforded full personhood only to particular categories of people. Integrating historical detail alongside contemporary performances and musical conventions, this book makes the forceful claim that operatic musical techniques were-from their very inception-imbricated with racialized differences. Author Emily Wilbourne offers both a macro and micro approach to the content of this book. The first half of the volume draws upon a wide range of archival, theatrical and historical sources to articulate the theoretical interdependence of razza (lit. race), voice, and music in early modern Italy; the second half focuses on the life and work of a specific, racially-marked individual: the enslaved, Black, male soprano singer, Giovannino Buonaccorsi (fl.1651-1674). Voice, Slavery, and Race in Seventeenth-Century Florence reframes the place of racial difference in Western art music and provides a compelling pre-history to later racial formulations of the sonic.

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Book SynopsisAs an integral figure in twentieth-century music, Pierre Boulez innovated new musical ideas through extraordinary creative processes. His formative years tracked his compositional development from his confrontations with serialism to drafting one of his major works, Pli selon pli, in the early 1960s. Part biography, part survey, Pierre Boulez: The Formative Years situates Boulez and his compositions among a complex network of influences. To best understand Boulez''s creative process, author Joseph R. Salem organizes the book into three parts. First, Boulez''s early life, training, and education provide biographical context for his career. Salem provides a fresh, revisionist perspective of the composer''s life by drawing upon a mix of primary and secondary sources. Second, the brunt of the biography situates Boulez''s musical works and experimentation among a host of contextual contexts. In place of scores and complicated musical analyses, Salem employs sketches as a visual metonym. The

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Book SynopsisThe way rhythm is taught in Western classrooms and music lessons is rooted in a centuries-old European approach that favors metric levels within a grand symmetrical grid. Swinglines encourages readers to experience rhythms, even gridded ones, as freewheeling affairs irrespective of the metric hierarchy. At its core, this book is a nuts-and-bolts study of durational comparisons in the context of creative expression. It shows that rhythms traditionally framed as deviations and non-isochronous have their own identities. They are coherent products of precise musical thought and action. Rather than situating them in the neither-here-nor-there, author Fernando Benadon takes a more inclusive view, one where isochrony and metric grids are shown as particular cases within the universe of musical time. Rhythms that do not readily comply with the metered regime are often regarded as anomalies and deformations. The music explored in this book demonstrates how readily this paradigm vanishes once th

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Book SynopsisTrade ReviewThere is a widespread feeling among music lovers today that 'Bach is a good friend of mine,' and that if he were alive in this era, he would surely be an 'ultra-modern' person who was good at Facebook and Twitter—after all, his music appeals so much to us! I find Michael Marissen's new book discussing Bach, rather, in opposition to modernity to be a wonderful model of historically-informed analytic criticism, not only against 'modernism,' but also against the current easy-going commercialism and triumphalistic secularism that prevent us from truly deepening our understanding and enjoyment of Bach. Wholeheartedly welcome! * Masaaki Suzuki, music director of Bach Collegium Japan *This is a thought-provoking, incisive, and hugely enlightening collection of essays from one of the most respected and original thinkers in Bach studies today. Marissen's razor-sharp wit and crystal-clear prose cut through some of the enduring myths of modern Bach reception to reveal different, unexpected, and sometimes uncomfortable facets of the man and his music. * Bettina Varwig, University of Cambridge *Table of ContentsPreface Credits Part I - Constraints of History on Interpretation 1. Bach Against Modernity 2. Bach's Handwritten Entries in his Bible Part II - Brief Commentaries 3. Fractal Gavottes and the Ephemeral World in Bach's Cantata 64 4. Time and Eternities in Bach's Cantata 23 5. Bach's Christmas Oratorio and a Blessed End 6. Bach and Art and Mammon Part III - Texts 7. Historically Informed Renderings of the Librettos from Bach's Cantatas (co-author, Daniel R. Melamed) Part IV - Jews and Judaism 8. On the Jews and their So-Called Lies in the Fourth Gospel and Bach's St. John Passion 9. Bach and Sons in the Jewish Salon Culture of 19th-Century Berlin Part V - Theological Character of Secular Instrumental Music 10. Bach's Sacred Brandenburg Concertos 11. The Serious Nature of the Quodlibet in Bach's Goldberg Variations Works Cited Index of Bach's Works Index of Names and Subjects

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Book SynopsisTrade ReviewThis book covers a wide swath of mate-rial, and it holds together well. The specificity of the early chapters feed into the large concepts of the later chapters. Deutsch has succeeded in creating a book that is accessible to the non-expert but has enough detail that even the most accomplished audiophile and neuro-acoustician will leave satisfied and enlightened. * Evelyn Way, Maxxon Corporation, Journal of the Audio Engineering Society *Musical Illusions and Phantom Words offers a fascinating retrospective on the history and science of auditory and musical illusions, written from the unique perspective of one of the fieldâs founding pioneers. Deutschâs volume on music and auditory illusions ranks among the classics in music cognition and perception. We believe this seminal work will continue to enrich our understanding of music cognition and sound perception for decades to come. * Parker Tichko and Psyche Loui, Perception *Deutsch's book is an elegant and eloquent lesson that our perception of music, like all perception, is no passive conduit. It is an endless pas de deux between expectation and experience, and the brain actively creates the things it hearsâThis book, almost perfect in its way, rises to its great theme * Jason Warren, UCL Queen Square Institute of Neurology, Brain: A Journal of Neurology *From her early pioneering work to the present day, Diana's fascinating work and observations on music have captured our imagination and inspired generations of researchers. In this remarkably accessible and deeply engaging book, she expounds upon some of her most intriguing work on the varieties of illusions that arise in music and language, and what they tell us about the mind. This is a world where distinct melodies are heard in the two ears, even though only one was presented, where musicians suddenly experience auditory hallucinations of their own music, and where speech is mysteriously transformed into song. Captivating and profound, Diana Deutsch's book will be delight not only to researchers, but to anyone who is curious about the human mind. * William Forde Thompson, author of Music, Thought and Feeling: Understanding the Psychology of Music *This is a remarkable book by an unassailable grand master of sound perception and auditory illusions. The text is very clear and very lively. Finally a book on sound perception has the sounds right on the pages! Point your phone, hear the sounds, it's that easy. Not only the sounds, but explanations from the author in her own voice. I settled in and felt like I was having a conversation with her. Deutsch is a keen and careful scholar, yet manages to make the pages incredibly entertaining. When one reads this book, one realizes that Prof. Deutsch didn't "get lucky" when she discovered her well known illusions. There is a program, guided by deep knowledge and intuition. She shares both with us in this wonderful book." * Eric J. Heller, Abbott and James Lawrence Professor of Chemistry, and Professor of Physics, Harvard University, author of Why You Hear What You Hear *In this delightful volume Diana Deutsch, a living legend in the field of music psychology, invites us into her laboratory. There, with the help of web-based audio files, we can listen in as she tricks our hearing into revealing some of the inner workings of the human auditory system. Dozens of these musical illusions help us to understand the complexity and marvelous sophistication of how we uncover patterns and meanings in the sounds that we hear." * Robert O. Gjerdingen, Professor of Music, Northwestern University, author of Music in the Galant Style *Diana Deutsch is a true pioneer. In this finely written and yet seriously scientific book, she tells the story of how she discovered phantasms that to our ears are as miraculous as a Fata Morgana is to our eyes. Read and wonder!" * Stefan Klein, Professor of Critical Studies, University of the Arts, Berlin, author of The Science of Happiness *Dr. Deutsch has been one of the world's leading researchers of the psychology of music for over four decades. This book is the culmination of her stellar career of intriguing observations gleaned from her innovative investigative techniques. Her contributions to the field are on par with Oliver Sacks, Roger Shepard, and Jean-Claude Risset. Dr. Deutsch's rigorous yet charming style makes Musical Illusions and Phantom Words equal parts illuminating and fun." * Michael A. Levine, composer *It is a great pleasure to have Diana Deutsch's pioneering work on auditory illusions, and her landmark explorations of the influence of language on music perception brought together in the summation of a stellar career that has profoundly influenced the field of music psychology and cognition. The underlying thread throughout the book is the extraordinary complexity of the auditory system and the wide range of individual differences among listeners." * Jonathan Berger, Denning Family Provostial Professor in Music, Stanford University *Diana Deutsch's pioneering work on auditory illusions opened up a crack through which music and speech perception could be understood in new ways. This engaging volume, laced with anecdotes and firsthand accounts, should pique anyone's curiosity about how the mind hears." * Elizabeth Hellmuth Margulis, Professor, Princeton University *The Yanny-Laurel meme and other audio illusions actually say quite a bit about the perception of music and speech and the organization of the human brain. Diana Deutsch, the world's foremost expert on these fascinating "perceptual anomalies," makes compelling arguments for a variety of issues, such as that music and speech originated from a protolanguage; that our past experience unconsciously affects what we hear; that music theory can now be put to experimental tests. She has shown that absolute pitch, once thought to be completely hereditary and extremely rare, is not at all unusual among musicians in China, where a tone language is spoken. Anyone who has been mesmerized by Necker cubes and Escher prints will find this book engrossing and entertaining-it is a mind-expanding, ear-opening tour de force." * Philip Yam, Science Editor and former Online Managing Editor for Scientific American Magazine *Table of ContentsList of Modules (QR codes) Acknowledgments Introduction Chapter 1: Music, Speech, and Handedness Chapter 2: Some Musical Illusions are Discovered Chapter 3: The Perceptual Organization of Streams of Sound Chapter 4: Strange Loops and Circular Tones Chapter 5: The Tritone Paradox: An Influence of Speech on How Music is Perceived Chapter 6: The Mystery of Absolute Pitch: A Rare Ability That Involves both Nature and Nurture Chapter 7: Phantom Words: Our Knowledge, Beliefs and Expectations Create Illusions of Speech Chapter 8: Catchy Music and Earworms Chapter 9: Hallucinations of Music and Speech Chapter 10: The Speech-To-Song Illusion: Crossing the Borderline between Speech and Song Chapter 11: Speech and Music Intertwined: Clues to Their Origins Notes References Index

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Book SynopsisA Family Guide to Parenting Musically is for families who want to make music a more meaningful part of their daily life. It is full of creative ideas about how to engage in musical parenting (doing things to help your child grow musically) as well as parenting musically (using music to achieve parenting goals). Designed for parents, grandparents, caregivers, and friends, this book breaks down activities by age bracket and by various scenarios. Seventy activities offer specific ways to explore the ideas at the core of this book: that all humans are musical, that music can make an important difference in family life, and that there are many ways to be musical. Based on two decades of Lisa Huisman Koops''s research and teaching with families, as well as mothering her own four children, A Family Guide to Parenting Musically provides developmental information and research-based discussions in a clear and engaging way. The companion website features author-recorded audio examples of songs, c

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Book SynopsisMusic theory has recently seen burgeoning efforts to make the field more inclusive and diverse. One prominent response involves a concerted effort to collect musical examples by historically marginalized composers for use in the classroom. Less has been done, however, on behalf of the scholars whose work is taught in our classrooms. This collection addresses this concern: scholarship taught in the music theory classroom is often dominated by one particular cultural reality, and this collection is a step toward changing that paradigm by bringing together short essays written by marginalized scholars who model analytical writing for students using a variety of music theories and genres from diverse regions of the world, including for example China, India, Japan, North and South America, and Turkey. The essays represent current music analytical trends in a substantial breadth of genres, including ballet, chamber music, film music, jazz, musical theater, opera, oratorio, orchestral music, popular music, video game music, and vocal music. Modeling Musical Analysis marks an important step in making the field of music theory, the classroom, and the study of music in general more inclusive by amplifying the representation of, and substantive contributions made by, scholars of color.

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Book SynopsisIn Desire in Chromatic Harmony, Kenneth Smith reveals how composers used chromatic and dissonant chord progressions to mirror the psychological tension and complexity found in the work of psychoanalytic writers.Trade ReviewIn this simultaneously psychodynamic and music-theoretical discussion of the Oedipal triangle of Tonic, Subdominant, and Dominant functions in fin-de-siècle music, Kenneth Smith offers a potent new theory of how late tonal music played its part in the development of modern concepts of psychological desire. Scintillating, challenging, and always engagingly written, this book makes a decisive contribution to our understanding of the libidinal landscape of musical modernity. * J. P. E. Harper-Scott, Professor of Music History and Theory, Royal Holloway, University of London *In Desire in Chromatic Harmony, Kenneth Smith explains the unexplainable. And does so in compelling readable prose. Lying at the intersection of psychology, critical theory, philosophy, music theory, and historical musicology, Smith invites the reader into an in-depth yet unassuming contemplation of complicated music-analytical themes — through the chromaticism of Ives, Copland, Szymanowski, Strauss, Suk and Skryabin — from the 19th century right up to today. Something of a post-poststructuralist account of the philosophy of desire in music through the useful psychoanalytic notion of psychodynamics, Smith's incisive work will surely be required reading for all in the music academy, and beyond. In short, a great read. * Philip Ewell, Associate Professor, Hunter College *Kenneth Smith's scintillating new book is the best kind of interdisciplinary work: psychoanalysis becomes not a goal of music theory here, but its drive, the engine for a real adventure in concept-making. It rewards the mind but also the ears, which cannot hear this endlessly beguiling repertoire in the same way afterwards. A rabbit-hole of a good read! * Seth Brodsky, Associate Professor of Music, University of Chicago *This book is integrative, since Smith has considered the various approaches to chromatic music with an ecumenical attitude...An attractive addition is that he broadens the usual scope of these kinds of studies to consider music outside the German tradition...Up front, Smith's Desire in Chromatic Harmony brings to fruition many of the promises of the scholarly inquiry around chromatic harmony. * Michael L. Klein, Temple University, Music and Letters *

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Book SynopsisEditing Early Music is designed as a guide to editorial procedures suitable for music written from the Middle Ages to about 1830. In this revised edition the opportunity has been taken to make a number of corrections and to add a Postscript entitled `Stemmatics and Textual Criticism'. The bibliography has been updated.Trade ReviewShould be owned, not just read once, by aspiring editors and by all who direct performances of early music....Brief, but packed with sound advice, sensible admonitions, useful information, observation and common sense. * Early Music *

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Book SynopsisThis is the largest life-and-works of Musorgsky ever to have appeared outside Russia. Musorgsky created stunning masterpieces in such creations as his opera Boris Godunov and piano suite Pictures at an Exhibition - yet his life was tragic. It is this pathetic tale, interlaced with critical discussion of music, that is this book's concern.Trade ReviewThe qualities of clarity and thoroughness familiar to readers of Professor Brown's earlier work are also in evidence here ... his style is straightforward and elegant without pretentiousness, apparently aimed at music lovers as much as those with a scholarly interest. * SEER *... excellent monograph ... David Brown has done an excellent job in treating Musorgsky in such a lively and yet learned manner ... His magisterial study deserves to be purchased by many music lovers who will find the narrative fluent and the musical analysis approachable. It should also attract musicians and musical scholars who will also discover some new ideas, approaches and materials in its pages. * SEER *... a no-holds barred biography ... Brown traces his entire output in a rich historical and social context. He ... gives us a new vision of the composer. * New York Times *... the general reader and specialist alike will value the breadth, clear exposition and enthusiasm in Brown's discussion. * Geoffrey Norris, BBC Music Magazine *Table of ContentsPREFACE ; ILLUSTRATIONS ; APPENDICES ; INDEX

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Book SynopsisThe fundamental changes resulting in the development of the Baroque style around the turn of the 17th century had a profound effect on music theory. This work explores the metamorphosis in England where, because of a traditional emphasis on practicality, there was willingness to accept new ideas.Trade ReviewOn every page a complex network of filiations is traced among many English authors. It is this kind of meticulous research in which Herissone excels, and to which subsequent generations of scholars will gratefully refer ... Her meticulous account is unusually lucid ... There is no comparable account in the English language that offers such a comprehensive and detailed overview of English music theory from the seventeenth century, and her book will surely become the standard reference work on this subject. * Journal of the American Musicological Society *This welcome survey covers a great deal of ground ... Clarity of organization is only the most immediately obvious of the book's strengths. The author scrutinizes all her materials with a critical eye, and charts an astonishing number of disagreements, confusions and self-contradictions. * Early Music *A full and invaluable account of English theoretical writing over the period ... A particularly valuable contribution of the book to English music history is the four full appendices. * Musical Times *Table of ContentsPreface ; Acknowledgements ; List of Plates ; List of Tables ; List of Examples ; Sources ; Time ; Pitch Structure ; Harmony ; Harmonic and Contraptual Compositional rules ; Tonality ; Texture and Form ; Conclusion ; Appendix I: Alphabetical List of Treatises ; Appendix II: Chronological List of Treatises ; Appendix III: Editions of Playford's Introduction to the Skill of Musick ; Appendix IV: Origins of Material ; Bibliography ; Index

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Book SynopsisWhat is music, what is its value, and what does it mean? In this exciting book, the philosopher Roger Scruton explores the nature and meaning of music from first principles and gives a fascinating analysis of musical organization, together with a provocative account of contemporary civilization and its discontents.Trade ReviewA formidably gifted philosopher, he here combines analytical rigour with a daunting knowledge of the repertoire as a performer and occasional composer, to ask the most fundamental questions about what music is and what our capacity to enjoy it tells us about the human condition. This is a rich and rewarding study, and I doubt whether anyone could have done it better. * Jonathan Sachs, The Times *Table of ContentsPreface ; List of Music Examples ; Note to the Reader ; 1. Sound ; 2. Tone ; 3. Imagination and Metaphor ; 4. Ontology ; 5. Representation ; 6. Expression ; 7. Language ; 8. Understanding ; 9. Tonality ; 10. Form ; 11. Content ; 12. Value ; 13. Analysis ; 14. Performance ; 15. Culture ; Bibliography ; Acknowledgements ; Index

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Book SynopsisPhilosophy of music has flourished in the last 30 years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music.Trade ReviewThough not a textbook, Kivy's book neatly covers the history of musical aesthetics from Plato onwards, and thus could easily be used in philosophy of music classes. * The Philosophical Quarterly *Written clearly and engagingly, Peter Kivy's introduction to musical aesthetics usefully summarizes his own influential views on various issues in the philosophy of music. * The Philosophical Quarterly *Peter Kivy is the most influential and prolific author on the philosophy of music within the analytical tradition ... Kivy has written a very readable and elegantly composed philosophy of music, which requires no prior knowledge of musicological terminology. The treasures of the book are the keen analyses of the issues, the sophisticated argumentations, and the wealth of relevant arguments ... It is a most valuable book for those who want to confront their views of music with one of the best-argued positions in musical aesthetics. * British Journal of Aesthetics *Table of ContentsPreface ; 1. Philosophy of... ; 2. A Little History ; 3. Emotions in the Music ; 4. A Little More History ; 5. Formalism ; 6. Enhanced Formalism ; 7. The Emotions in You ; 8. Foes of Formalism ; 9. First the Words: Then the Music ; 10. Words without Songs ; 11. The Work ; 12. And the Performace Thereof ; 13. Why Should you Listen? ; Readings and References, Index

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Book SynopsisFrom where, and by what mechanisms, does an individual's musical ability originate? Seeking an answer to this question, this study reviews such central issues as prenatal auditory experience and the developmental progress of a child's changing environment.Table of ContentsChapter 1 - Prenatal auditory experience ; Chapter 2 - Musicality in infancy research: biological and cultural origins of early musicality ; Chapter 3 - Infants' auditory sensitivity towards acoustic parameters of speech and music ; Chapter 4 - Intuitive parenting: a hidden source of musical stimulation in infancy ; Chapter 5 - The development of the perception of time and temporal regulation of action in infants and children ; Chapter 6 - The development of artistic and musical competence ; Chapter 7 - The young performing musician ; Chapter 8 - Linguistic and musical development in preschool and school-age children

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Book SynopsisVery Short Introductions: Brilliant, Sharp, InspiringThe world teems with different kinds of music - traditional, folk, classical, jazz, rock, pop - and each type of music tends to come with its own way of thinking. Drawing on a wealth of accessible examples ranging from Beethoven to Chinese zither music, this Very Short Introduction considers the history of music and thinking about music, focussing on its social and cultural dimensions. Nicholas Cook balances the Western Classical traditions within the context of many other musical cultures in today''s world, tracing the way in which their development since the eighteenth century has conditioned present-day thinking and practice both within and beyond the West. He also considers the nature of music as a real-time performance practice; the role of music in contexts of social and political action; and the nature of musical thinking, including the roles played in it by instruments, notations, and creative imagination. In this new edition Cook explores the impact of digital technology on the production and consumption of music, including how it has transformed participatory music-making and the music business. He also discusses music''s position in a globalized world, from the role it played in historical processes of colonisation and decolonisation to its present-day significance as a vehicle of cross-cultural communication. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.Table of ContentsAcknowledgements Introduction 1: Music in the moment 2: Thinking in music 3: The presence of the past 4: Music 2.0 5: Music in a global world References Further Reading Index

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Book SynopsisThis re-evaluation of our thinking about music is in two parts. The first focuses on approaches to musical texts, covering such topics as the relationship of text and context, and concepts of unity and meaning. The second explores and reflects the nature of the discipline of musicology

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Book SynopsisThis is a comprehensive philosophy of the art of singing, addressed to those with a gift for singing who would like to understand better how to approach putting that gift to use. The central theme is that the imagination is an essential pre-requisite of singing--not an optional extra.Trade ReviewThis is one of the best (if not the best) books to be written about singing in recent times. Hemsley talks so much common sense, touches on so many truths about singers, singing and performance, and writes it all in such well-proportioned, unencumbered prose that active singers and aspiring students alike can and should benefit from reading his many wise and enlightening words. The public who attend opera and song recitals would also profit from reading the volume ... With so much wisdom imparted it is no wonder Janet Baker writes in praise of 'the extraordinary wisdom and truth' within the book's pages. * Alan Blyth, Opera *I couldn't put it down. Hemsley treats the subject seriously; everyone who is genuinely serious about singing, teacher, pupil, or listener, will find, as I did, extraordinary wisdom and truth within its pages ... His ideas should have far-reaching influence on the teaching of singing and the criteria used for accepting pupils into a vastly over-crowded profession' * Dame Janet Baker *Table of ContentsIntroduction ; I: THE BASIC PRINCIPLES ; Readiness to sing - The Raw Material ; Posture ; Posture - Hints ; The Impulse ; The Intention ; Intention - Hints ; The Anacrusis ; Colour ; Falsetto ; The Importance of Good Diction ; The Singer's Ear ; The Pitch-Intensity Effect ; Breath ; II: WORDS AND MUSIC ; The Works of the Imagination - Words and Music ; Legato and Tessitura ; The Pulse ; III: PERFORMANCE ; Performance ; Bibliography ; Index

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Book SynopsisOver the past few decades, the use of the arts in health has blossomed. What, for many centuries, was seen as a fringe activity is now being recognised as a field that has enormous potential for impacting positively on both individuals and societies. However, despite this surge in interest and activity, there is still limited support available for people working in the field. Although the number of practical training courses for artists is growing and more universities are establishing research groups, most training activity occurs in either practice or research; there are relatively few opportunities to gain parallel experience in both. Arts in Health: Designing and Researching Interventions provides a complete overview of how to go about undertaking research and practice in the field of arts in health. It starts by exploring the context for arts in health interventions, including the history of the use of arts in health and the theoretical and political developments that have laid the foundations for its flourishing. It also considers what ''arts in health'' encompasses and the range of disciplines involved. Part II examines how to design an arts in health intervention, develop partnerships and find funding and considers the sensitivities around working in healthcare. Part III considers the value of research for the field of arts in health and how to design and undertake a research project. Finally, part IV provides a fact file of arts in health research and practice, showing how the arts can be applied and the benefits they can bring across a range of medical disciplines. The book will be valuable for researchers, practitioners, healthcare professionals and those interested in learning more about the field.Trade ReviewDuring an Inquiry into the benefits of the arts to health and wellbeing conducted by the All-Party Parliamentary Group on Arts, Health and Wellbeing, a need for higher quality evaluation was identified. This useful guide will aid researchers working in the field of arts and health to design their studies and for the results of these studies to influence future practice. * Rt Hon Lord Howarth of Newport Co-Chair, All Party Parliamentary Group on Arts, Health and Wellbeing *An extraordinary book, characterized by meticulous scholarship, broad historical and theoretical scope, practical advice, logical organization, eloquent style, and fresh originality. Arts in Health will serve as an inspirational foundation for future research. * Annabel J. Cohen Professor of Psychology, University of Prince Edward Island, Canada Adjunct Professor, Faculty of Graduate Studies, Dalhousie University *Dr Daisy Fancourt has written a tour de force, which is easily accessible for the novice evaluator as well as an essential resource for students and more experienced researchers. It is a book healthcare planners, commissioners, practitioners and researchers will find enormously valuable. * Paul M, Camic Professor of Psychology and Public Health, Canterbury Christ Church University Co-editor of the Oxford Textbook of Creative Arts, Health and Wellbeing *An impressive work of scholarship charting the development of the field of arts and health internationally, and offering a comprehensive guide to planning and conducting robust research. This text undoubtedly demonstrates the value of the creative arts in health care and health promotion and is essential reading for health professionals, clinicial commissioners and service managers. It is sure to become a key point of reference for experienced researchers and graduate students interested in arts and health the world over. * Stephen Clift Professor of Health Education, Sidney De Haan Research Centre for Arts and Health, Canterbury Christ Church University Chair *Daisy Fancourt provides a historically and scientifically grounded, long-awaited-for, thoroughly-rational approach to Arts and Health. She has masterminded a much needed framework. * Gunter Kreutz Professor of Systematic Musicology, Carl von Ossietzky University, Oldenburg *Daisy Fancourt is to be congratulated for presenting this timely overview of history, theory and policy relevant to the growing field of arts and health. This will no doubt become an invaluable source for all those involving themselves in this burgeoning area of activity. * Dr. Rebecca Gordon-Nesbitt Researcher to the All Party Parliamentary Group on Arts, Health and Wellbeing, King's College London *Table of ContentsPART I: INTRODUCTION; PART II: THE CONTEXT FOR ARTS IN HEALTH INTERVENTIONS; PART III: DESIGNING AND DELIVERING ARTS IN HEALTH INTERVENTIONS; PART IV: RESEARCHING ARTS IN HEALTH INTERVENTIONS; PART V: FACT FILE OF ARTS IN HEALTH RESEARCH AND PRACTICE

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Book SynopsisFrom folk music to worldbeat, world music holds the power to evoke the exotic and give voice to the voiceless. This new edition shows how dramatic political changes are affecting the ways in which people produce and listen to world music, and addresses how new technologies and the internet alter the way we disseminate and listen to it.Table of ContentsPreface 1: In the beginning: myth and meaning in world music 2: The West and the world 3: Between myth and history 4: Music of the folk 5: Music of the nations 6: Diaspora 7: Colonial musics, post-colonial worlds, and the globalization of world music Further reading Index

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Book Synopsis.Trade ReviewThe best book on the market. It has a superior balance of basic and complex concepts, terms, exercises, and examples." - Peter Susser, Columbia UniversityI love teaching out of The Complete Musician." - Don Traut, University of ArizonaThe Complete Musician provides a more holistic approach to theory than other texts. This text will absolutely help students' performing abilities and how they approach and understand music." - Alex Nohai-Seaman, Suffolk County Community CollegeThis text is comprehensive, extremely thorough, and sophisticated." - Jeffrey Loeffert, Oklahoma State University

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Book SynopsisIn a series of intimate conversations with some of the most influential composers of concert music currently working on the American music scene, composer and educator Robert Raines covers subjects ranging from the source of inspiration to work habits, the business of music, and the impact of technology on music and life in the 21st century.Trade ReviewWhat a rare opportunity to eavesdrop on personal conversations with such a diverse and impressive group of American composers. Robert Raines masterfully engages each artist to share insights, reflections, and experiences * a collection that will surely change how you view contemporary composition.Darla S. Hanley, PhD, Dean of the Professional Education Division, Berklee College of Music *This fascinating book will make a valuable addition to a course in contemporary music for music majors and non-majors alike, as well as a springboard for one-on-one discussion in the composition studio. * Peter Spencer, DMA, Professor Emeritus, Music Theory and Composition, Florida State University *Raines (himself a composer) provides an impressive compilation of interviews ... The selected works will be especially useful for those who wish to learn more about 21st-century music. A good resource for those interested in the intersection of creativity and technology. * M. Goldsmith, CHOICE *Table of ContentsForeword ; Introduction ; Ellen Taaffe Zwilich ; Steve Reich ; Christopher Rouse ; Martin Bresnick ; Joan Tower ; William Averitt ; Michael Torke ; Libby Larsen ; Aaron J. Kernis ; Jennifer Higdon ; John Anthony Lennon ; David T. Little ; Kevin Puts ; Michael Daugherty ; Mohammed Fairouz ; Tania Leon ; Bright Sheng ; Ladislav Kubik ; Chen Yi ; Jose Bevia ; Daniel Wohl ; Eve Beglarian ; Glen Branca ; Marcus Roberts ; Luke DuBois ; Greg Wilder ; Pamela Z ; Eric Whitacre ; About Robert Raines ; Index

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Book SynopsisIn Beyond the Score: Music as Performance, author Nicholas Cook supplants the traditional musicological notion of music as writing, asserting instead that it is as performance that music is loved, understood, and consumed. This book reconceives music as an activity through which meaning is generated in real time, as Cook rethinks familiar assumptions and develops new approaches.Table of ContentsContents ; About the companion web site ; List of figures ; List of media examples ; Introduction ; 1 Plato's curse ; Sounded writing ; Performative turns? ; 2 Page and stage ; Theorist's analysis ; Performer's analysis ; Performance analysis ; 3 What the theorist heard ; Affecting the sentiment ; Spoken melody, or sung speech ; Schenker vs. Schenker ; 4 Beyond structure ; Structure in context ; Mozart's miniature theatre ; Rhetoric old and new ; In time and of time ; 5 Close and distant listening ; Reinventing style analysis ; Forensics vs. musicology ; Performing Poland ; The savour of the Slav ; 6 Objective expression ; Nature's nuance ; Phrase arching in history ; Phrase arching in culture ; 7 Playing somethin' ; Referents and reference ; The work as performance ; 8 Social scripts ; An ethnographic turn ; Sociality in sound ; Performing complexity ; 9 The signifying body ; 31 August 1970, 3.30 am ; The white man's black man ; 10 Everything counts ; Pleasures of the body ; Bodies in sound ; Building bridges ; 11 The ghost in the machine ; Music everywhere ; Original and copy ; Signifying sound ; 12 Beyond reproduction ; The best seat in the hall ; Acoustic choreography ; Rethinking the concert ; Making music together ; List of references

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Book SynopsisIn The Oxford Handbook of Philosophy in Music Education, editors Wayne D. Bowman and Ana Lucía Frega have drawn together a variety of philosophical perspectives from a global who's who of scholars. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere. Emphasizing clarify, fairness, rigor, and utility above all,Trade ReviewOf special interest is the inclusion of a variety of practices in music education from a global perspective...Essential. * Choice *Table of ContentsAbout the Contributors ; 1. Introduction ; Wayne Bowman and Ana Lucia Frega ; I. The Nature and Value of Philosophical Inquiry in Music Education ; 2. What Should the Music Education Profession Expect of Philosophy? ; Wayne Bowman and Ana Lucia Frega ; 3. Rethinking Philosophy, Re-Viewing Musical-Emotional Experiences ; David J. Elliott and Marissa Silverman ; 4. Voicing imbas: Performing a Philosophy of Music Education ; Helen Phelan ; 5. Philosophy of Music Education as Art of Life: A Deweyan View ; Lauri Vakeva ; 6. Uncomfortable with Immanence: The Nature and Value of Music and Music Education as Singular or Supplemental ; Bennett Reimer ; II. The Nature and Values of Music ; 7. Learning to Live Music: Musical Education as the Cultivation of a Relationship between Self and Sound ; Randall Pabich ; 8. The Grain of the Music: Does Music Education 'Mean' Something in Japan? ; Tadahiko Imada ; 9. Musical Education: From Identity to Becoming ; Michael Szekely ; 10. Teaching practices in Persian Art Music ; Erum Naqvi ; 11. Understanding Music's Therapeutic Efficacy: Implications for Music Education ; Diane Thram ; III. The Aims of Education ; 12. The Impossible Profession ; Christopher Higgins ; 13. Education in Latin American Music Schools: A Philosophical Perspective ; Luis Alfonso Estrada ; 14. Must Music Education Have an Aim? ; V. A. Howard ; 15. Cultivating Virtuous Character: The Chinese Traditional Perspective of Music Education ; Yuhwen Wang ; 16. Ethical Dimensions of School-Based Music Education ; Thomas A. Regelski ; IV. Philosophical Inquiry Directed to Curricular and Instructional Concerns ; 17. Engaging Student Ownership of Musical Ideas ; Harold Fiske ; 18. Understanding Music as the Philosophical Focus of Music Education ; Keith Swanwick ; 19. Musical Heuristics: Contributions to the Understanding of Musical Creative Processes ; Ricardo Mandolini ; 20. Nurturing the Songcatchers: Philosophical Issues in Creativity and Music Education ; John Kratus ; 21. Avoiding the Dangers of Postmodern Nihilist Curricula in Music Education ; Robert Walker ; V. Challenges to Philosophical Practice in Music Education ; 22. Good for What, Good for Whom?: Decolonizing Music Education Philosophies ; Deborah Bradley ; 23. Place, Music Education, and the Practice and Pegagogy of Philosophy ; Sandra Stauffer ; 24. On Informalities in Music Education ; Estelle Jorgensen ; 25. Music Education for <"All My Relations>" ; Charlene Morton ; VI. Afterword ; 26. But is it philosophy? ; Wayne Bowman and Ana Lucia Frega ; Index

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