Theory of music and musicology Books

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Book SynopsisSo much, popular and scholarly, has been written about the synthesizer, Bob Moog and his brand-name instrument, and even Wendy Carlos, the musician who made this instrument famous. No one, however, has examined the importance of spy technology, the Cold War and Carlos''s gender to this critically important innovation. Through a postcolonial lens of feminist science and technology studies, Roshanak Kheshti engages in a reading of Carlos''s music within this gendered context. By focusing on Switched-On Bach (the highest selling classical music recording of all time), this book explores the significance of gender to the album''s--and, as a result, the Moog synthesizer''s--phenomenal success.Trade ReviewWendy Carlos’s Switched-On Bach is the type of entry that keeps me coming back to the 33 1/3 series. Khesti’s work has completely opened up my mind and understanding of what the Moog should be as a musical instrument and what Wendy Carlos hoped to accomplish by recording music as she did. * Bearded Gentleman Music *Roshanak Kheshti, the author of the new 33 1/3 book series entrant Wendy Carlos's Switched-On Bach, says Carlos was and remains a "foundational presence" to electronic music—and that the brief public acknowledgements she often garners today fall far short of the full story. * Reverb *Table of ContentsSwitched-On Prologue 1 Original Synth 2 Switching On 3 Switched-On Studio 4 Switched-On World Epilogue: Cats on Keys & Total Eclipses Acknowledgements Notes

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Book SynopsisThe first edition of Sound Art Revisited (published as Sound Art: Beyond Music, Between Categories) served as a groundbreaking work toward defining this emerging field, and this fully updated volume significantly expands the story to include current research since the book's initial release. Viewed through a lens of music and art histories rather than philosophical theory, it covers dozens of artists and works not found in any other book on the subject. Locating sound art''s roots across the centuries from spatialized church music to the technological developments of radio, sound recording, and the telephone, the book traces the evolution of sound installations and sound sculpture, the rise of sound art exhibitions and galleries, and finally looks at the critical cross-pollination that marks some of the most important and challenging art with and about sound being produced today.Trade Review[An] important text for anyone involved in any form of sound studies. * The Wire (joint-reviewed with Acoustic Territories) *Alan Licht’s historical approach successfully unpacks the development of sound art and explains its development through a multitude of examples. He ... brings new clarity into the discussion of sound art and its variations, remembering its roots and perhaps more importantly bringing social perspectives to bear in the narrative for scrutinising conceptual, instrumental and performative aspects of this many-faceted art form. * Organised Sound *I am pleased to discover at last an English-language, far-reaching survey of sound art rightly focusing on both theoretical and historical aspects while dealing with challenging categorization and placement issues such as situating sound art with regard to the fields of experimental music, fine art, and even sound studies. Sound art is becoming an increasingly important art form; this volume, a highly revised and expanded version of Licht’s earlier Sound Art: Beyond Music, Between Categories, is long overdue. * Leigh Landy, Director of Music – Technology and Innovation, Institute for Sonic Creativity, De Montfort University, UK *Sound Art Revisited demonstrates in abundance that sound can--and must--be heard throughout all of the arts. Alan Licht’s book is brimming with examples that traverse art, music, and the spaces in between. From seminal figures such as Maryanne Amacher, Max Neuhaus, and Alvin Lucier through to contemporary artists including Christine Sun Kim, Marco Fusinato, and Camille Norment, this book is essential reading for those looking to discover the breadth of practices encompassed by the sonic turn of the arts. * Caleb Kelly, Senior Academic, UNSW Art & Design, Australia *Table of ContentsPreface 1. Introduction 2. Prehistories and Early Manifestations 3. Sound and the Art World 4. Recent Sound Art Notes Index

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Book SynopsisUncurating Sound performs, across five chapters, a deliberation between art, politics, knowledge and normativity. It foregrounds the perfidy of norms and engages in the curatorial as a colonial knowledge project, whose economy of exploitation draws a straight line from Enlightenment's desire for objectivity, through sugar, cotton and tobacco, via lives lost and money made to the violence of contemporary art.It takes from curation the notion of care and thinks it through purposeful inefficiency as resistance: going sideways and another way. Thus it moves curation through the double negative of not not to uncuration: untethering knowledge from the expectations of reference and a canonical frame, and reconsidering art as political not in its message or aim, but by the way it confronts the institution.Looking at Kara Walker's work, the book invites the performance of the curatorial via indivisible connections and processes. Reading Kathy Acker and Adrian Piper it speculates on how the body brings us to knowledge beyond the ordinary. Playing Kate Carr and Ellen Fullman it re-examines Modernism's colonial ideology, and materialises the vibrational presence of a plural sense. Listening to Marguerite Humeau and Manon de Boer it avoids theory but agitates a direct knowing from voice and hands, and feet and ears that disorder hegemonic knowledge strands in favour of local, tacit, feminist and contingent knowledges that demand like Zanele Muholi's photographs, an ethical engagement with the work/world.Trade ReviewAn actual and effectual processual removing of the residues of decades of artistic and intellectual encrustations. * Morten Søndergaard, Seismograf *Salomé Voegelin's oeuvre epitomizes sonic dynamism. Her latest work is no different. In Uncurating Sound, Voegelin invites us to listen along as she troubles and blurs static lines between knowledge and curation, writers and bodies, sound and the book, reading and performing. As she converses with works by such figures as Kara Walker, Kathy Acker, Adrian Piper, Kate Carr, Ellen Fullman and Manon de Boer, Voegelin reminds us vitally – especially as we continue to emerge from pandemic isolation and sustained distancing – that we are embodied. And questions like, Who is the “I” and the ear that writes? and For whom do we write and listen? are vital to our collective flourishing. Compelling in its speculation and expansive in its sonic wanderings, Uncurating Sound will interrupt our deep assumptions about sound and knowledge as it calls for us, in all our full embodiment, to listen. Where is your body tuned now? * Nicole Furlonge, Professor and Director of the Klingenstein Center, Columbia University, USA *With detours and fuzzy paths, inhalations and exhalations, rivers and their volumes, Uncurating Sound proposes the decolonial and transversal politics of sound is a matter not only for art institutions and their publics but also for a broader untethering from extractive histories and ways of knowing. * Sasha Engelmann, Senior Lecturer in GeoHumanities, Royal Holloway University of London, UK *Salomé Voegelin’s sensitive handling of sound topics as a post-colonial un-discipline is both observational and treatise-ish, caring and critical, and affirms the complex entanglement of curation, the cannon, the archive, and the body, and proposes a new traversing identity of sound studies. A Tour de Force. * Miya Masaoka, composer, artist and Associate Professor of Visual Art (Sound Art) and Director, Sound Art Program MFA, Columbia University, USA *Salomé is able to bring art work and theory into a real dialogue (instead of the art work being subordinated to the theoretical frame), which implies that there’s a win-win situation: on the one hand, Salomé invites the reader to encounter a sonic art work by offering an open theoretical frame; on the other hand, the theories are brought to another plane by confronting them with concrete art works that “speak back.” * Marcel Cobussen, Professor of Auditory Culture and Music Philosophy, Leiden University, Netherlands *Table of ContentsList of figures Acknowledgements Prologue: Sounding Gaps in Pavements Introduction: Taking a breath together Breath 1 Curating politics in the gallery space Breath 2 The possibility of resistance and the performance of alternatives Performance score listen across to uncurate knowledge Breath 3 With voice and hands sound it IIIIIII Breath 4 Postnormal Performing Walls IX Bibliography List of Works Index

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Book SynopsisWhat happens in our unconscious minds when we listen to, produce or perform popular music? The Unconscious a much misunderstood concept from philosophy and psychology works through human subjects as we produce music and can be traced through the music we engage with. Through a new collaboration between music theorist and philosopher, Smith and Overy present the long history of the unconscious and its related concepts, working systematically through philosophers such as Schopenhauer and Nietzsche, psychoanalysts such as Freud and Lacan, to theorists such as Deleuze and Kristeva. The theories offered are vital to follow the psychological complexity of popular music, demonstrated through close readings of individual songs, albums, artists, genres, and popular music practices. Among countless artists, Listening to the Unconscious draws from Prince to Sufjan Stevens, from Robyn to Xiu Xiu, from Joanna Newsom to Arcade Fire, from PJ Harvey to LCD Sound System, each of Trade ReviewExploring how conscious and unconscious states of mind are channeled through musical expression, Kenneth Smith and Stephen Overy collaborate here to offer post-Freudian and post-Lacanian readings of popular songs. With clear reference to psychoanalytic concepts, their analytic applications reveal remarkable ways in which states of being emerge through expressive musical strategies. Listening to the Unconscious will reward readers with persuasive and stimulating reflections on how music channels the very core of human experience. * Lori Burns, Professor of Music, University of Ottawa, Canada *Three particular values strike me in reading Smith and Overy's Listening to the Unconscious. First, they provide an entry-level, cogent introduction to key psychoanalytic concepts and the ways they enable navigation of the unconscious, but with a musical purpose in mind. Second, they give much all-too-rare attention to musical detail in the light of these concepts, leading to persuasive elucidations of a wide range of songs at rather greater depth than often found. And, third, they present sufficient richness of demonstration to enable interested readers to apply these ideas to music of their own choosing, and thus to understand music more convincingly from this useful perspective. What more could one want? * Allan Moore, Professor Emeritus, University of Surrey, UK *Listening to the Unconscious provides a compelling approach to music listening. It is an invaluable addition to the field of popular music studies, demonstrating deftly the relevance of psychoanalysis in music scholarship. Comprising an extensive collection of musical examples, Smith and Overy have developed an impressive array of theories that lay the foundations for important forms of critical thinking. * Stan Hawkins, Professor Emeritus, University of Oslo and University of Agder, Norway *Kenneth Smith and Stephen Overy present a unique approach to the analysis of popular music that links conventional music theoretic and Freudian/Lacanian psychoanalytic concepts providing the analyst a window into the unconscious drives shaping popular music. * Ciro Scotto, Associate Professor of Music Theory, Ohio University, USA *Table of ContentsIntroduction 1. Charting Three Freudian Hypotheses with Pop Music: the economic, the topographic, the structural 2. Freud, Music, and the Psychological Condition 3. Bright Eyes (and friends) and the Antlers Meet Jacques Lacan 4. Phallocentrism, Sexuation and the Chora, from Lacan to Kristeva; Gaga to Björk 5. The Death Drive and Unconscious Production 6. “Do you want to be the ebb of this great tide?” Lacan, Freud, Nietzsche, Deleuze, and “Joy in Repetition”: Prince and LCD Soundsystem 7. S & M, & Pop Perversion 8. Polly Jean Harvey asks,“Is this desire [enough]?” Bibliography Index

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Book SynopsisListening, Belonging, and Memory puts connected listening at the center of current debates around whose voices might be listened to, who by, and why. Arguing that listening has to be understood in relation to the self, nation, age, witnessing, and memory, it uses examples from digital storytelling, listening projects, and critical media analysis to highlight connections between listening and power. It centers on voices, stories, and silence, how they interweave, and are activated, maneuvered, reconfigured, and denied. It focuses on the small, microengagementsthat crouch within the superstructures of violent border control and the censorious policing of sonic citizenry, identifying cracks in the reshuffling of histories and hierarchies that connected listening affords.Trade ReviewGardner does for sound what Ellis did for vision in Seeing Things (2000), establish listening as witnessing, working through and in this book as thinking with your ears. Immersed as we are in podcasts, music streaming, radio, political speech, text-to-audio machine learning, and voices from the analogue past re-mastered, Gardner’s book is very timely. Listening, Belonging, and Memory addresses the multi-modality of contemporary listening, but also the social justice rationale for proper and careful listening in an age of multiple and conflicting claims to free speech in our slogan-dominated visual culture. * Joanne Garde-Hansen, Professor, Centre for Cultural and Media Policy Studies, University of Warwick, UK *Abigail Gardner ponders the taken-for-granted act of listening, to understand its contexts and nuanced relationship to how voices and the stories they tell are heard, to belonging, to memory and thus to understanding history, community and indeed one’s own self. This is a richly empirical book that listens to a range of voices and representations including those of war veterans, to migrants and their music, social media memorialization by the Auschwitz Museum of the victims of the Holocaust to everyday narratives recorded by public service broadcasting. Between sound, image, narrative, and silence (and the silenced) it is humanely attuned to and informative about the ways in which listening has been theorized and practiced. Central to this process is a lyrically expressed engagement with method as Gardner is vividly present in this book, her affective and accessible writing inviting us to understand the scholar’s own act of listening as research, reflective about her own position and processes of listening to others in the act of telling. Informed by a committed Cultural Studies tradition, a feminist politics and a sensitivity and respect for ordinary life, Gardner is someone to listen with and closer to in comprehending contemporary memory practice and everyday historiographical work. * Paul Long, Professor in Creative and Cultural Industries and Director, Monash Migration and Inclusion Centre, Monash University, Australia *Poetic in its tone and sensibility and yet carrying strong political and ethical threads, this book beautifully considers listening in the structures of communities and storytelling. Drawing on key work within memory studies, feminism, affect and media studies, the book takes a variety of approaches to carefully map the impact and power of listening. * Kristyn Gorton, Professor of Film and Television, Leeds University, UK *Table of ContentsList of Figures Preface Acknowledgements Introduction: Life as a Listener 1.Connecting Lineages 2. Applying Connected Listening 3. Listening Across Age(s) 4. Listening and Belonging 5. Listening, Migration, Voice, and Place 6. Echoes Bibliography Index

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Book SynopsisHearing Maskanda outlines how people make sense of their world through practicing and hearing maskanda music in South Africa. Having emerged in response to the experience of forced labour migration in the early 20th century, maskanda continues to straddle a wide range of cultural and musical universes. Maskanda musicians reground ideas, (hi)stories, norms, speech and beliefs that have been uprooted in centuries of colonial and apartheid rule by using specific musical textures, vocalities and idioms. With an autoethnographic approach of how she came to understand and participate in maskanda, Titus indicates some instances where her acts of knowledge formation confronted, bridged or invaded those of other maskanda participants. Thus, the book not only aims to demonstrate the epistemic importance of music and aurality but also the performative and creative dimension of academic epistemic approaches such as ethnography, historiography and music analysis, that aim towards conceptualTrade ReviewAttentive to her positionality as a European scholar, Titus turns her musicological ear to maskanda. She invites readers into the pleasures of hearing Zulu musicians’ syncretic creativity, while gaining an understanding of the stylistic features that musicians value. Readers will be inspired to explore this dynamic, abundant world of listening, vexed as it is by histories of racism, sexism, coloniality and scarce resources. * Louise Meintjes, Professor of Music and Cultural Anthropology, Duke University, USA, and author of Dust of the Zulu: Ngoma Aesthetics after Apartheid *South African music followers and educators have long been waiting for a major intellectual study of the famous and much beloved musical form, Zulu maskanda guitar. This is at last it. Barbara Titus addresses the music and its exponents from more perspectives than we thought possible, from the artistic to the social to the philosophical. Ethnomusicologists must add this study to their libraries. * David B. Coplan, Emeritus Professor in Anthropology, University of the Witwatersrand, South Africa *Table of ContentsPreface Introduction – Foregrounding Aural Experiences Part I – Maskanda in Colonial, Apartheid and Post-Apartheid South Africa 1. Maskanda’s Colonial, Apartheid and Post-Apartheid Presence 2. Foregroundings of Maskanda’s Styles and Substyles Part II – Maskanda as a Discourse of Power in Post-Apartheid South Africa 3. Ground Level: The Kushikisha Imbokodo Festival in Durban 4. Middle Level: The MTN Onkweni Royal Festival in Ulundi 5. Up Level: Shiyani Ngcobo’s Tour through the Netherlands Part III – Hearing Maskanda 6. Knowing Zuluness Aurally 7. At Home in the World 8. Sharing Aural Space Conclusion: Maskanda Epistemology Appendix: Song Lyrics References Index

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Book SynopsisShortlisted for the Penderyn Music Book Prize 2017. In this first installment of acclaimed music writer David Toop’s interdisciplinary and sweeping overview of free improvisation, Into the Maelstrom: Music, Improvisation and the Dream of Freedom: Before 1970 introduces the philosophy and practice of improvisation (both musical and otherwise) within the historical context of the post-World War II era. Neither strictly chronological, or exclusively a history, Into the Maelstrom investigates a wide range of improvisational tendencies: from surrealist automatism to stream-of-consciousness in literature and vocalization; from the free music of Percy Grainger to the free improvising groups emerging out of the early 1960s (Group Ongaku, Nuova Consonanza, MEV, AMM, the Spontaneous Music Ensemble); and from free jazz to the strands of free improvisation that sought to distance itself from jazz. In exploring the diverse ways in which spontaneity became a core value in the early twentieth century as well as free improvisation’s connection to both 1960s rock (The Beatles, Cream, Pink Floyd) and the era of post-Cagean indeterminacy in composition, Toop provides a definitive and all-encompassing exploration of free improvisation up to 1970, ending with the late 1960s international developments of free music from Roscoe Mitchell in Chicago, Peter Brötzmann in Berlin and Han Bennink and Misha Mengelberg in Amsterdam.Trade Review[A] discursive and consistently stimulating account. * The Guardian *Maelstrom indeed ... [This] is an encyclopedic vortex of musicology, memoir and speculative extemporisation on the nature of improvisation and freedom in music ... crammed with detail and fascinating observations ... A captivating reading experience that perfectly embodies its subject in form. * The Wire *David [Toop] has browsed through history and offers readers an extremely rich overview of myriad germs of improvisation popping up all over the world, in so many musics, in fine arts and theater, in politics and philosophy, in social activism, and in small musical events. ... [T]his panoramic book is an absolute must-read for everyone interested in (the archeology of) free improvisation, actually for anyone interested in music in general. I am already looking forward to the second volume. * Journal of Sonic Studies *A typically multi-faceted and prismatic look at improvisation, written from the perspective of a practitioner. Turns out exploring free improvisation in music is really about exploring life. * Pitchfork *This is a long overdue book, and there is no-one else who could have written it. It is an astonishing achievement, and a highly readable and enjoyable one too. * International Times *Toop spends much of his latest effort exploring the philosophical and artistic movements from which pre-1970 performers drew inspiration ... In this, [Into the Maelstrom] provides a fascinating view of 20th century underground movements well beyond that of music alone. * Pop Matters *There is a wide range of substantive material here for both scholars and fans of the music ... If one accomplishment of the work must be singled out, it is that it assumes no foreknowledge of improvised music, and yet it would enrich the understanding of anyone who considers themselves an expert on the subject. * Popular Music *Any discussion of free improvisation, as an essential (anti?)-discipline of creative music, is an amusing balance between considering an unruly child and a sacred cow. History has come into a wild favor towards a genre that perpetually defies definition and prediction. David Toop, with a critical facility informed by over forty years of activity on and off the bandstand, sets his ruminations in the service of the music. Essaying on free improvisation in the mode of composition can result in didactic chin scratch. Thankfully Toop engages the readers interest with a sentient breath of prose charged by academic insight where poetic space becomes the page. It's only the beginning. * Thurston Moore *Toop's latest opus explores in depth the various traces of improvisation in music and elsewhere ... It is a broad panorama of portraits, reflections, anecdotes, evocations, miscellaneous quotations, interview extracts and questions on the nature and the development of the concepts of spontaneity and free expression throughout the twentieth century. * Revue & Corrigée (Bloomsbury translation) *The range of artists that are written about in this book is absolutely amazing. The beautiful thing is Toop was also in the height of the scene during the 1960s - so his views are both personal as well as a history of music being made and recorded throughout the 20th century. ... Toop has an encyclopedic knowledge of literature and music. What makes him a great writer is that he is able to use those tools to tell a remarkable narrative ... Perfect book. * TamTam Books blog *Describing the world as increasingly policed and regulated, Toop argues that people have come to devalue the role of improvisation in human behavior. Although the focus of Into the Maelstrom is music, Toop also examines theater, film, and the visual arts along with sociologists such as W. E. B. Du Bois. He explores a wide variety of musical styles and practitioners, including jazz musicians Sidney Bechet, Ornette Coleman, and the AACM; composers such as Luciano Berio, John Cage, Edgard Varèse, and Percy Grainger; and the rock band Pink Floyd. Toop also acknowledges the role of technology in music and improvisation—as exemplified by, for example, composer/performing artist Pauline Oliveros. The interesting discography will be a useful resource. Summing Up: Recommended. Upper-division undergraduates through faculty and professionals. * CHOICE *David Toop has dived into the Maelstrom that is the genesis of improvised music and come up with a string of pearls. There is so much here that will be new to even those of us who thought we knew the subject. A remarkable piece of real scholarship that relies on painstaking research with a refreshing absence of jargon. * Evan Parker *Into the Maelstrom gives an astonishing, vivid history of improvised music across the 20th century­­ before 1970, tracing its transnational criss-crossings, trans-arts contagions, the folds between Cream and AMM, ‘musicking’ and John Stevens' Spontaneous Music Ensemble, Nuova Consonanza and For a Few Dollars More. David Toop’s panoramic account makes obvious how urgently we have needed this alternative history, attuned to musical sounds as they resonate with artistic, cultural and political currents. A landmark book, Into the Maelstrom re-centres those vast and auspicious margins deserted by previous music histories. * Georgina Born, Professor of Music and Anthropology, University of Oxford, UK *Table of Contents1: (only begin) A DESCENT 2: FREE BODIES 3: collective subjectivities 1 4: OVERTURE TO DAWN 5: collective subjectivities 2 6: INTO THE HOT 7: solitary subjectivities 8: TROUBLED SEA OF NOISES AND HOARSE DISPUTES 9: collective objectivities 10: IMAGINARY BIRDS SAID TO LIVE IN PARADISE 11: postscript: the ballad of john and yoko 12: RAIN FALLING DOWN ON OLD GODS Index

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Book SynopsisA curated collection of Enlightenment operas, paintings, and literary works that were all marked by the "Telemacomania" scandal, a furious cultural frenzy with dangerous political stakes. Imaginatively structured as a guided tour, Opera and the Politics of Tragedy captures the tumultuous impact of the so-called Telemacomania crisis through its key artifacts: literary pamphlets, spoken dramas, paintings, engravings, and opera librettos (drammi per musica). Prominently featured in the gallery are two operas with direct ties to this aesthetic and political war: Mozart and Cigna-Santi's Mitridate (1770) and Mozart and Varesco's Idomeneo (1781). Reading and listening across the Enlightenment's cultural spaces (its new public museums, its first encyclopedias, and its ever-controversial operatic theater), this book showcases the Enlightenment's disorderly historical revisionism alongside its progressive politics to expose the fertile creativity that can emerge out of the ambiguous space between what is "ancient" and what is "modern."Table of ContentsExhibition List Patrons of the Museum Guidebook A Mozartean Museum The Death of Tragedy Exhibiting Enlightenment Dramma per musica Map of the Exhibits Entrance Hall Arts, Letters, and Music Modern Antiquarian Spaces "La Poésie" and its Systems Arts and Letters The Lyrical Impulse Exhibit A The Poet's Prose: Mitridate Room 1 Literary Adventures in Télémacomania Treasonous Popularity Sensual Lyricism Tragic Prose on Trial Opera as Mediator Room 2 Mitridate's Operatic Poetry Allegorical Mithridates Political Mithridates Operatic Mithridates Transformative Farnace Exhibit B Paintings Unseen: Idomeneo Room 3 Imagi(ni)ng the Prose Epic Epic Values Painting Télémaque Myths Invisible and Unheard Epic Opera Room 4 Idomeneo's Operatic Canvas The Operatic Stage as Canvas The Composition of an Opera Portrait of a King Supernatural Angles Exit Regrets on Parting Decorative Luxury Prose Painting Declassification Bookshop

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Book SynopsisMelancology addresses the notorious musical genre black metal as a negative form of environmental writing that 'blackens' the cosmos. This book conjures a new word and concept that conjoins 'black' and 'ecology': melancology, a word in which can be heard the melancholy affect appropriate to the conjunction. Black metal resounds from the abyss and it is precisely only in relation to its sonic forces that the question of intervention in the environment arises in the articulation of melancology with ethics. That is, in deciding 'which way out' we should take, in deciding with what surpluses to dwell, with what waste, what detritus or decay in a process of unbinding with sonic forces that traverse an earth choking in wealth and death. The book thus provides a provocative and challenging contribution both to popular and intellectual debates on ecology.

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Book SynopsisModel answers for More Sample Papers for ABRSM's Theory exams Grade 3 - Updated for the new format ABRSM Theory exams - Clear and concise presentation

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Book SynopsisABRSM's official More Music Theory Sample Papers are additional resources for candidates preparing for our new online Music Theory exams. Providing more authentic practice material and a reliable guide as to what to expect in the exam. -Essential practice material for the new format ABRSM Grade 1 Theory exams -Includes four sample papers -Model answers also available separately

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Book SynopsisABRSM's official More Music Theory Sample Papers are additional resources for candidates preparing for our new online Music Theory exams. Providing more authentic practice material and a reliable guide as to what to expect in the exam. -Essential practice material for the new format ABRSM Grade 2 Theory exams -Includes four sample papers -Model answers also available separately

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ABRSM's official More Music Theory Sample Papers are additional resources for candidates preparing for our new online Music Theory exams. Providing more authentic practice material and a reliable guide as to what to expect in the exam. -Essential practice material for the new format ABRSM Grade 4 Theory exams -Includes four sample papers -Model answers also available separately

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Book SynopsisFour separate papers from ABRSM's 2021 Music Theory exams for Grade 6 - Essential practice material for all ABRSM Music Theory exam candidates - Model answers also available

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Book SynopsisFour separate papers from ABRSM's 2021 Music Theory exams for Grade 7 - Essential practice material for all ABRSM Music Theory exam candidates - Model answers also available

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Book SynopsisFour separate papers from ABRSM's 2021 Music Theory exams for Grade 8 - Essential practice material for all ABRSM Music Theory exam candidates - Model answers also available

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Book SynopsisModel answers for four practice papers from ABRSM's 2021 Music Theory exams for Grade 8 Key features: - a list of correct answers where appropriate -a selection of likely options where the answer can be expressed in a variety of ways - a single exemplar where a composition-style answer is required

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Book SynopsisABRSM's official Music Theory Practice Papers 2021 are essential resources for candidates preparing for our online Music Theory exams. They provide authentic practice material and are a reliable guide as to what to expect in the exam. -Essential practice material for ABRSM Grade 3 Theory exams - Model answers also available

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Book SynopsisABRSM's official Music Theory Practice Papers 2021 are essential resources for candidates preparing for our online Music Theory exams. They provide authentic practice material and are a reliable guide as to what to expect in the exam. - Essential practice material for ABRSM Grade 4 Theory exams - Model answers also available

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Book SynopsisModel answers for practice papers for ABRSM's Grade 3 Theory exams

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Book SynopsisABRSM's official Music Theory Practice Papers 2022 are essential resources for candidates preparing for our online Music Theory exams. They provide authentic practice material and are a reliable guide as to what to expect in the exam. -Essential practice material for ABRSM Grade 7 Theory exams -Model answers also available

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Book SynopsisABRSM's official Music Theory Practice Papers 2022 are essential resources for candidates preparing for our online Music Theory exams. They provide authentic practice material and are a reliable guide as to what to expect in the exam. -Essential practice material for ABRSM Grade 8 Theory exams -Model answers also available

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Book SynopsisABRSM's official Music Theory Practice Papers 2022 are essential resources for candidates preparing for our online Music Theory exams. They provide authentic practice material and are a reliable guide as to what to expect in the exam. -Essential practice material for ABRSM Grade 3 Theory exams -Model answers also available

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Book SynopsisABRSM's official Music Theory Practice Papers 2022 are essential resources for candidates preparing for our online Music Theory exams. They provide authentic practice material and are a reliable guide as to what to expect in the exam. -Essential practice material for ABRSM Grade 4 Theory exams -Model answers also available

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Book SynopsisFour separate papers from ABRSM's 2023 Music Theory exams for Grade 7 *Essential practice material for all ABRSM Music Theory exam candidates *Model answers also available

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Book SynopsisFour separate papers from ABRSM's 2023 Music Theory exams for Grade 8 *Essential practice material for all ABRSM Music Theory exam candidates *Model answers also available

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Book SynopsisModel answers for four practice papers from ABRSM's 2023 Music Theory exams for Grade 8 Key features: *Trade Reviewa selection of likely options where the answer can be expressed in a variety of ways *a single exemplar where a composition-style answer is required

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Book SynopsisABRSM's official Music Theory Practice Papers 2023 are essential resources for candidates preparing for our online Music Theory exams. They provide authentic practice material and are a reliable guide as to what to expect in the exam. *Essential practice material for ABRSM Grade 1 Theory exams *Model answers also available

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Book SynopsisModel answers for practice papers for ABRSM's Grade 1 Theory exams

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Book SynopsisModel answers for practice papers for ABRSM's Grade 3 Theory exams

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Book SynopsisThe first book-length study in English of composer Mathias Spahlinger, one of Germany’s leading practitioners of contemporary music. One of the most stimulating and provocative figures on the new music scene on Germany, he has long been a touchstone for leftist, ‘critical’ composition there, yet his work has received very little attention in Anglophone scholarship until now. Born in 1944, Spahlinger has risen only gradually to prominence in his native Germany and for many years was considered an outsider within the contemporary music scene. Yet, his position as one of the most venerable exponents of post-WWII modernism in his homeland is now undeniable: his music is regularly performed, he has received commissions from many of the major orchestras and new music groups in Germany, and in 2014 he received the Großen Berliner Kunstpreis (Berlin Art Prize – Grand Prize) from the city’s Akademie der Künste (Academy of Arts). Spahlinger is, however, becoming increasingly known as a significant figure within later twentieth-century music – in 2015, a festival in Chicago focused exclusively on his music, and he was a keynote speaker at a conference on Compositional Aesthetics and the Political at Goldsmiths, University of London. This new book provides an essential reference for scholars of new music and twentieth-century modernism. There are no other book-length studies of Spahlinger in English, though there is a monograph and a book of essays in German, and books of interviews. This original work promises a more critical perspective upon the composer and his aesthetics and political ideas compared to previous publications. The illustrations include musical examples. Its primary market will be a specialist musicological readership, including academics, researchers and composers, but the writing style such that it could be accessible also to undergraduates interested in the field. The discussion of aesthetic debates in post-war Germany, and the interesting reading of the work of Jacques Rancière, means that it could also have significant appeal across the disciplines of philosophy and critical theory.Trade Review'While on the one hand, Neil Thomas Smith succeeds in filling up a void in academic literature on Spahlinger in English, his writing exceeds that purpose by bringing Spahlinger’s work into a general cultural and political context.[...] What is perhaps the most remarkable aspect of Smith’s book is the detailed analysis of many notable works of Spahlinger, which generations of composers will find very useful after listening to the music. On the whole therefore, this very enlightening book illustrates how one of the most influential composers at the dawn of the 21st century put thought and sound into the wholeness of his unique works that continue to intrigue the global artistic community.' -- Jonas Baes, Popular MusicTable of ContentsIntroduction Part 1 Modernism Underestimated Biography and Context: Spahlinger and Twentieth-Century Germany Part 2 Musique Concrète Instrumentale Order Open Form Perception Conclusion Mathias Spahlinger: List of Works

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Book Synopsis

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisMovie soundtrack music is big business. In both film studios and at major record labels, entire divisions focus exclusively on marketing movie music.Film composers like John Williams have become internationally famous figures, and concerts of their music are regular occurrences. But while interest in movie music has greatly increased, both academically and among the public, focus on individual aspects of the music have been overlooked. Yet what movie-goer can forget the opening scene to Martin Scorsese's Taxi Driver? Behind the taxicab emerging from a cloud of vapour and the eyes of Robert De Niro, a haunting, yearning alto saxophone melody is heard, and it's just one example of the power of the saxophone, a presence throughout the history of movie music, from the 1930s to the present day, highlighting scenes of drama, romance, and comedy, and making a vital contribution to the music which can be urgent, immediate, sweet, seductive, intimate, and erotic. Reed Rapture is the first study to describe the background, the history, and the numerous important appearances of the saxophone on movie soundtracks, drawing on both jazz and classical influences, and, as such, makes a vital contribution to film music studies.

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Book SynopsisTraversing London's musical culture, this book boldly illuminates the emergence of Edwardian London as a beacon of musical innovation.

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Book SynopsisThis comprehensive and groundbreaking book describes the effective use of songwriting in music therapy with a variety of client populations, from children with cancer and adolescents in secondary school to people with traumatic brain injury and mental health problems.The authors explain the specific considerations to bear in mind when working with particular client groups to achieve the best clinical outcomes. All the contributors are experienced music therapy clinicians and researchers. They provide many case examples from clinical practice to illustrate the therapeutic methods being used, together with notated examples of songs produced in therapy. Particular emphasis is placed on how lyrics and music are created, including the theoretical approaches underpinning this process.This practical book will prove indispensable to students, clinical therapists, music therapists, educators, teachers and musicians.Trade ReviewI considered dipping in and out of chapters but ended up reading from cover to cover. I found it interesting and intriguing to progress through the diversity of therapists' orientations, practices and contexts, wondering how it would all come together in the end. There are inspiring ideas and moving case examples expressed in many of the chapters. -- British Journal of Music TherapyPractically oriented, instructive, inclusive and forthright, this book focuses on techniques for writing songs with clients and is geared chiefly toward music therapy clinicians, students and educators. This methods book attempts to explore and emphasize the value of songwriting within a therapeutic context and, ultimately, to define the methods and techniques used, both for teaching purposes and for the analysis and explanation of clinical processes and outcomes. This welcome effort to fully recognize the inherent value of songwriting and to systematically standardize its uses in the field was long overdue, as music therapists have long incorporated songwriting in their clinical repertoire of methods. Reading this book undoubtedly strengthens one's confidence in the procedure of songwriting with the client and in its overall effectiveness as a method of facilitating therapy. As a music therapist who, like so many others in this field, integrates songwriting in her clinical work, I feel that I derived much theoretical and practical information from Songwriting. As a methods book, I found it to be efficient, informative and interesting both to the student and to the practicing music therapist, with a refreshing variety of techniques that may enrich the songwriting repertoire of even the most experienced clinician. -- Nordic Journal of Music TherapyTable of ContentsForeword, Even Ruud. Introduction: Songwriting as therapy, Felicity Baker, The University of Queensland, Australia and Tony Wigram, Aalborg University, Denmark. 1. Improvised Songs and Stories in Music Therapy Diagnostic Assessments at a Unit for Child and Family Psychiatry: A Music Therapist's and a Psychotherapist's Perspective, Amelia Oldfield, The Croft Children's Unit, Cambridge, UK and Christine Franke, Centre for Psychoanalytic Studies, Essex University, UK. 2. You Ask Me Why I'm Singing: Song creating with Children and Parents in Child and Family Psychiatry, Emma Davies, The Croft Children's Unit, Cambridge, UK. 3. Teenagers and songwriting: Supporting in a Mainstream Secondary School, Philippa Derrington, Cambridgeshire Instrumental Music Agency, UK. 4. Giving a Voice to Childhood Trauma through Therapeutic Songwriting, Toni Day, The University of Queensland, Australia. 5. Collaborations on Songwriting with Clients with Mental Health Problems, Randi Rolvsjord, Sogn og Fjordane University College, Norway. 6. Songwriting to Explore Identity Change and Sense of Self-concept Following Traumatic Brain Injury, Felicity Baker, Jeanette Kennelly, The Royal Children's Hospital, Australia and Jeanette Tamplin, Royal Talbot Rehabilitation Centre, Australia. 7. Working with Impairments in Pragmatics through Songwriting with Traumatically Brain Injured People, Felicity Baker. 8. Assisting Children with Malignant Blood Disease - and Their Family - to Create and Perform Their Own Songs, Trygve Aasgaard, Norwegian Academy of Music and Oslo University College, Norway. 9. Songwriting with Adult Patients in Oncology and Clinical Haematology, Emma O'Brien, The Royal Melbourne Hospital, Australia. 10. The Music Therapist as Singer/Songwriter: Applications with Bereaved Teenagers, Robert Krout, Southern Methodist University, Texas, USA. 11. Songwriting with Oncology and Hospice Adult Patients from a Multicultural Perspective, Cheryl Dileo, Temple University, Philadelphia, USA and Lucanne Magill, Memorial Sloan-Kettering Cancer Center, New York, USA. 12. Songwriting Methods - Similarities and Differences: Developing a Working Model, Tony Wigram. References. Index.

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Book SynopsisThis practical book describes the specific use of receptive (listening) methods and techniques in music therapy clinical practice and research, including relaxation with music for children and adults, the use of visualisation and imagery, music and collage, song-lyric discussion, vibroacoustic applications, music and movement techniques, and other forms of aesthetic listening to music. The authors explain these receptive methods of intervention using a format that enables practitioners to apply them in practice and make informed choices about music suitable for each of the different techniques. Protocols are described step-by-step, with reference to the necessary environment, conditions, skills and appropriate musical material.Receptive Methods in Music Therapy will prove indispensable to music therapy students, practitioners, educators and researchers.Trade Reviewthis book now presents us with an opportunity to discover the huge range of practice in receptive music therapy. The authors offer their receptive music therapy methods with conviction and the book could be a real challenge to orthodox thinking and teaching in the UK. Listening to music forms part of many sessions anyway: perhaps it is time to include consciously this "third arm" of music therapy. -- British Journal of Music TherapyThis is an extremely practical book, which will be very helpful to students who may believe that they require a precise and pragmatic step by step guide for facilitating different types of music therapy sessions. This was especially evident in most chapters emphasising the verbal relaxation inductions. Every detail has been considered to ensure the successful application of each method including contra-indicators when necessary when necessary. -- Community Living MagazineDenise Grocke and Tony Wigram are to be congratulated for addressing how the music therapist applies music listening as a therapeutic tool. Because every music therapy encounter involves receiving music in some way, it is exceedingly challenging to describe the role of receptive music in a single volume. Yet, the authors succeed in providing an excellent compendium of techniques that are part of the music therapist's repertoire. Students and professionals will be well-served by this essential guidebook on the practice of receptive music therapy. The authors have contributed an important text, affirming, once again, their expertise in the field of music therapy. -- Nordic Journal of Music TherapyWhile I take the perspective of a music therapy educator and strongly recommend this text for all students, I also see myself as a life long learner and this book has provided me with new and inspiring methods organized in such a way as to function as a reference text, Each chapter stands alone so the student/therapist can flick to relevant parts easily. As the first book of its kind on receptive methods in music therapy, this book will serve many needs of all music therapists and students. -- Australian Journal of Music TherapyThis book offers a thought provoking insight into the powerful and therapeutic effect of music, not just for music therapists but for all those interested in music and the application of art therapies. -- Community LivingTable of ContentsForeword by Cheryl Dileo. Introduction. 1. Engaging with clients verbally and musically. 2. Selecting music for receptive methods. 3. Receptive methods and relaxation for children and adolescents. 4. Receptive Methods and Relaxation for adults 5. Visualisations and imagery with music 6. Song lyric discussion, reminiscence and life review 7. Perceptual listening in Intellectual disability and Music appreciation in Adults. 8. Collage. 9. Vibroacoustic therapy in Receptive Music Therapy. 10 Movement to Music Appendix. Discography of music. References. Subject index. Author index.

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Book SynopsisMusic's ability to influence emotions and moods is universally acknowledged, and music therapists have long known that stimulating the brain through the auditory system is a key to obtaining remarkable responses. Music therapy is a particularly effective tool when working with children with autism spectrum conditions, because music communicates with these children on a level where mere words cannot go.Written in a way that is both informative for the professional and accessible for parents, this book furthers the already strong case for the use of music therapy as a resource to encourage behavioural changes for the better in children with autism spectrum conditions. Placing particular emphasis upon sensory integration, the author discusses contributing factors to the behaviour of people on the autism spectrum, and, through the use of case studies, presents the latest approaches in music therapy that are enabling children with autism spectrum conditions to better cope with sensory integration.Trade ReviewDorita S. Berger interweaves the theories of sensory integration and music therapy to present a very practical basis for intervention with autistic children in an easy-to-read style. The chapters on sensory integration and the sensory systems give clear, refreshingly different descriptions of the neuroanatomy and neurophysiology underlying the theory.This book gives a valuable perspective on the relationship between music therapy and sensory integration in the process of intervention with the autistic child and makes one feel that a music therapist should be an essential member of the multidisciplinary team. -- The British Journal of Occupational TherapyThis little book, little in size but not in scope, authored by Dorita S. Berger, seems to cover a paucity because it falls within the reach of those who, without the requisite of being specialists are not fully outsiders; it also serves as an introduction to those who may like to proceed further in any of the several paths that converge and diverge to and from this fascinating area of human adaptation. I recommend the book and congratulate the author for her dedication, effort and beautiful activity by combining art with benefit to the many time forgotten children. -- BioMedical Engineering OnLineThe book is easy to read, jam-packed with information, and of interest to any music therapist working with or researching children with autism. -- International Journal of Disability, Development and Education"Music therapy, Sensory Integration and the Autistic Child" does a master job of explaining music therapy and it's benefits. It's an unwritten language that opens wide doors of communication, understanding and skill building for children who have autism- and we think children in general. Berger's book opens with a concise, 8 page description of sensory systems, and how autism exists in its own sensory realm. Anyone wishing to discover this facet of autism will find this section illuminating. The book otherwise is well organized and directed to explaining how music therapy acts as a device that will enhance development of numerous educational related skills, including spontaneous and appropriate physical response to stimuli; self-management of behaviour; self-esteem; sequential memory and recall of information; temp/rhythm; gross and fine motor skills, to name a few. Berger includes sample goals and objectives for each of the developmental areas. Her text explains the needs and benefits in a way that presents, advocates and professionals can use to support their requests for IEP directed music therapy services. Each subject area contains a useful listing of other sources for those who seek additional information. -- Bridges 4 KidsThis new book by an American specialist opened my eyes even wider to the importance of music therapy, especially as it relates to intervening in sensory integration difficulties. I am sure that it will also help other Educational Psychologists understand the rationale and practice of music therapy to a more sophisticated level. It will be of particular interest and practical relevance to EPs with specialist responsibility for pupils with ASD's. This book gives a strong rationale for the importance of music therapy in the curriculum for ASD pupils. It is excellent and I strongly recommend it to EP colleagues working in the ASD specialism. -- Division of Educational Psychologists' Publication Debate.In this thoroughly engaging and ground breaking text, Dorita Berger has convincingly presented the case for a theory of music therapy and its ability to bring comfort and balance to individuals diagnosed with autism and other pervasive developmental disorders. Dorita Berger has successfully accomplished the task of giving support to "the clinical approach to music therapy from a multidimensional physiological perspective" and has thus made an invaluable contribution to the literature in Music Therapy. -- The Arts in PsychotherapyTable of ContentsPreface/Foreword. 1. Introduction: Who defines 'appropriate'? 2. Aspects of autism. 3. Aspects of sensory integration. 4. Functional adaptation defined. 5. Understanding basic sensory systems. 6.Are you listening? Part One. 7. Are you listening? Part Two. 8. Elements of music for sensory adaptation. 9. Music therapy in the realm of sensory integration. 10. Formulating music therapy treatment for sensory adaptation. 11. Conclusion. Appendix A. The role of music in physiologic accommodation. Appendix B. Sample assessment and progress reports. Bibliography. Index.

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Book Synopsis

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Book Synopsis

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Book SynopsisIn the last few decades, new technologies have brought composers and listeners to the brink of an era of limitless musical possibility. They stand before a vast ocean of creative potential, in which any sounds imaginable can be synthesised and pieced together into radical new styles and forms of music-making. But are musicians taking advantage of this potential? How could we go about creating and listening to new music, and why should we? Bringing the ideas of twentieth-century avant-garde composers Arnold Schoenberg and John Cage to their ultimate conclusion, Infinite Music proposes a system for imagining music based on its capacity for variation, redefining musical modernism and music itself in the process. It reveals the restrictive categories traditionally imposed on music-making, replaces them with a new vocabulary and offers new approaches to organising musical creativity. By detailing not just how music is composed but crucially how it's perceived, Infinite Music maps the future of music and the many paths towards it.Trade ReviewInfinite Music is a super clear, open-ended philosophy of sound and music for the post-rave generation. Essential reading for sonic modernists everywhere. (Cristian Vogel) A timely analysis of musical evolution at a moment when many practitioners have become fixated on the past and thinkers have found themselves unable to locate possible futures. (Steve Goodman, author of Sonic Warfare: Sound, Affect, and the Ecology of Fear)

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Book SynopsisMusic in Words is both a guide and an invaluable reference tool for researching and writing about music. Fully updated and revised, the book aims to address all the issues that anyone, from students to professional musicians, may encounter when undertaking a writing task, irrespective of the style of music they are writing about. The book: * Teaches effective use of the internet and libraries * Explains the use of scholarly conventions * Offers advice on the form and content of writing tasks * Provides a glossary of terms and phrases used in musical writings

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Book SynopsisABRSM's Music Theory in Practice workbooks have helped more than one million musicians worldwide to learn about the theory of music. The new Music Theory in Practice Model Answers series is a practical tool to use alongside the fully-revised workbooks for Music Theory in Practice, Grades 1 to 5, providing specimen answers for each exeone answer and model answers for composition-style questions. rcise covered. Each book includes correct answers to every question with accepted options, where there can be more than one answer and model answers for composition-style questions. This answer book will help you to prepare in the best possible way for the ABRSM Grade 2 Theory of Music exam.Trade ReviewExcellent as reference material for parents, self-taught students and those who simply want to enlarge and develop their general knowledge of how music is put together ... Organised as ever, ABRSM is to be admired for its presentation. * International Piano *

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