Theory of music and musicology Books
Associated Board of the Royal Schools of Music Music Theory in Practice Model Answers, Grade 3
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 exercise 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 3 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 *
£8.99
Bright Red Publishing BrightRED Study Guide Advanced Higher Music
Book SynopsisThe BrightRED Advanced Higher Music Study Guide is currently the only study guide available for Advanced Higher Music, and aims to equip students with the skills needed to succeed in this challenging course. At Advanced Higher level, students will be building on what they learned at Higher while further developing their knowledge of musical theory and practice. Written by experienced teacher Adrian Finnerty, who has also written our National 5 and Higher Music Study Guides, this thorough guide provides students with topic-by-topic explanations, as well as advice on the different elements of the course.Table of ContentsIntroduction, Popular Music, Vocal Music, Sacred Music, Renaissance Music, Antiphonal, Texture, Fugue, Piano Trio, Leitmotif, Nationalist Music, 20th Century Music, Composing Serial Music, Music Literacy, Course Assessment, Assignment – Composing, Arranging, Analysis, Portfolio, Glossary of Concepts
£16.99
Jessica Kingsley Publishers Music Therapy in Dementia Care
Book SynopsisWithin the last decade music therapists have developed their work with the elderly and with people with dementia. Drawing on the diverse research and considerable personal experience of contributors from around the world, Music Therapy in Dementia Care takes a comprehensive look at music therapy as a means of improving memory, health and identity in those suffering from dementia - particularly the Alzheimer's type. It explores the issues which may arise in working with this group, such as coping with wartime memories, and shows how music therapy facilitates and enables communication through sound and movement. This fresh, original book is an interesting and informative read for the caregivers and families of dementia sufferers, and an essential resource for music therapists and all those involved in psychogeriatry.Trade ReviewThis is an interesting book that spans a range of areas not initially evident from the title. Specialised and non-specialised audiences alike can usefully utilise this book. Two chapters provide detail by way of notation to consider the interesting role of music therapy as a mode of assessment and as a means of engaging creatively with the person with dementia. Consideration of more focused outcomes such as reminiscing and managing agitation are explored as is the whole role of music in addressing post traumatic stress. At the other end of the continuum, the place of singing and the appropriateness of this mode of engagement for people with dementia are clearly made. -- Kevin Hope, The University of ManchesterThe book is well referenced, covering a wide range of clinical interest. The clinical benefits of music therapy are clearly expounded upon, with various chapters covering worldwide approaches. Personal case studies and narratives help to illustrate the value of communication in its various forms. The behavioural characteristics of people with dementia are discussed and research underpins the benefits of music therapy with specific groups. Having no musical education personally, I was not deterred when rhythmical patterns were illustrated within the text. For those individuals using music in treatment programming, there would be definite advantages to using this book as an example of good practice. Poetry, dance and other therapeutic media are included in the text making this a valuable addition to clinical practice. -- British Journal of Occupational TherapyTable of Contents1. Overture: It's not what you do, it's the way that you do it, David Aldridge. 2. An overview of the music therapy literature relating to the elderly, Melissa Brotons, USA. 3. Working with words: People with dementia and the significance of narratives, Trisha Kotai-Ewers, Australia. 4. The importance of singing with elderly patients, Alicia Clair, USA. 5. The problem of agitation in the elderly and the potential benefit of music therapy, Annemiek Vink, Netherlands. 6. A survey of music therapy practice with the elderly in the Netherlands, Annemiek Vink, Netherlands. 7. Improvisation as an assessment of potential in early Alzheimer's disease, Gudrun Aldridge, Germany. 8. Creative music therapy: A last resort? Fraser Simpson, England. 9. Remembering and forgiving, Susan Weber, Germany. 10. Working with images and recollection with elderly patients, Connie Tomaino, USA. 11. We'll survive: An experiential view of dance movement therapy for people with dementia, Marion Violets. References. Index.
£31.87
Associated Board of the Royal Schools of Music Harmony in Practice: Answer Book
Book SynopsisAnswers to all the exercises set in Harmony in Practice.
£21.85
Associated Board of the Royal Schools of Music Theory Workbook Grade 7
Book SynopsisThe series of Theory Workbooks is designed to provide a practical guide to ABRSM's higher-grade Theory exams from 1999 onwards. Theory Workbook Grade 7 describes the nature of the questions set on theory papers for the grade and explains clearly how to tackle them. A step-by-step guide is given to answering the questions on harmony and melodic composition and suggested answers and responses are analysed. Several samples round off these chapters, providing ample opportunity for the student to put theory into practice immediately. The context questions are prefaced by an introduction outlining the knowledge tested in the exam; these chapters contain a total of twelve sample extracts, each accompanied by many relevant questions, with answers given at the back of the book. This workbook focuses precisely on the skills and knowledge needed at Grade 7 and will provide candidates with the tools to approach the paper positively and sit it successfully.Trade ReviewThe text is extremely well written ... A thoroughly well-thought-out and useful book * EPTA Piano Journal Winter 1999 *A model of clarity and very well thought out in its exposition of the skills needed to answer the exam questions ... Using this book is like having a good teacher at your side and if worked through thoroughly should be enough to dispel those exam-day blues. * Music Teacher *Tuthlessly thorough * MMA Ensemble *Contains valuable advice for the candidate preparing for the Grade 7 theory exam of the Associated Board. * South African Music Teacher *
£13.95
Associated Board of the Royal Schools of Music Theory Workbook Grade 8
Book SynopsisA practical student's guide - in workbook format - to ABRSM's Grade 8 Theory exam. Describes the nature of the questions set on papers for the grade and explains clearly how to tackle them. Contains many sample questions so the student can immediately put theory into practice. Focuses very precisely on the skills and knowledge needed at Grade 8.Trade ReviewGreat care has been taken to present this book as clearly and helpfully as possible for students of all abilities. Candidates should enjoy working from the book and quickly gain the knowledge and confidence necessary to sit the examination successfully. * Clarinet & Saxophone *A readable, can't put-it-down theory of music textbook? Almost! Congratulations to the authors of this excellent book full of detailed hints and advice on how to tackle the work for the AB's Grade 8 theory exam. * ESTA *
£15.50
Sher Music Co ,U.S. The Real Easy Ear Training Book
Book Synopsis
£26.99
Rhinegold Publishing Ltd AS Music Composition Workbook
Book Synopsis
£23.74
Temple Lodge Publishing Intervals, Scales, Tones: And the Concert Pitch c
Book SynopsisWhy is it that certain intervals, scales and tones sound genuine and others false? Is the modern person able to experience a qualitative difference in a tone's pitch? If so, what are the implications for modern concert pitch and how instruments of fixed tuning are tuned? Maria Renold tackles these and many other questions, providing a wealth of scientific data. Her pioneering work is the result of a lifetime's research into Western music's Classical Greek origins, as well as a search for new developments in modern times. She strives to deepen musical understanding through Rudolf Steiner's spiritual-scientific research, and she also elucidates many of Steiner's often puzzling statements about music. The results of her work include the following discoveries: that the octave has two sizes (a 'genuine' sounding octave is bigger than the 'perfect' octave); that there are three sizes of 'perfect' fifths; that an underlying 'form principle' for all scales can be found; and, most importantly, the discovery of a method of tuning the piano which is more satisfactory than equal temperament. She also gives foundation to some of Rudolf Steiner's statements such as: 'c is always prime' and 'c = 128 Hz = Sun'.
£27.00
Museum Tusculanum Press Of Chronicles and Kings: National Saints and the
Book Synopsis
£45.00
The New Menard Press Mind the Music
Book SynopsisMusic has a way of minding our brains, and Mind the Music explores the effects that it has on our cognition, emotion, and behaviour. As well as into the fabric of our culture, music is woven into the fabric of our humanity – but where does it come from, and how does it help us to learn?Intuition and improvisation turn out to be critical to understanding our own embodied cognition. We have hunches in a way that computers do not.But as technology takes over what were once human tasks, there is a temptation and even tendency to enjoy our creature comforts while neglecting our natural faculties. So how do we re-learn the ability to improvise, to help us find our place in the nexus of human and machine?Mind the Music is a reminder that it is important to keep your brain active, and an argument for the glory of intuitive choices. It dares you to improvise and dance to the music of the mind.
£15.29
World Scientific Publishing Co Pte Ltd On The Meta-category Of Chinese Music Aesthetics
Book SynopsisThis book opens with the emergence and development of the discipline of aesthetics in western countries, specifically the history of Western Music Aesthetics, to study and delve into the development of Chinese Music Aesthetics. The book provides a clear timeline throughout the writing — from the history of Chinese Music Aesthetics, to the construction of a theoretical framework, and the intersections and conversations between Western and Chinese Music Aesthetics. This academic piece is fundamentally consistent with the developing field of Chinese philosophical and literary research.This book also discusses important music aesthetic categories of Confucianism, Taoism, Mohism, and metaphysics, and uses critical thinking to analyse the relationship between these categories and relevant schools of thought, reflecting the author's academic vision and thought process.
£121.50
Hal Leonard Corporation Music Theory for Kids
Book Synopsis
£17.09
Bloomsbury Publishing (UK) Punk and Disorderly
a huge range and FREE tracked UK delivery on ALL orders.
£17.09
University of Huddersfield Gear Acquisition Syndrome: Consumption of
Book SynopsisGear Acquisition Syndrome, also known as GAS, is commonly understood as the musicians unrelenting urge to buy and own instruments and equipment as an anticipated catalyst of creative energy and bringer of happiness. For many musicians, it involves the unavoidable compulsion to spend money one does not have on gear perhaps not even needed. The urge is directed by the belief that acquiring another instrument will make one a better player. This book pioneers research into the complex phenomenon named GAS from a variety of disciplines, including popular music studies and music technology, cultural and leisure studies, consumption research, sociology, psychology and psychiatry. The newly created theoretical framework and empirical studies of online communities and offline music stores allow the study to consider musical, social and personal motives, which influence the way musicians think about and deal with equipment. As is shown, GAS encompasses a variety of practices and psychological processes. In an often life-long endeavour, upgrading the rig is accompanied by musical learning processes in popular music.Table of ContentsIntroduction; Gear Acquisition Syndrome; Role and Context of Technology for Music-Making; Collecting Consumption; Interviews and Survey of Musicians; Online Message Boards; Conclusion: Towards a Theory of GAS.
£22.50
Academic Studies Press Engaging Cultural Ideologies: Classical Composers
Book SynopsisEngaging Cultural Ideologies offers a recontextualization of the effects of Poland’s cultural practices, especially those concerning issues such as nationalism, elitism, and race, on the genesis and performance of contemporary Polish compositions from 1918 to 1956. Based on extensive archival research that includes the first comprehensive examination of concert programs in Poland as well as a series of case studies focused on composers’ challenges in the midst of nearly constant turmoil, Bylander brings fresh insights into the public and private power struggles concerning artistic freedom that were animated by similar points of contention across seemingly diverse historical eras.Trade Review"The book brings a new interpretation of archival materials, in as much as it includes the first such broad analysis of concert programs... Her knowledge of sources is impressive, as is her excellent insight into the meanderings of Polish culture."— Marta Szoka, Ruch Muzyczny (translated from the Polish)“As a synthesis of current Polish- and English-language scholarly debates, Engaging Cultural Ideologies is essential to scholars, students and Polish music enthusiasts looking for an entry point on the subject. Most of all, as promised in the book’s introduction, Bylander delivers a ‘penetrating picture of the life cycle and performance history of contemporary Polish compositions’ (p. 9) by providing an unparalleled overview of Polish composition and programming practices between 1918 and 1956.”— Marta Beszterda van Vliet, SEERTable of ContentsList of IllustrationsAcknowledgmentsAbbreviationsIntroduction1. Between the World Wars: Performing a Utopian Vision2. World War II: Continuity And Disruption3. From War to Socialism: Elitism versus Accessibility 1944–19484. Negotiating a New Path 1949–19535. Ideological Turbulence, Hopeful Composers 1954–19566. Socialist RamificationsBibliographyIndex
£90.09
Academic Studies Press Music, Society, Agency
Book SynopsisMusicologists have increasingly taken a wide-angled lens on the study of music in society, to explore how it can be intertwined with issues of politics, gender, religion, race, psychology, memory, and space. Recent studies of music in connection with society take in a variety of musical phenomena from diverse periods and genres—medieval, classical, opera, rock, etc. This ten-chapter book not only asks how music and society are, and have been, intertwined and mutually influential, but it also examines the agents behind these connections: who determines musical cultures in society? Which social groups are represented in particular musical contexts? Which social groups are silenced or less well represented in music’s histories, and why?Table of ContentsIntroductionNancy NovemberPart One: Cultural and Cross-Cultural AgenciesThe Year the Music Died: Agency in the Context of Demise on Takū, Papua New GuineaRichard Moyle“One of the finest and best-appointed theatres in the colonies”: His Majesty’s Theatre and the Evolution of Entertainment in Dunedin, New ZealandSandra Crawshaw“In the Tiki Tiki Tiki Tiki Tiki Room”: Musicalizing the South Pacific in Disney’s Theme ParksGregory CampPart Two: Vocal Music’s AgenciesFigaro Transmuted through the Agency of Neapolitan Social and Political Creatives: Niccolò Piccinni’s La serva onorataLawrence MaysJosephinism and Leopold Koželuh’s Masonic Cantata Joseph der Menschheit Segen Allan BadleyAgency, Politics, and Opera Arrangements in Fanny von Arnstein’s SalonsNancy NovemberPart Three: Performance and AgencyReflections on Aladdin’s Lamp: Developing a Framework for Creative Practice Research in-and-through Historically Informed PerformanceImogen MorrisWhen Your Heart Is Set on Both Broadway and the Met: An Exploration of Vocal Technique in Contemporary Musical TheatreChristopher McRaePart Four: Composition and Agency“Brows betwixt and between”: The Agents of the Cultural Middlebrow and the Use of Topoi in Benjamin Britten’s First Suite for Cello Eliana DunfordProvincializing Practice: Parsing Historical Influences on Contemporary Cross-Cultural Music in Aotearoa/New ZealandCeleste OramContributorsIndex
£76.49
Hal Leonard Corporation Building Walking Bass Lines Bass Builders
Book Synopsis
£18.89
Bloomsbury Publishing Plc Sonic Possible Worlds Revised Edition
Book SynopsisFrom its use in literary theory, film criticism and the discourse of games design, Salomé Voegelin expands possible world theory' to think the worlding of sound in music, in art and in the everyday. The modal logic of possible worlds, articulated principally via David K. Lewis and developed through Maurice Merleau-Ponty's phenomenological life-worlds, creates a view on the invisible slices of the world and reflects on how to make them count, politically and aesthetically. How to make them thinkable and accessible as the possibility of the everyday and of art: to reach a new materialist understanding from the invisible and to develop an ear for the as yet inaudible. This revised edition continues Voegelin's exploration of the sonic possibility of the world into the sonic possibility and impossibility of the body. Listening to work by Áine O'Dwyer, Hannah Silva and Jocy de Oliveira, it considers sonic possible worlds' radical power to rethink normative constructions and to fabulate a difTrade ReviewSalomé Voegelin is a brilliant and subtle thinker about sound and music, so Sonic Possible Worlds: Hearing the Continuum of Sound, Revised Edition is a deeply explored and essential study of the necessity of listening, of openly absorbing what sound tells us of our shared world, listening which gives us access to the fluid nature of relationships and connections, to the interactive web of the world and our participation in it through awareness of this 'complex continuity' and of ourselves inextricably enmeshed within it. Salomé Voegelin generously maps many ways of practicing listening to sonic worlds and of sharing access to the ever-expanding “possible world” of sound-life, then goes further, leaping beyond our physical and conceptual limits, diving into sound we cannot hear but which affects us, becoming part of our apprehensible world and of our learning how to live within it. * Annea Lockwood, Composer and Professor Emeritus, Vassar College, USA *The first edition of this book opened up new ways of thinking about sound and listening, which seemed provocative at the time, engaging with “possible world theory,” speculating on what and how sound means without referring it to the visual, and proposing a continuum of hearing between sound art and music. In this highly anticipated and essential new edition, Voegelin thinks about bodies and presents with rigor and extraordinary clarity the way sound may open us up to the plural possibility of bodily existence. Effortlessly interlacing phenomenology, feminist and queer theories, and weaving together sound thought and practice, while remaining precise yet accessible, the author invites us to listen to our own and each other’s bodies, enjoy their transforming, hybrid and even monstrous capacities, and discover the emancipatory force of their soundings. * Mikhail Karikis, film director and Professor, MIMA School of Art & Design, Teesside University, UK *Table of ContentsIntroduction 1. The Landscape as Sonic Possible World 2. Into the World of the Work: The Possibility of Sound Art 3. Sonic Materialism: the Sound of Stones 4. Hearing the Continuum of Sound 5. Listening to the Inaudible: the Sound of Unicorns 6. Possible and Impossible Bodies Notes Bibliography List of works Index
£23.74
Columbia University Press Every Brain Needs Music
Book SynopsisLarry S. Sherman, a neuroscientist and lifelong musician, and Dennis Plies, a professional musician and teacher, collaborate to show how our brains and music work in harmony. Written for both musical and nonmusical people, including newcomers to brain science, this book is a lively and easy-to-read exploration of the neuroscience of music.Trade ReviewEngaging and insightful, Every Brain Needs Music illuminates the connection between art and science and shows us the miraculous way our bodies and brains listen to, practice, and create music. From the architecture of music and the brain to the artistry of a transcendent musical performance, each chapter reveals why, for many of us, music is as essential as breathing or eating. -- Valerie Day, lead singer of Nu Shooz and Grammy nomineeWitty and brilliantly informative, Every Brain Needs Music evokes the love of music in all ways, and is the first book I will recommend to everyone who wants a deeper appreciation of music and life. From the deeply detailed description of our brains to concrete examples and strategies of improvement and learning, this book will benefit beginners and seasoned musicians alike. -- Mei-Ting Sun, professor of piano, Royal Academy of Music, and winner of the first Piano-e competition and the National Chopin CompetitionEvery Brain Needs Music shares priceless information garnered from the life experiences of the authors as artists, scientists, and educators and provides unique insights and a treasure trove of knowledge that all readers can benefit from. This valuable and informative book will help readers recognize the critical need for music education and the role it serves by enriching our aesthetic and cognitive lives. -- Yakov Bergman, music director/conductor of the Portland Chamber Orchestra, the Walla Walla Symphony, the Siletz Bay Music Festival, and the McCall SummerFestEvery Brain Needs Music is a thorough, but approachable primer for music lovers, music students, music teachers, and music therapists looking to understand how music is processed in the brain. The book presents a wide scope of music neuroscience literature, but in a way that makes it feel understandable. The complex topics are presented in a way that keeps readers’ attention, and helps readers make connections to their own inherent musicality. Music students and teachers will find this book helpful, and so will music therapists as a great refresher and quick-access guide for clear explanations to communicate to others the neuroscientific mechanisms underlying our clinical work. -- Brea Murakami, director of the Music Therapy Program, Pacific UniversityEvery chapter became my favourite and this is one of my favourite books! It’s a five out of five on the enJOYment scale, highly recommended, and I hope I get to read these authors again. * Moonglo Texas *A work of scientific popularization drawing on brain-mapping studies, insights culled from composers and performers, and the authors’ own experience with music making. Illustrators often go unheralded, but Susi B. Davis makes following the anatomical connections much easier; all due props, then. * Inside Higher Ed *Witty and informative, Every Brain Needs Music evokes the love of music in more ways than one. * The Hindu *Table of ContentsPreludeOverture1. What Is Music, and Why Does It Exist?2. How Your Brain Composes Music3. Practicing Music, Part I: The Partnership of Motivated Music Students and Motivated Music Teachers4. Practicing Music, Part II: Understanding the Neuroscience5. Practicing Music, Part III: Changing Your Brain to Get It Right6. How Your Brain Performs Music7. How Your Brain Listens to Music8. Why Your Brain Likes MusicCoda: The Final Jam with Dennis and Larry—Reflective ImprovisationAcknowledgmentsAppendix A: First SurveyAppendix B: Second SurveyNotesBibliographyIndex
£25.20
University of California Press In Search of a Concrete Music
Book SynopsisSuitable for those interested in contemporary musicology or media history, this title offers translation of the author's pioneering work - at once a journal of his experiments in sound composition and a treatise on the raison d'etre of concrete music.Trade Review"Collects Schaeffer's journals and other writings about his musique concrete, which he created by manipulating recorded sounds." Harper's "One of the postwar period's most significant (and readable) grapplings with new artistic paradigms." -- Rob Young Frieze "Completely changed how I hear the world and, after more than 30 years, I am still living with the consequences." -- John Dack The Wire "One striking impression that emerges from reading this book is that [Schaeffer's] work merits a perspective with greater nuance." Times Higher Education "Captures these uneven rhythms of intuition and perplexity, and his imagination and wit." Los Angeles Review Of Books "Recommended." -- J. Behrens, Wolf Museum of Music and Art ChoiceTable of ContentsTranslators' Note I. First Journal of Concrete Music (1948--1949) Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 II. Second Journal of Concrete Music (195--1951) Chapter 8 Chapter 9 Chapter 1 Chapter 11 Chapter 12 Chapter 13 III. The Concrete Experiment in Music (1952) Chapter 14. The Concrete Approach Chapter 15. The Experimental Method Chapter 16. The Musical Object Chapter 17. From the Object to Language Chapter 18. From the Object to the Subject Chapter 19. Inventory Chapter 2. Farewells to Concrete Music IV. Outline of a Concrete Musical Training Index
£27.00
University of California Press On Minimalism
Book SynopsisTrade Review"A gust of fresh air blowing across a stage. . . . As a compilation of source texts, On Minimalism is unparalleled, containing prescient, critical writings from many commentators and participants. . . . Organized in 21 accessible chunks (not only the expected ones, but also others covering spirituality, multimedia and altered states), each headed by an introduction that synthesizes the coming information, this is a breeze to navigate and, for all its scholarly chops, relaxed in its learning." * The Wire *Table of ContentsContents Foreword by Joan La Barbara Introduction PART ONE 1. Improvisation and Experimentation 2. Dream Music 3. Loops and Process 4. Altered States 5. Gurus and Teachers 6. Cultural Fusion 7. Across the Arts 8. Ensembles PART TWO 9. 1976 10. The New Downtown 11. Instruments and Environments 12. Ambient and New Age 13. Canons 14. Backlash 15. Politics, Identity, and Expression 16. Postminimalists 17. Spiritual Minimalism 18. Popular Culture PART THREE 19. Histories 20. Silences 21. Futures Acknowledgments Listening Guide Notes Bibliography Index
£27.00
University of Minnesota Press Feminine Endings
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£17.09
Zone Books Alien Listening – Voyager′s Golden Record and
Book Synopsis
£25.20
Kjos (Neil A.) Music Co ,U.S. Bastien Piano Basics Technic Primer
Book Synopsis
£7.80
Bloomsbury Publishing PLC Drawing Music Marking Time
Book SynopsisMarking down the complexities of musical pieces on paper allows them to become portable, shareable, and eminently teachable, but how are the simple geometries of a music notation unfolded into space and time?A music notation is an almost impossibly complicated bit of drawing. Calling it a map or a diagram does not quite do the trick. Its tracery supplies mechanisms for planning, composition, analysis, annotation, and performance of music. But how is it that we read that simple, strategic two-dimensional geometry and make such complex, four-dimensional performances? In this book David Griffin guides readers to a comprehensive understanding of the structural properties of music notations, with a particular focus on the standard Western staff notation system, looking at composers such as Bach, John Cage, Earle Brown and Stockhausen.Developed over a thousand years ago, the staff notation is a geometrical drawing method using dots and lines on a horizontal timeline
£80.75
Oxford University Press Inc Composing with Constraints 100 Practical
Book SynopsisComposing with Constraints: 100 Practical Exercises in Music Composition provides an innovative approach to the instruction of the craft of music composition based on tailored exercises to help students develop their creativity. When composition is condensed to a series of logical steps, it can then be taught and learned more efficiently. With this approach in mind, Jorge Variego offers a variety of practical exercises to help student composers and instructors to create tangible work plans with high expectations and successful outcomes.Each chapter starts with a brief note on terminology and general recommendations for the instructor. The first five chapters offer a variety of exercises that range from analysis and style imitation to the use of probabilities. The chapter about pre-compositional approaches offers original techniques that a student composer can implement in order to start a new work. Based on lateral thinking, the last section of the book fosters creative connections with other disciplines such as math, visual arts, and architectural acoustics.The one hundred exercises contain a unique set of guidelines and constraints that place students in a specific compositional framework. These compositional boundaries encourage students to produce creative work within a given structure. Using the methodologies in this book, students will be able to create their own outlines for their compositions, making intelligent and educated compositional choices that balance reasoning with intuition.Trade ReviewComposing with Constraints is a serious primer for composers- an invaluable tool that can help them navigate their journey of personal musical development. In establishing artistic constraints through intriguing and imaginative exercises, Jorge Variego nurtures the seeds of creativity, enabling composers to sharpen and refine the focus that they need to succeed as artists. * JoAnn Falletta, Music Director, Buffalo Philharmonic *Composing with Constraints is a great book for composers and theorists and I highly recommend it for both composition courses at undergraduate and graduate courses as well as individual studies. What a joy to read! * David Cope, University of California, Santa Cruz *Table of ContentsIntroduction How to use the book Recommendations for the instructor Chapter I - Melody (exercises 1 - 20) Preliminary notes Melody 1 - focal point Melody 2 - using your own scale Melody 3 - using your own scale and a subset Melody 4 - using your own scale with a substitute pitch Melody 5 - a scale in a given order Melody 6 - a scale in a given order with ordered rhythm Melody 7 - concatenating triads Melody 8 - concatenating triads of any type Melody 9 - segments of equal duration Melody 10 - segments of unequal duration Melody 11 - the melody of an image Melody 12 - integer notation Melody 13 - integer notation collections and subsets Melody 14 - integer notation collections and transition subsets Melody 15 - simple probabilities Melody 16 - a twelve-tone row Melody 17 - a twelve-tone row in palindrome Melody 18 - intervallic content Melody 19 - leitmotifs Melody 20 - eliminations Chapter II - Harmony (exercises 21 - 40) Preliminary notes Harmony 21 - composing transitions Harmony 22 - using segments, melody becomes harmony Harmony 23 - axis of symmetry Harmony 24 - using the harmonic series Harmony 25 - using the harmonic series with a pedal tone Harmony 26 - just triads Harmony 27 - using integer notation Harmony 28 - diatonic? Harmony 29 - a twelve-tone row Harmony 30 - alla circle progression Harmony 31 - triads that move in thirds Harmony 32 - triads that move in thirds and progressions within a progression Harmony 33 - polychords, triads over triads Harmony 34 - polytonality Harmony 35 - pedal tones Harmony 36 - ideas using parallel modes Harmony 37 - clusters Harmony 38 - sequences and patterns Harmony 39 - implied harmonies Harmony 40 - contrafacts Chapter III - Rhythm (exercises 41 - 60) Preliminary notes Rhythm 41 - transformations using simple math Rhythm 42 - using segments Rhythm 43 - using segments per measure Rhythm 44 - non-retrogradable rhythms Rhythm 45 - patterns within patterns Rhythm 46 - extracting the rhythm of a text Rhythm 47 - why meter? Rhythm 48 - short, long, long, short - using Morse code Rhythm 49 - ostinato Rhythm 50 - playing with hemiolas Rhythm 51 - hemiolas and melodic construction Rhythm 52 - polymeter Rhythm 53 - metric modulations Rhythm 54 - using rhythmic motifs Rhythm 55 - motivic displacement Rhythm 56 - isorhythmic motets, talea and color Rhythm 57 - repeat signs, loops and internal spiraling Rhythm 58 - composing with unequal rests and pauses Rhythm 59 - eliminations, everything coming from the same tune Rhythm 60 - perceivable and non-perceivable pulse Chapter IV - Texture (exercises 61 - 80) Preliminary notes Texture 61 - analyzing Chopin Texture 62 - homorrythmic Texture 63 - leitmotifs Texture 64 - all the same but different Texture 65 - phasing Texture 66 - analyzing Debussy, plaining Texture 67 - Liszt, simple harmonies, complex texture Texture 68 - ostinatos Texture 69 - letting the performer make decisions Texture 70 - aleatoric counterpoint Texture 71 - micropoliphony Texture 72 - counterpoint, appropriating from Fux's species Texture 73 - counterpoint " to your music Pre-composition 97 - quotations as triggers Pre-composition 98 - drawing sketches Pre-composition 99 - oblique strategies by Brian Eno and Peter Schmidt Pre-composition 100 - the computer as assistant Appendix A) Grading rubric B) Sample curriculums for group composition classes or individual lessons C) Select anthology of scales and musical examples D) Table of instrument ranges and transpositions
£20.99
Associated Board of the Royal Schools of Music Music Theory Practice Papers 2023, ABRSM Grade 3
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 3 Theory exams *Model answers also available
£8.57
Taylor & Francis Ltd Analog Synthesizers Understanding Performing
Book SynopsisMaking its first huge impact in the 1960s through the inventions of Bob Moog, the analog synthesizer sound, riding a wave of later developments in digital and software synthesis, has now become more popular than ever.Analog Synthesizers charts the technology, instruments, designers, and musicians associated with its three major historical phases: invention in the 1960s1970s and the music of Walter Carlos, Pink Floyd, Gary Numan, Genesis, Kraftwerk, The Human League, Tangerine Dream, and Jean-Michel Jarre; re-birth in the 1980s1990s through techno and dance music and jazz fusion; and software synthesis. Now updated, this new edition also includes sections on the explosion from 2000 to the present day in affordable, mass market Eurorack format and other analog instruments, which has helped make the analog synthesizer sound hugely popular once again, particularly in the fields of TV and movie music.Major artists interviewed in depth include: HansTable of ContentsAcknowledgements About the author Introduction: what’s so great about analog? Chapter 1 What is analog? Sound Frequency Amplitude Wave shape Harmonics and overtones Noise Phase Synthesizer components Circuit design Sound design Chapter 2 Aspects of analog sound Voltage-controlled oscillator Voltage-controlled filter Envelope generator Voltage-controlled amplifier Low-frequency oscillator White noise source Sample-and-hold Wave shaper Ring modulator Subharmonic oscillator Resonator Frequency shifter Morphing filter Vocoder Sequencer Keyboard MIDI interface Assorted modules Chapter 3 The birth of analog, the manufacturers and the artists Moog ARP EMS Oberheim Sequential circuits Yamaha Korg Roland Chapter 4 The growth of analog Italy France The Netherlands Japan United Kingdom Germany USA Chapter 5 Using and programming analog Classical and avant-garde programmers Jazz programmers Pop and TV music programmers Rock programmers Pure synthesizer programmers Techno-pop programmers Programming for orchestral imitation Programming rock, pop and electric sounds Programming abstract sounds Ten great analog sounds Chapter 6 The analog revival, 1980s–2000s Chapter 7 Programming and using virtual analog hardware and software Virtual analog programming Virtual oscillators Virtual filters Virtual LFOs Virtual envelopes Virtual controllers Alternative applications Analog software Chapter 8 2013-2019 updates: new instruments, Eurorack and movies/TV Obituaries New instruments, 2013 onwards Modules 2013–2019: the Eurorack explosion Analog goes to the movies Appendix A Classic instruments: specifications and values Appendix B Analog and virtual analog instruments: currently or recently in production Appendix C Purchasing guide for analog instruments Appendix D Bibliography Appendix E Discography Appendix F Contacts Appendix G Website content: www.routledge.com/cw/jenkins Index
£45.99
Bloomsbury Publishing (UK) Pink Moon
Book SynopsisExplores how a tiny acoustic record has puttered and purred its way into the millennium. This book contains interviews of producer Joe Boyd, string arranger Robert Kirby, and the marketing team behind the VW commercial.Trade ReviewThe latest addition to the evergrowing 33 1/3 series (now up to volume 51) is an in-depth look at Nick Drake's final album "Pink Moon". Tackling a 28 minute album of sparse folk by an artist whose life went largely undocumented (there are no known video clips or interviews with Drake) is a daunting task, but Petrusich handles the job nicely by telling the story through interviews with the people who knew Drake and worked with him musically, as well as testimonials from current artists who have felt his influence. She also does a great service to the readers by not painting Drake as some romantically doomed poetic soul, like so many other writers have done in the past. In fact, she does an excellent job of dispelling many Drake myths (ex: he didn't anonymously leave the tapes for Pink Moon at Island's reception desk without saying a word), and even points out flaws in the album (many of the vocals are garbled). The most interesting part of the book is the final third which focuses on Pink Moon's 21st Century revival thanks to a 2000 Volkswagon commercial featuring the title track. While many make the argument that using a song to push a product cheapens the artistry of the song, "Pink Moon" was used to such great effect that it has simultaneously become synonymous with Volkswagon. More importantly, thanks to commercial exposure, annual sales of the album jumped from 6,000 to 74,000 in the year that it hit the airwaves - exposing Drake's work to a new generation. Perhaps the best praise I can give the book is that after I finished reading it I put it down and listened to Pink Moon. * Losing Today.com *One of my favourites in Continuum's 33 1/3 series of books on seminal albums. * Largehearted Boy, August 2008 *Is an ambitious project...Petrusich is up to the task, and her travels weave an essential sense of place into her exploration of the evolution of Americana music. -- Julian Koster * Largehearted Boy, August 2008 *[A] fascinating read and a worthy inclusion in the pantheon of great books about great records. -- Matthew van DeWitt * Skyscraper magazine *
£9.49
Bloomsbury Publishing PLC Richard and Linda Thompsons Shoot Out the Lights
Book SynopsisIn the fall of 1980 Richard and Linda Thompson (of Fairport Convention fame) had recently been dumped from their record label and were on the verge of divorce. Somehow they overcame these miserable circumstances and managed to make an album considered by many to be a masterpiece. This title puts Richard and Linda Thompson's album in context.Trade ReviewHayden Childs has definitely broken beyond the normal form of rock criticism with his take on Shoot Out The Lights, creating a review of some depth and intelligence, his critique as layered and textured as the album it explores. Whether you're a longtime fan of the Thompsons, or a listener just discovering the brilliant and disturbing Shoot Out The Lights, Childs' book provides the perfect guide to this difficult album. -- Rev. Keith Gordon * Blurt Magazine *This is an intent, even intense, look at Thompson's careful, multi-layering lyric writing, plus an enthusiastic, if not revelatory, appreciation for his musical gift. * Erasingclouds *
£12.05
Jessica Kingsley Publishers Pied Piper: Musical Activities to Develop Basic
Book SynopsisIt is widely acknowledged that music is of great value for people with learning difficulties. It can be used as a catalyst to help those with special needs acquire and improve basic skills and thereby to communicate better. With clear aims and easy-to-follow instructions, Pied Piper describes 78 enjoyable music activities for groups of children or adults who may have learning difficulties. The emphasis is on using music, rather than learning songs or rhythms, so group members do not need any special skills to be able to participate. Full details are given about any equipment required for the games, as well as suggestions for variations or modifications.The authors are experienced music therapists and have used these activities on numerous occasions. Designed to encourage people to develop their own ideas and musical activities, this collection will be a source of inspiration and practical advice for anyone working with people with a range of special needs including carers and group leaders.Table of ContentsIntroduction. Instruments used in the activities. Acknowledgements. Part one: Activities to develop listening and concentration. 1. Hands up! 2. Find the leader! 3. Where are the bells? 4. Time bomb. 5. Peace-lovers and warriors. 6. Quiet and loud. 7. Back to back. 8. Contrary motion. 9. Bells and tambourines. 10. Musical lines. 11. Sound effects. 12. Motor-biking. 13. Pied piper. 14. Which way? 15. Listen, dance and paint! 16. Listen and remember! 17. Hunt the sweet! 18. Catch a rhythm! 19. Big Ben. 20. Mystery notes. 21. Ding or dong. Part two: Activities to develop a sense of self and awareness of others. 22. Hello. 23. Pop! goes the instrument. 24. Listen and choose! 25. Solo time. 26. Twirling tambourine. 27. Moving mouse. 28. Where shall I play? 29. Scarecrow. 30. Growing flowers. 31. Name game. 32. Circle the drum! 33. Conductor. 34. Clap and tap! 35. Come and get it! 36. Make up your dance! 37. Guess who! 38. The empty chair. Part three: Activities to develop social skills. 39. Swaying hoops. 40. Make me dance! 41. Sending messages. 42. Humpty's downfall. 43. Kings and queens of the bells. 44. All change! 45. Farewell symphony. 46. Dance and change! 47. Roll or throw! 48. What now? 49. Hat dance. 50. Where are you? 51. Watch the cymbal! 52. Heavy or sticky. 53. Listen and walk! 54. I like... 55. Hoop group. 56. Catch my eye! 57. Tap-a-back. 58. Red-handed. 59. Please interrupt! Part four: Activities to develop motor control. 60. Up and down. 61. Clap and sway! 62. Shake it off! 63. Flying saucer. 64. Sleeping music. 65. Musical feet. 66. Sleeping tambourine. 67. Musical hoops. 68. Train journey. 69. Listen and run! 70. Roll to say hello! 71. Copy my dance! 72. Concerto. 73. Breaking the sound barrier. 74. Over the rainbow. 75. Lead the leader! 76. Moving chairs. 77. Mirror image. 78. Dance with a glued foot! Index to aims. Cross-reference table.
£24.79
Taylor & Francis Ltd Performing Electronic Music Live
Book SynopsisPerforming Electronic Music Live lays out conceptual approaches, tools, and techniques for electronic music performance, from DJing, DAWs, MIDI controllers, traditional instruments, live sound design, hardware setups, custom software and hardware, to live visuals, venue acoustics, and live show promotion. Through case studies and contrasting tutorials by successful artists, Kirsten Hermes explores the many different ways in which you can create memorable experiences on stage. Featuring interviews with highly accomplished musicians and practitioners, readers can also expand on their knowledge with hands-on video tutorials for each chapter via the companion website, performingelectronicmusic.live. Performing Electronic Music Live is an essential, all-encompassing resource for professionals, students of music production courses, and researchers in the field of creative-focused performance technology. Table of ContentsChapter 1 – General Advice1. The concept2. Confidence and preparation2.1 Effective rehearsal2.2 Dealing with stage fright2.3 Stepping into the performance persona2.4 Using feedback and being prepared for rejection3. Quality of the production4. Factors that determine the setup choice4.1 The music – genre and composition4.2 The act – personality, motivation and skills4.3 Band members and skills4.4 The performance situation4.4.1 The audience4.4.2 The venue and playback system4.4.3 Risk4.4.4 Budget4.4.5 Need for portabilityTutorial and takeaway points5. ReferencesChapter 2 – DAWs and Controllers1. Non-linearity of time2. Overview of performance DAWs2.1 Ableton Live2.2 Bitwig2.3 Maschine2.4 Logic Pro X2.5 Motu Digital Performer2.6 FL studio2.7 Standalone hardware DAW equivalents3. Plugging in hardware3.1 Live arrangement3.2 One-shots and finger drumming3.3 Performing on software instruments3.4 Controlling audio effects3.5 Other external hardware4. Prepared musical material and live recording5. Collaboration6. Randomness and generative approaches7. Customising the performance interface8. Performing live in more studio-oriented DAWs9. Working with visuals10. Recording the showTutorialFrom a complex studio production to an intuitive live setLooping clipsOne-shotsFollow actionsLive effectsLive keys and vocalsVisuals11. Takeaway pointsReferencesInterview with Robert HenkeChapter 3 – MIDI and CV Performance Controllers1. CV/GATE2. The MIDI protocol2.1 MIDI messages in the MIDI 1 protocol2.2 MIDI 2.03. Types of performance controllers3.1 Buttons3.2 Continuous signals: knobs, faders, sliders3.3 Controllers that resemble traditional musical instruments.3.4 Modular controllers3.5 Motion-controlled performance hardware3.6 Turning non-musical hardware into MIDI controllers3.7 MIDI Polyphonic Expression3.8 Sequencers3.9 Clock signals and MIDI routingTutorial4. Takeaway pointsReferencesChapter 4 – DJing and Turntablism1. A short history of DJing2. Types of DJ in the present day2.1 Touring artist-DJs2.2 Resident DJs2.3 Mobile event DJs2.4 Radio DJs2.5 Online DJ-producers3. DJ techniques3.1 Mixing techniques and turntablism3.2 Virtuoso turntablism3.3 Effects and audio processing3.4 Programming4. DJ tools available today4.1 DJ software and hardware controllers4.2 CDJs4.3 Going retro: using Vinyl for DJing4.4 Headphones, monitors and microphones4.5 Streaming tracks from online platformsTutorial: three DJ setups presented by Dan MurrayPreparationDJ skills and techniquesBeatmatching on vinylGetting creative on CDJsWorking with a hybrid setupPerformance styles5. Takeaway pointsReferencesInterview with Alex M.O.R.P.HChapter 5 - Incorporating Acoustic Instruments and Vocals 1. Traditional instruments in electronic music2. Fusion genres3. Live instruments and vocals that are not on the record4. Instruments that are on the record but not on stage5. Microphones and DI boxes6. Effects and sound manipulation6.1 Vocal effects processing6.2 Vocoders and talk boxes6.3 Effects for other instrumentsTutorial – generated live vocal harmonies, violin and synth7. Takeaway pointsReferencesInterview with Matt RobertsonChapter 6 – Live Synthesis and Sound Design1. Synthesis technology1.1 Synthesis techniques1.1.1 Additive synthesis1.1.2 Subtractive synthesis1.1.3 FM synthesis1.1.4 Waveshaping synthesis1.1.5 Sampling1.1.6 Granular synthesis1.1.7 Wavetable synthesis1.1.8 Physical modelling synthesis1.2 Controls typically found on commercial synthesizers1.2.1 Oscillators1.2.2 Amplifier1.2.3 Amplitude envelope1.2.4 Filters1.2.5 Modulation1.2.6 Clock1.2.7 Effects, sequencing and arpeggiators1.2.8 Playback controls2. A rich history of artists shaping their sound through synthesis2.1 Retro-leaning synths used by current artists3. A brief history of sampling4. Using synths and samplers on stage4.1 Playing live on hardware synthesizers and samplers4.1.1 Choosing hardware synths4.1.2 Working with pre-programmed sequences4.1.3 Modular synthesizers on stage4.2 Performing live with software synthesizersTutorial5. Takeaway pointsReferencesChapter 7 – Performing without a Laptop1. Building blocks of a laptop-free setup1.1 Sound sources1.2 Control signal generators1.2.1 Clock signal generators1.3 Control signal routing tools1.4 Sound processors and effects1.5 Mixers2. All-in-one hardware tools3. Cabling and connectionsTutorial: a modular synthesizer setup (Matt Gooderson)Modular SystemsComponents of the Hardware SetupMelodyRhythmSound SourcesUtility ModulesMultipleQuantiserSample and HoldMixerAudio ModifiersComposition and Performance4. Takeaway pointsReferencesChapter 8 – Programming Custom Performance Tools1. Getting started with programming1.1 What is a program?1.2 What programming language should you learn?2. Inspiring artist examples2.1 Complete playback solutions2.2 Effects plug-ins and software instruments2.3 Expanding the functionality of hardware2.4 Automatic performance tools2.5 Letting the outside environment control the soundTutorial: introducing BBC R&D’s Audio Orchestrator, featuring Jon Francombe and Stephen DavismoonHow does Audio Orchestrator work?The Sequences pageThe Controls pageThe Audio pageThe Appearance pageThe Export page3. Patch It: modular music programming environments3.1 Max/MSP3.2 Pure Data3.3 Other node-based programming environments3.4 Node-based programming in action3.4.1 Effects processing3.4.2 Generative music3.4.3 Sampling and sequencing3.4.4 Working with external hardware3.4.5 Theatre showsTutorial: generative music in Max / MSP, featuring Francesc Moya SerraFirst steps and audio outputMetronome and timingSound triggering with the select objectUsing MIDI notes to perform on a VST synthRandom pitches in a subpatchAdding further complexityRandom note velocities and durationsModulating synthesis parametersFitting the random note pitches to a musical scalePercussionThe performance GUI4. Live coding: making EDM with algorithmsTutorial: an introduction to SuperCollider, featuring Eli FieldsteelThe interfaceGetting startedOscillator UGensCross-fading between soundsWorking with pre-recorded audio samplesWhat else is possible in SuperCollider?5. Takeaway PointsReferencesInterview with Holly HerndonChapter 9 – Building Custom Hardware Tools1. New instruments built from scratch2. The human body as musical instrument3. Adding functionality to existing instruments4. Performing music on toys and household items5. How can you get started?Tutorial: Optical Theremin inside a Game Boy Shell with Rainbow Trash (Dominique Pelletier)What you will needCasingElectronicsTesting connectionsSoldering connectionsClosing up the caseOther things you can do...6. Takeaway pointsReferencesChapter 10 – The Performance Setting1. Common live sound technology2. The soundcheck3. Live sound mixing4. Spaces4.1 Arenas and stadiums4.2 Large Festivals4.3 Nightclubs4.4 Warehouse raves4.5 Concert halls4.6 Outdoor theatres4.7 Small and intimate shows4.8 Controlled acoustic spaces4.9 Installations4.10 Remote settings and streamingTutorial: a large redundancy playback rig, featuring Steven MasseyStems for playbackUninterruptible power supplyRedundancy playback rigOutput routing via a split rackThe monitor mixThe live mix5. Takeaway pointsReferencesInterview with Laura EscudéChapter 11 – Stage Design and Visual Parameters1. Tools for creating visual interest1.1 Moving visuals1.2 Lighting1.3 Dancing and acting1.4 Fashion1.5 Stage design2. What determines the choice of visual stage parameters?2.1 Artist identity2.2 Visual parameters that convey a narrative2.3 Creating an abstract connection between what is seen and heard2.4 Amplifying performance parametersTutorial 3. Takeaway pointsReferencesChapter 12 – Planning and Promotion1. Music branding principles1.1 Artist identity1.2 Target audience2. Creating marketing materials2.1 Visual materials2.2 Biography2.3 Press release2.4 Website2.4.1 A clear representation of the artist image2.4.2 Layout and content2.4.3 Search engine optimization2.5 Social media2.6 Hardcopy marketing materials3. Networking and gig opportunitiesTutorial: music industry Dos and Don’ts presented by Woody van EydenWhere am I now?Where do I want to be?What do I need to do to get there?Who can help me?What should I do in terms of networking?4. Takeaway pointsReferencesChapter 13 – Conclusion1 What do electronic musicians do on stage?2 What constitutes a great electronic music performance?3 How do I choose the concept for my show?3.1 A compelling Performance persona3.2 Virtuosic skills3.3 Technical know-how3.4 A compelling performance setting3.5 Liveness3.6 Core values3.7 Visual interest4 What does my audience expect?5 I am quite shy but I would like to perform live. What can I do?6 I cannot play any instruments or sing. Can I still perform live?7 Should I be a solo artist or form a band?8 What kind of tools do I need to perform electronic music live?9 There are so many different options. What is the right setup for me?10 Who creates electronic performance equipment?11 Where can I try out and buy performance equipment?12 I produce music in a DAW. How can I turn this into a live show?13 Should my live show sound like my record?14 What does "live" mean? Should every sound be created in the moment, or are backing tracks acceptable?15 Is it bad to mime and pretend that I am doing something on stage when I am not?16 I have never produced any music. Where do I begin?17 How should I prepare for my show?17.1 Practice17.2 Sound check17.3 Feedback18 How can I find gig opportunities?Thank you!
£36.99
Taylor & Francis Inc The Geometry of Musical Rhythm
Book SynopsisThe original edition of The Geometry of Musical Rhythm was the first book to provide a systematic and accessible computational geometric analysis of the musical rhythms of the world. It explained how the study of the mathematical properties of musical rhythm generates common mathematical problems that arise in a variety of seemingly disparate fields. The book also introduced the distance approach to phylogenetic analysis and illustrated its application to the study of musical rhythm. The new edition retains all of this, while also adding 100 pages, 93 figures, 225 new references, and six new chapters covering topics such as meter and metric complexity, rhythmic grouping, expressive timbre and timing in rhythmic performance, and evolution phylogenetic analysis of ancient Greek paeonic rhythms. In addition, further context is provided to give the reader a fuller and richer insight into the historical connections between music and mathematics.Trade Review"The late Godfried Toussaint studied the rhythms of the world like a gold panner, collecting with meticulousness and passion all the motifs that different cultures have given birth to. Thanks to his skill as a mathematician, he extracted fascinating properties from them. There is no doubt that this unique book will survive for a very long time."—Marc Chemillier, Directeur d'études, École des Hautes Études en Sciences Sociales"Through the original use of distance geometry for analyzing musical rhythm and the visualization of rhythms as cyclic polygons, Gottfried Tousssaint’s fascinating book will be extremely valuable to any researcher involved in in the field of rhythm."—Simha Arom, Ethnomusicologist "The new edition of The Geometry of Musical Rhythm takes us further along Godfried Toussaint’s journey through the world’s rhythms. There are new discussions of metric complexity, rhythm visualization, rhythmic performance, and the evolution of rhythmic patterns. Almost every chapter has been expanded and informed by the latest scholarship in music theory, music psychology, ethnomusicology, and music informatics. Specialists and lay readers alike will find this edition even more engaging and valuable than the first, giving us even more reasons to delight in what makes a "good" rhythm good."— Professor Justin London, Carleton College "A unique and seminal work of original and meticulously detailed scholarship, this newly published second edition of "The Geometry of Musical Rhythm : What Makes a "Good" Rhythm Good?" is unreservedly recommended as a core addition to both college and university library collections."—Midwest Book ReviewPraise for the previous edition"Toussaint’s Geometry presents a whirlwind tour of the world’s rhythms … For a reader interested in musical rhythm, Geometry is a great introduction to the computer science and mathematics of rhythm. For a reader interested in algorithms and mathematical reasoning, the musical focus provides compelling examples lying at the intersection of the arts and the sciences."—William A. Sethares, Journal of Mathematics and the Arts, 2014"… a delightful, informative, and innovative study in the geometric interpretation of rhythm. … It is a pleasure to find an author who has such good command of mathematics and music and who can explain their interconnections with such literary skill. I recommend this book wholeheartedly to every serious student of geometry and music."—Ilhan M. Izmirli, Mathematical Reviews, March 2014"This dynamic fluid presentation of mathematics is exactly what our undergraduate and graduate students need. … I would highly recommend this book for everyone."—Russell Jay Hendel, MAA Reviews, May 2013"The author of this book, the Canadian professor of computer science Godfried Toussaint, who died in 2019, describes music as one of his passions. This is apparent throughout this work, which draws on his wide knowledge of different musical styles from all cultures.The book is very informative about a wide range of styles of music and musical instruments and their history. If you have an interest in music and in a range of areas of mathematics, you are likely to find plenty of topics of interest."—Mathematical Gazette"The late Godfried Toussaint studied the rhythms of the world like a gold panner, collecting with meticulousness and passion all the motifs that different cultures have given birth to. Thanks to his skill as a mathematician, he extracted fascinating properties from them. There is no doubt that this unique book will survive for a very long time."—Marc Chemillier, Directeur d'études, École des Hautes Études en Sciences Sociales"Through the original use of distance geometry for analyzing musical rhythm and the visualization of rhythms as cyclic polygons, Gottfried Tousssaint’s fascinating book will be extremely valuable to any researcher involved in in the field of rhythm."—Simha Arom, Ethnomusicologist "The new edition of The Geometry of Musical Rhythm takes us further along Godfried Toussaint’s journey through the world’s rhythms. There are new discussions of metric complexity, rhythm visualization, rhythmic performance, and the evolution of rhythmic patterns. Almost every chapter has been expanded and informed by the latest scholarship in music theory, music psychology, ethnomusicology, and music informatics. Specialists and lay readers alike will find this edition even more engaging and valuable than the first, giving us even more reasons to delight in what makes a "good" rhythm good."— Professor Justin London, Carleton College "A unique and seminal work of original and meticulously detailed scholarship, this newly published second edition of "The Geometry of Musical Rhythm : What Makes a "Good" Rhythm Good?" is unreservedly recommended as a core addition to both college and university library collections."—Midwest Book ReviewPraise for the previous edition"Toussaint’s Geometry presents a whirlwind tour of the world’s rhythms … For a reader interested in musical rhythm, Geometry is a great introduction to the computer science and mathematics of rhythm. For a reader interested in algorithms and mathematical reasoning, the musical focus provides compelling examples lying at the intersection of the arts and the sciences."—William A. Sethares, Journal of Mathematics and the Arts, 2014"… a delightful, informative, and innovative study in the geometric interpretation of rhythm. … It is a pleasure to find an author who has such good command of mathematics and music and who can explain their interconnections with such literary skill. I recommend this book wholeheartedly to every serious student of geometry and music."—Ilhan M. Izmirli, Mathematical Reviews, March 2014"This dynamic fluid presentation of mathematics is exactly what our undergraduate and graduate students need. … I would highly recommend this book for everyone."—Russell Jay Hendel, MAA Reviews, May 2013Table of ContentsWhat Is Rhythm?. A Steady Beat. Timelines, Ostinatos, and Meter. The Wooden Claves. The Iron Bells. The Clave Son. Six Distinguished Rhythm Timelines. The Distance Geometry of Rhythm. Classification of Rhythms. Binary and Ternary Rhythms. The Isomorphism of Rhythm and Scale. Binarization, Ternarization, and Quantization of Rhythms. Syncopated Rhythms. Necklaces and Bracelets. Rhythmic Oddity. Off-Beat Rhythms. Rhythm Complexity. Dispersion Problems and Maximally Even Rhythms. Euclidean Rhythms. Leap Years: The Rhythm of the Stars. Approximately Even Rhythms. Rhythms and Crystallography. Complementary Rhythms. Radio Astronomy and Flat Rhythms. Deep Rhythms. Shelling Rhythms. Phantom Rhythms. Reflection Rhythms and Rhythmic Canons. Toggle Rhythms. Symmetric Rhythms. Odd Rhythms. Other Representations of Rhythm. Rhythmic Similarity and Dissimilarity. Regular and Irregular Rhythms. Evolution and Phylogenesis of Musical Rhythm. Rhythmic Combinatorics. What Makes the Clave Son Such a Good Rhythm?. The Origin, Evolution, and Migration of the Clave Son. Epilogue. References. Index.
£47.49
Oxford University Press Music and Social Justice A Guide for Elementary
Book SynopsisIn this book author Cathy Benedict offers practical suggestions to help elementary and middle school teachers and students think critically about the world around them, by engaging with themes such as friendship, racism, poverty, religion, and class.Trade ReviewBenedict thoughtfully includes potential lessons and questioning strategies to engage students critically. She outlines the opportunities for student voices to be heard and notes the potential pitfalls along the way ... Overall, this book is effective in questioning existing practices and pointing to some directions forward for music education, particularly at the elementary and middle school levels. * B. Haskett, CHOICE *In Music and Social Justice, Cathy Benedict carefully challenges our commonly held assumptions about enacting child-centered, inclusive, and socially just practices in the music classroom. This book is more than a guide, it is a philosophical meditation in action written by an inspired music educator who makes visible the thinking that informs action and the action that informs thinking. Benedict inspires us to think differently, to observe closely, and act more mindfully. * Carlos R. Abril, Professor of Music Education, University of Miami *Cathy Benedict's book comes at a most needed time in our educational and political history. She provides resources for opening up topics of race, gender, socioeconomics, bullying and religion in music and across school classrooms. Benedict's book offers many practical strategies for teaching social justice in K-8 music and beyond. This book might make teachers uncomfortable, but in a very welcoming way. * Maud Hickey, author of Music Outside the Lines: Ideas for Composing in K-12 Music Classrooms *Table of ContentsIntroduction Chapter 1 - Listening and Responding: Dialogue in Practice Chapter 2 - Communicating Justice and Equity: Meeting the Other Chapter 3 - Friendship and Bullying: Interrogating Forced Narratives Chapter 4 - Soundscapes: Listening for Meaningful Relationships - In Conversation with Kelly Bylica Chapter 5 - Educating for Intelligent Belief or Unbelief Chapter 6 - Politics of Song Chapter 7 - Policy and Teaching: Establishing Change - In Conversation with Patrick Schmidt Afterword Index
£23.39
Oxford University Press BEETHOVENS SYMPHONY NO. 9 OKS P Oxford Keynotes
Book SynopsisBeethoven's Ninth Symphony has held musical audiences captive for close to two centuries. Honing in on the significance of the symphony in contemporary culture, this book establishes a dialog between Beethoven's world and ours. In particular, it outlines what is special about the Ninth in millennial culture, where music is encoded not only as score but also as digital technology.Trade Review"Beethoven meets media theory in Alexander Rehding's wonderful and expansive account of Symphony No. 9. Taking the symphony's monumental challenges into the 21st century, Rehding offers a novel interpretation based on its recent performance and adaptation history, troubling our most fundamental understandings of music, communication and time in the process. A delightful and surprising read."-Jonathan Sterne, McGill University, author of MP3: The Meaning of a FormatTable of ContentsContents Acknowledgements Chapter 1: Beethoven's Ninth for a New Millennium Chapter 2: Marking History Chapter 3: Marking Hearing Chapter 4: Marking Time Chapter 5: Marking Form Chapter 6: Marking Noise Select Bibliography
£18.49
Oxford University Press Inc The Oxford Handbook of Music and Advertising
Book SynopsisThis Handbook explains how music contributes to the advertising that the public encounters on a daily basis. Chapters examine how the soundtracks of promotional messages originate, how we might interpret the meanings behind the music, and how commercial messages influence us through music.Table of ContentsPreface About the Contributors Introduction: Music and advertising: Production, text, and reception James Deaville, Siu-Lan Tan, and Ron Rodman PART I. PRODUCTION Edited by: James Deaville Production: Music and the creation of the advertising text James Deaville Music and Advertising Before 1900 1 Advertising the English glee to women, 1750-1800 Bethany Blake 2. Advertising Millie-Christine, or the making of the Two-Headed Nightingale Remi Chiu and Dana Gorzelany-Mostak Selection and Marketing of Music 3. Fitting tunes: Selecting music for television commercials Peter Kupfer 4. Blank music: Marketing virtual instruments James Buhler 5. Contextual marketing: Analyzing networks of musical context in the Digital Age Willem Strank Music for Advertising and Labor 6. Organized labor and commercial advertising: Music unions and J. Walter Thompson Jessica Getman 7. Jazz works: Music, advertising, and labor in Toronto, 1955-1980 Mark Laver Branding through Music 8. Designing identities: Sound and music in automotive and appliance branding Kenneth McLeod 9. Music supervision and branding in an era of "convergent advertising" Tim J. Anderson Advertising Corporate Style through Music 10. The conquest of Kool: Jazz, tobacco, and the rise of market segmentation Dale Chapman 11. Loathsome Deutschtum? Wagner and advertising as propaganda in American industrial films of the 1930s and 1940s Julie Hubbert 12. About a b(r)and: Geffen Records, Universal, and the (posthumous) packaging of Nirvana Laurel Westrup Advertising Audiovisual Entertainment 13. Music and the formal structures of contemporary action film trailers Catrin Watts 14. Creating big-screen audiences through small-screen appeals: Film marketing on television through music and sound James Deaville 15. "Have You Played Atari Today?" Music and audience in an early video game advertising campaign William Gibbons Selling on Radio 16. "All those homes beyond the microphone": Advertising, domesticity, and early country music variety programs in the 1930s David VanderHamm 17. Music and institutional advertising: Consolidated Edison and Echoes of New York Rika Asai PART II. TEXT Edited by: Ron Rodman Text: Analytic and historical perspectives on music and advertising Ron Rodman Approaches to Analyzing Music and Advertising 18. Taking the gift out and putting it back in: From cultural goods to commodities. Timothy D. Taylor 19. Sounds of Coca-Cola-On "cola-nization" of sound and music Nicolai Jørgensgaard Graakjær 20. The persistence of memory: Structural functions of music in commercial jingles Ron Rodman Musical Genres and Advertising 21. Popular music, advertising, and "selling out" Bethany Klein 22. "Search and destroy": Punk in advertising and selling a subculture Jay Beck 23. Selling "David Bowie": Commercial appearances and the developing Bowie star image Katherine Reed 24. Medievalism goes commercial: The epic as register in contemporary media David Clem 25. "Pushin' it": Sounding difference through humor in Geico's 2014 Salt-N-Pepa spot Joanna Love Music and Advertising Genres 26. "Once you hear this, act fast": Music in Civil Defense television advertisements, 1950-1970 Reba Wissner 27. "Everything is not awesome": Playful adaptation and the aurality of ecoconscious media in Greenpeace's "Save the Arctic" campaign Kate Galloway 28. Exploiting the frontier: Advertising and the Western soundtrack Mariana Whitmer Music and Political Ads 29. Music and sound design as propaganda in Hell-Bent for Election Lisa Scoggin 30. As heard on: The changing musical language of Presidential campaign ads Justin Patch 31. From the subliminal to the ridiculing: How U.S. campaign ads use music to evoke four basic and two compound emotions Paul Christiansen PART III. RECEPTION Edited by: Siu-Lan Tan Reception: Empirical approaches to the study of music and advertising Siu-Lan Tan Frameworks: Models, Mechanisms, and Methods 32 Toward a utilitarian theory of consumer response to advertising music Lincoln G. Craton 33 Hearing, remembering, and branding: Setting strategic directions for sonic branding research Vijaykumar Krishnan and James J. Kellaris 34 Methods for testing the emotional effects of music in advertising and brand communication Daniel Müllensiefen Cognitive and Affective Responses to Music and Advertising 35 Commercial sound: A review of the effects of popular music in radio and television advertising David Allan 36 Music with the message in mind: Cognitive responses to background music in advertising Cynthia Fraser 37 Musical congruity in advertising: Established and emerging research themes Steve Oakes and Morteza Abolhasani 38 Audiovisual advertising: Effects of music on psychological transportation and narrative persuasion Madelijn Strick 39 Music as advertisement: Capturing and sustaining attention in the attention economy era Hubert Léveillé Gauvin Music and Sound in (Multi)Sensory Marketing 40 Sensory marketing in advertising and service environments Bertil Hultén 41 Sound in the context of (multi)sensory marketing Klemens Knoeferle and Charles Spence APPENDIX The ad creation process: From production to reception Lawrence Harte Subject/Author Index
£157.50
Oxford University Press Inc Turn On Tune In Drift Off Ambient Musics
Book SynopsisTurn On, Tune In, Drift Off explores the history and socioaesthetics of ambient music as a popular genre with roots in the psychedelic counterculture. It examines landmark psychedelic, new age, electronic dance, and ambient records, as well as related media discourses, that plotted the conventions of ambient music.Trade ReviewWith flair and acumen, Victor Szabo delves deep into the aesthetics, phenomenology, and politics of ambient music. The result is a comprehensive and fascinating study of a musical genre that's been hailed as ignorable yet interesting. * Rita Felski, author of Hooked: Art and Attachment *Ambient as a genre is often seen as an invention of Brian Eno, starting with his 1975 album 'Discreet Music,'...Eno's incredibly important role in this genre, an influence that continues to this day. * Ben Taffijn, Nieuwe Noten *Table of ContentsPreface Introduction: Highs for Highbrows? How We Got from Head Music to Ambient Music Chapter 1: Inside Environments's Psychedelic "Psychological Sound" Chapter 2: Pacifica Radio's Music from the Hearts of Space and the Spacious Sound of California's New Age Chapter 3: Brian Eno's Ambivalent Ambiences Chapter 4: Ambient EDM, or Dance Music That Isn't Dance Music! Coda Bibliography Selected Discography Index
£19.99
Oxford University Press Inc Listening to War Sound Music Trauma and Survival
Book SynopsisA landmark work within the study of conflict, sound studies, and ethnomusicology, Listening to War offers a broad theorization of sound, violence, music, listening and place, while also providing a discrete window into the lives of individual Iraqis and Americans struggling to orient themselves within the fog of war.Trade ReviewTo say that Listening to War is ground-breaking, penetrating, and vitally important doesn't begin to convey the affective and intellectual impact of engaging with this work. More than challenging music and sound apprehension and scholarship, the book offers painful, visceral access to the ways in which ears suffer, bodies suffer, places suffer in wartime. There is no escape into abstraction or aestheticization here. It's shattering, from the very beginning... * Norie Neumark, University of Melbourne, Journal of Sonic Studies *This book is profound and urgently important. It is literally a study of war, not its outcomes. Daughtry expands ethnomusicologists' most basic assumptions, stepping sideways from music to the moment when sound creates and obliterates the self. He parses the inhabited, diachronic moment of sonic violence in a way I wouldn't have thought critically possible. Listening to War is stunningly smart, informed, and original. Virtually every sentence made me pause. Daughtry shows how ethnomusicology can-and should-address the most pressing issues of our time. * Deborah Wong, University of California, Riverside *Although the sounds of war are often recounted in art and scholarship, Listening to War is the first book I know of that helps us to really understand them. J. Martin Daughtry uses the anthropology of sound and hearing to offer a profound investigation of the experience of being close to violence-both of people physically proximate to violence and people unable to extricate themselves from it, either during wartime or afterward. This is a rare scholarly book: gripping, haunting, troubling and deeply edifying. I could not put it down. * Jonathan Sterne, author of MP3: The Meaning of a Format *More than any other ethnomusicologist over the last decade, J. Martin Daughtry has challenged and deeply reconfigured my understanding of sound, and that's not trivial considering that I taught a course called "Sound" for many years. In this book he performs an extraordinary trick: he has taken the web of sonic violence that surrounds all in a theatre of war and he has extended the intimate and visceral experience of its power and its horror to his readers. Daughtry has immersed us in the most important work of sound studies in many years. * Gage Averill, Dean of the Faculty of Arts, University of British Columbia *I have not read a more thorough case study of military conflict and sound, one that is so scrupulously documented, with its own implications and methodologies so fully explored. If, in fact, this study is exhaustive, what is the next step in research? The monograph gestures toward some answers. For example, the discussion of acoustic territories (p. 189 and elsewhere) is a further reminder of the interconnectedness of mind, body, and the physical environment, and fortifies the argument that the study of sonic experience provides the most promising platform for the further development of studies in cognitive theory. Apart from its own awe-inspiring comprehensiveness, the book provides a foundation for continued exploration of such emergent fields as cognitive ecology, extended mind theory, and the relationship between gesture and cognition. * American Musicological Society *Table of ContentsDedication Note on Transliteration Introduction: Composing Thoughts on Sound and Violence -In Lieu of an Epigraph: Sound-centered Memories of Operation Iraqi Freedom -The Belliphonic -Intellectual Predecessors -A Necessary Detour -Approaches and Challenges Fragment #1: The Presence of Mind to Save an Ear: Ali's Story Section I: Sonic Matériel Chapter 1: Belliphonic Sounds and Indoctrinated Ears: The Elements of Wartime Audition -Charting the Belliphonic -Listening, Structure, and Positionality -Vehicular Sounds -Communications -Civilian Sounds -Weapons Chapter 2: Mapping Zones of Wartime (In)audition -The Zone of the Audible Inaudible -The Narrational Zone -The Tactical Zone -The Trauma Zone -A Complicating Factor: Iraqi Civilian Auditors -Another Complicating Factor: Sound and Psychological Trauma -Conclusion Fragment #2: Stealth and Improvisation in the Desert: Jason's Story Fragment #3: Loudly Searching in the Resonant Darkness: The Anatomy of a Nighttime House Raid Section II: Structures of Listening, Sounding, and Emplacement Introduction to section II Chapter 3: Auditory Regimes -Ideals of Military Audition -National Audition -Oblique Indoctrination of Belliphonic Ears -Situational Awareness -The Inclusive Auditory Regime of Iraqi Civilians -Auditory Literacy, Competence, Virtuosity -Incommensurability Chapter 4: Sonic Campaigns -Sound (and Violence) -Violence (and Sound) -The Omnidirectionality of Sound and Violence -Sonic Campaigns Chapter 5: Acoustic Territories -Emplacement, Displacement, Transplacement -Sound and Territoriality -The Virtual Acoustic Territory of Recorded Sound -The Radiant Acoustic Territories of Wartime -The Resonant Acoustic Territories of Baghdad -The Resonant Acoustic Territory of the body -Life at the Intersection of Regime, Campaign and Territory Fragment #4: Fatal Mishearing Section III: Music, Mediation, and Survival Chapter 6: Mobile Music in the Military -Introducing the Wartime iPod -A Century of Recorded Music on the Battlefield -iPods in the Iraq War -Amping Up, Staying Focused, Cooling Down: Technologies of Self-regulation in Combat -Moving Bodies, Loosening Tongues, Adjusting Crosshairs: Technologies for Manipulating Others in Combat -Concluding Thoughts Fragment #5: From "Hell's Bells" to "Silent Night": A Conversation about Music in the Military Fragment #6: Keeping the Music Turned Down Low: Shymaa's Story Chapter 7: A Time of Troubles for Iraqi Music -Iraq's Musical Legacy -Post-invasion Challenges -Political Violence -Sectarian Violence -U.S. Forces Targeting Music -The Attenuated Acoustic Territory of Iraqi Musical Practice Conclusion: The Amplitude of Violence Fragment #7: Listening as Poiesis: Tareq's Story Acknowledgments Glossary Works Cited Index
£23.49
Oxford University Press Songs of Fanny Hensel
Book SynopsisFanny Hensel is arguably the most gifted female composer of the nineteenth century, but her music has long been overlooked. The Songs of Fanny Hensel is a groundbreaking collection of new scholarship on Hensel's highly original contributions to the genre of song, the art form that she said "suits her best."Trade ReviewIn its quality, range, and sophistication, The Songs of Fanny Hensel marks a new level of maturity in Hensel studies. * Marcia Citron, Music & Letters *The Songs of Fanny Hensel stands as a landmark achievement in Hensel studies in its own right, but also demonstrates just how much of Hensel's 450+ works are yet to be explored. * Angela Mace Christian, Journal of Musicological Research *A celebration of Fanny Hensel's contribution to early nineteenth-century Lieder has come nearly two centuries too late for her, but none too soon for us. This marvelous collection breaks through to the richness and astonishing originality of Hensel's songs, many of which still await publication. Songs of the forest, of the evening, of travel, of love both lived and lost express the breadth of Hensel's poetic range. Her preternatural capacity for capturing words in music, her uncommon tonal adventures, her unusual modes of closure-all these attributes emerge within the context of superb textual, historical, and musical analyses. The Songs of Fanny Hensel welcomes this composer into the classroom and the concert hall, and it secures her rightful place at the heart of the great Romantic Lieder tradition. * Janet Schmalfeldt, Professor Emeritus of Music, Tufts University *A superb collection of essays from some of the world's leading experts on song. Fanny Hensel's Lieder finally receive the first-class scholarship they so richly deserve. * Matt BaileyShea, University of Rochester *Table of ContentsAcknowledgments Chapter 1: Introduction Stephen Rodgers Part I: Nature and Travel Chapter 2: The Wilderness at Home: Woods-Romanticism in Fanny Hensel's Eichendorff Songs Amanda Lalonde Chapter 3: Waldszenen and Abendbilder: Fanny Hensel, Nikolaus Lenau, and the Nature of Melancholy Scott Burnham Chapter 4: Songs of Travel: Fanny Hensel's Wanderings Susan Wollenberg Part II: Settings of English Verse Chapter 5: Women's Private Cosmopolitanism in Literary Translation and Song: Fanny Hensel's Drei Lieder nach Heinrich Heine von Mary Alexander Jennifer Ronyak Chapter 6: "In this elusive language": A Byron Song by Fanny Hensel Susan Youens Part III: Tonal Ingenuity Chapter 7: "You too may change": Tonal Pairing of the Tonic and Subdominant in Two Songs by Fanny Hensel Tyler Osborne Chapter 8: Plagal Cadences in Fanny Hensel's Songs Stephen Rodgers Part IV: Responses to Poetic Form Chapter 9: Working with Words: Revisions of Declamation in Fanny Hensel's Song Autographs Harald Krebs Chapter 10: Modulating Couplets in Fanny Hensel's Songs Yonatan Malin Part V: Beyond Song/Beyond Hensel Chapter 11: Reading Poetry Through Music: Fanny Hensel and Others Jürgen Thym Chapter 12: Fanny Hensel's Lieder (ohne Worte) and the Boundaries of Song: The Curious Case of the Lied in D flat major, Op. 8, No. 3 R. Larry Todd Bibliography
£999.99
Oxford University Press Berg Master Musicians Series
Book SynopsisTrade ReviewThis is one of the most important resources on late classical European music to have emerged in recent years. * M. Dineen, CHOICE Connect, Vol. 59 No. 8 *Table of ContentsPreface Abbreviations Introduction: Music in the Twilight of the Habsburg Empire Chapter 1. Two Viennese Families: The Bergs and Nahowskis Berg's Early Life The Specter of Ill Health The Marie Scheuchl Affair The Nahowski Family Helene Nahowski and Paul Kammerer Berg's Courtship of Helene Nahowski Chapter 2. Berg's Musical Apprenticeship, 1899-1911 Studies with Schoenberg Berg's Early Songs Seven Early Songs (1907) Four Songs, Op. 2 Music for Piano Piano Sonata, Op. 1 String Quartet, Op. 3 Chapter 3. A Struggle for Recognition, 1911-15 Before the War Berg's Work for Schoenberg The Scandal Concert Berg as Writer Five Orchestral Songs to Picture Postcard Texts by Peter Altenberg, Op. 4 Four Pieces for Clarinet and Piano, Op. 5 Three Pieces for Orchestra, Op. 6 Chapter 4. The War and Its Aftermath, 1915-22 Patriotic Enthusiasm Berg's Conscription Superstition and Pseudo-Science Postwar Burdens A Change of Profession Chapter 5. Wozzeck Operatic Plans and Uncertainties From Play to Libretto A Wozzeck Chronology The Music of "Wozzeck" "Wozzeck" on Stage Chapter 6. International Acclaim, 1923-5 Wozzeck Triumphant The Continuing Quest for Health New Directions in Post-War Music: Neoclassicism and Dodecaphony Chamber Concerto Chapter 7. Secret Programs with Twelve Tones, 1925-7 The Hanna Fuchs Affair A Return to Composing Lyric Suite for String Quartet Chapter 8. The Celebrated Composer, 1928-34 Summer Retreats and Family Entanglements Flight from Reality Berg's Music and the Nazi Threat A Musical Digression: Der Wein Chapter 9. Lulu The Search for Lulu Wedekind's Lulu Plays Berg's Libretto for Lulu A Chronology of Composition The Music of Lulu Prospects for Staging Symphonic Pieces from the Opera "Lulu" Chapter 10. Berg's Final Year, 1935 Berg's Financial Crisis Political Turmoil and Austrofascism The Violin Concerto Berg's Final Illness Chapter 11. Helene Berg and the Management of Berg's Legacy, 1936-76 The Completion of Lulu Bereavement, Grief, and Helene Berg's "Eternal Marriage" Helene Berg's Life Under the Nazis, 1938-45 Berg's Musical Manuscripts and Letters Toward a Berg Biography The Alban Berg Foundation Helene Berg's Last Years Epilogue: Berg the Outsider Appendix Notes Bibliography Index
£42.27
Oxford University Press Music and Parental Mental Wellbeing
Book SynopsisThere is compelling evidence that music can enhance parental wellbeing, yet to date there have been few attempts to bring together current endeavours in the field. Music and Parental Mental Wellbeing provides readers from music, health, and beyond, with a new and comprehensive opportunity to consider how music can support parental mental wellbeing. Drawing on recent ground-breaking practice, research, and evaluation the book illuminates how music can support mental wellbeing in pregnancy and the postnatal period, childbirth and perinatal hospital settings, and in the early years.Each chapter provides introductory context, describes the relevant musical practice, consider the intersections with parental wellbeing, and end with implications for practice and key take-aways for the reader. With an interdisciplinary and international team of authors, including music and health practitioners, experts by experience, and researchers, this book explores and establishes the role of music, in its many forms, in supporting and enhancing parental mental wellbeing.
£44.99
Oxford University Press The Oxford Handbook of Singing
Book SynopsisSinging has been a characteristic behaviour of humanity across several millennia. Chorus America (2009) estimated that 42.6 million adults and children regularly sing in one of 270,000 choruses in the US, representing more than 1:5 households. Similarly, recent European-based data suggest that more than 37 million adults take part in group singing.The Oxford Handbook of Singing is a landmark text on this topic. It is a comprehensive resource for anyone who wishes to know more about the pluralistic nature of singing. In part, the narrative adopts a lifespan approach, pre-cradle to senescence, to illustrate that singing is a commonplace behaviour which is an essential characteristic of our humanity.In the overall design of the Handbook, the chapter contents have been clustered into eight main sections, embracing fifty-three chapters by seventy-two authors, drawn from across the world, with each chapter illustrating and illuminating a particular aspect of singing. Offering a multi-disciplTable of ContentsPART 1: The Anatomy and Physiology of Singing 1: Gillyanne Kayes: Structure and Function of the Singing Voice 2: Tara K Stadelman-Cohen and Robert E Hillman: Voice Dysfunction and Recovery 3: John S Rubin and Ruth Epstein: The Healthy Voice, Lifestyle and Voice Protection (including Exercise, Body Work and Diet) 4: Filipa M B Lã and Brian P Gill: Physiology and its Impact on the Performance of Singing PART 2: The Acoustics of Singing 5: Alan Watson: Breathing in Singing 6: Christian T Herbst, David M Howard and Jan G Svec: The Sound Source in Singing: Basic Principles and Muscular Adjustments for Fine-tuning Vocal Timbre 7: Brad Story: The Vocal Tract in Singing 8: Johan Sundberg: The Acoustics of Different Genres of Singing 9: Desmond Sergeant: The Developing Voice 10: David M Howard and Eric J Hunter: Perceptual Features of Singing 11: Harald Jers: The Impact of Location on the Singing Voice PART 3: The Psychology of Singing 12: Boris A Kleber and Jean Mary Zarate: The Neuroscience of Singing 13: Johan Sundberg: Intonation in Singing 14: Eduardo Coutinho, Klaus R Scherer and Nicola Dibben: Singing and Emotion 15: Evangelos Himonides: Perceived Quality of a Singing Performance: The Importance of Context 16: Karen Wise: Defining and Explaining Singing Difficulties in Adults 17: Simone Dalla Bella: Vocal Performance in Occasional Singers 18: Graham F Welch and Costanza Preti: Singing as Inter- and Intra-personal Communication 19: Annabel J Cohen and Karen M Ludke: Digital Libraries for Singing: The Example of the AIRS Project PART 4: The Development of Singing across the Lifespan 20: Robert Walker: Socio-cultural, Acoustic, and Environmental Imperatives in the World of Singing 21: Sheila C Woodward: Fetal, Neonatal and Early Infant Experiences of Maternal Singing 22: Sandra E Trehub and Helga Rut Gudmundsdottir: Mothers as Singing Mentors for Infants 23: Margaret S Barrett: Singing and Invented Song-making in Infants and Young Children's Early Learning and Development: from Shared to Independent Song-making 24: Valentine Harding: Children Singing: Nurture, Creativity, and Culture. A Study of Children's Music-making in London, UK, and in West Bengal, India 25: Graham F Welch: Singing and Vocal Development 26: Jenevora Williams and Scott Harrison: Boys' Singing Voice Change in Adolescence 27: Lynne Gackle: Adolescent Girls' Singing Development 28: Diana Parkinson: The Effects of Gender on the Motivation and Benefits Associated with Community Singing in the UK 29: Jane Davidson and Lynne Murray: Voice Management and the Older Singer PART 5: Singing Pedagogy 30: John Nix: Systematic Development of Vocal Technique 31: Susan Knight: Addressing the Needs of the Adult "Non-Singer" ("NS") 32: Jean Callaghan: Teaching the Professional Singer 33: Alma Thomas: Mental Preparation for the Performer 34: Mary King and John Nix: Conservatory Teaching and Learning 35: Jeremy Fisher, Gillyanne Kayes and Lisa Popeil: Pedagogy of Different Sung Genres 36: Michael Edward Edgerton: The Extra-normal Voice 37: Yang Yang, Aaron Carter-Enyi, Nandhu Radhakrishnan, Sophie Grimmer, and John Nix: Vocal Music and Pedagogy of Chinese, African and Indian Genres PART 6: The Collective 'Choral' Voice 38: Ursula Geisler and Karin Johansson: Contemporary Concepts and Practices of Choral Singing 39: Joy Hill: The Youth Choir 40: Timothy Day: Cultural History and a Singing Style: "The English Cathedral Tradition" 41: Colin Durrant and Maria Varvarigou: Perspectives on Choral Conducting: Theory and Practice 42: Jane Davidson and Robert Faulkner: Group Singing and Social Identity 43: David M Howard: Intonation and Staying in Tune in A Cappella Choral Singing 44: Dag Jansson: Choral Singers' Perceptions of Musical Leadership PART 7: The Wider Benefits of Singing 45: Stephen Clift and Rebekah Gilbert: Can Singing have a Beneficial Effect on Lung Function and Breathing for People with Respiratory Illness? 46: Jane W Davidson and Sandra Garrido: Singing and Psychological Needs 47: Töres Theorell: The Effects and Benefits of Singing Individually and in a Group 48: June Boyce-Tillman: Unchained Melody: The Rise of Orality and Therapeutic Singing PART 8: Singing and Technology 49: Harm K Schutte: Historical Approaches in Revealing the Singing Voice, Part 1 50: Harm K Schutte: Historical Approaches in Revealing the Singing Voice, Part 2 51: Evangelos Himonides: Ave Verum Pentium: Singing, Recording, Archiving and Analysing within the Digital Domain 52: Garyth Nair (decd), David M Howard, and Graham F Welch: Practical Voice Analyses and their Application in the Studio 53: Peter Pabon, David M Howard, Sten Ternström, Malte Kob and Gerhard Eckel: Future Perspectives
£54.00
Oxford University Press Song in the Novel
Book Synopsis
£72.20
Oxford University Press Inc General Music Dimensions of Practice
Book SynopsisTrade ReviewThis thoughtful undertaking provides a full flowering of principal features of 'General Music', that holistic realm of experience and education that extends across all facets of meaningful musical participation for elementary and secondary school students. With its extensive coverage, theoretical notions, and pedagogical considerations, Abril and Gault have framed a fine guide to music practice for classrooms of children and youth, and have invited an excellent crew of expert authors to detail participatory musicking in ways that carefully attend to the cognitive, kinesthetic, and affective development of diverse learners. * Patricia Shehan Campbell, Donald E. Peterson Professor of Music, University of Washington *This masterfully edited collection of essays is a first to position general music as a holistic, interconnected, and complex activity that is intimately linked with intrapersonal and interpersonal human connections. Supported by the most recent research and theoretical work, each chapter offers teaching ideas on the many areas and themes that compose the mosaic of general music, including presentational and participatory musicking, singing, performance, listening, appreciation, creativity, pop, folk and world music, technology, and community building. This must-read book will inspire teachers, students, researchers, and anyone interested in the art of general music education. * Associate Professor of Music Education, University of Southern California *Table of Contents1. General Music as Holistic Music Education Carlos R. Abril and Brent M. Gault Performing 2. Singing in the Elementary General Music Classroom Sarah J. Bartolome 3. Playing with Orff and Classroom Instruments Amy Beegle 4. Participatory Music Making with Fretted Instruments Martina Vasil 5. Pedagogical Approaches in Modern Band Gareth Dylan Smith and Warren Gramm 6. Teaching and Learning World Music Karen Howard Connecting 7. Teaching Music for Human Connections Carlos R. Abril and Loneka W. Battiste 8. Fostering Historical Empathy through Music, Art, and Poetry Janet Revell Barrett 9. Connecting with Repertoire: On the Efficacy of Folksong Jacqueline Kelly-McHale 10. Toward School and Community Musical Engagements Kari K. Veblen 11. How Do We Connect? Music Education in Online and Hybrid Learning Nyssa M. Brown Creating 12. Frames for Improvising Una MacGlone 13. New Ways to Think about Composing and Producing Katherine Strand and Michele Kaschub 14. Demystifying Songwriting Kat Reinhart 15. Digital Media, Digital Technology, and Participatory Culture Ann C. Clements Responding 16. Movement: An Integral Component of General Music Marja-Leena Juntunen 17. Engaging Learners in Active Music Listening Brent M. Gault 18. Perceiving and Responding through Analysis Andrew S. Paney and Nathan O. Buonviri Index
£32.49
Oxford University Press Inc Seeking Connections
Book SynopsisMusic connects the lives of students, teachers, and school communities in many ways. Music is also integrally related to other art forms, history, culture, and other subjects commonly taught in schools. These relationships deserve critical attention, particularly as educators seek to reorient their curricula and pedagogy toward the pressing aims of social justice. Seeking Connections encourages interdisciplinarity as a capacity to be exercised-an orientation or habit of mind that teachers and students can develop. This capacity depends upon viewing music as permeable, recognizing that music influences related ways of knowing, just as related ways of knowing influence music. This book invites teachers to create educational experiences that engage students in exploring an expansive relationship with music. With imaginative examples drawn from diverse musical genres, visual art, poetry, and historical cases, Seeking Connections provides thoughtful principles, models, and instructional strTrade ReviewBuilding upon decades of work on interdisciplinarity in the music curriculum, Janet Revell Barrett invites music educators to consider ways music learning can be more interconnected to other disciplines, contemporary society, and studentsâ lives. She masterfully accomplishes this through compelling arguments, unique cases from the field, detailed pedagogical models, reflective questioning, and thought-provoking stories. Music educators will find this book to be most informative and inspiring. * Carlos R. Abril, Professor of Music Education, Frost School of Music, University of Miami *Table of ContentsPreface Orienting questions Chapter 1: Adopting an interdisciplinary perspective Chapter 2: Interdisciplinarity from the inside out Chapter 3: Multidimensionality as a springboard for connections: The Facets Model Chapter 4: The musics of our time Chapter 5: The foundations of an interdisciplinary pedagogy Chapter 6: Triptych play Chapter 7: Bridges of inspiration: Synergy between music and art Chapter 8: Connecting contexts: Music and history Chapter 9: Assessing the strength of connections Chapter 10: The music curriculum in an interdisciplinary landscape References
£18.99
Oxford University Press Inc Music Teacher as Music Producer
Book SynopsisNever has there been such an exciting time to be a music teacher. Band, choir, and orchestra are ubiquitous in schools and have come to be known as the primary mode that students experience music at the secondary level. Similarly, elementary school classrooms feature approaches by Orff, Kodaly, Dalcroze, and Music Learning Theory, among a host of others. But, what is next? In this enlightening guide, author Clint A. Randles provides music educators with the practical tools to turn their classrooms into student production studios. Addressing everything from a new conceptualization of the physical classroom space to the cables and other audio equipment no music educator should be without, Randles puts creativity, technology, recording arts, songwriting, music production, and live performance at the center of music classrooms.Table of ContentsChapter 1. Introduction: A Different Kind of Music Classroom, A Different Kind of Teacher Chapter 2. The Room(s): Where the Magic Happens Chapter 3. How Technology Can Help You Chapter 4. Instruments: Tools for Creative Expression Chapter 5. Setting the Stage for Success: Literally and Figuratively Chapter 6. Gear Considerations & Acoustics Chapter 7. Diversifying Performance Chapter 8. Classroom as Recording Studio Chapter 9. Making Technology Work for You Chapter 10. A Whole New World of Musical Products Chapter 11. The End is the Beginning Index Bibliography
£999.99
Oxford University Press Inc Queer Ear
Book SynopsisThrough provisional, idiosyncratic, and non-normative listening practices, Queer Ear: Remaking Music Theory counters music theory''s continuing tendencies towards rationality, unity, unilinearity, teleology, and logical certainty. In this volume, editor Gavin S.K. Lee brings together a diverse group of music theorists who issue queer challenges to both music theory and musicology and show that queerness is integral to music-theoretical practice. These investigations of the queer ear and queer soundings, while drawing upon a broad range of approaches, are united by the repurposing of hard music-theoretical apparatuses, as well as soft apparatuses like narratology and cultural theory, for queer ends. Such repurposings contribute to the search for general principles--or a theory--of queering that counters mainstream music theory''s proclivities, instead encouraging everyone to experiment with queer ways of listening.Through the lenses of queer temporality, queer narratology, and queer music analysis, the essays examine a wide variety of artists and composers, including Sun Ra, Cowell, Czernowin, Henze, Schubert, and Schumann; theories ranging from Schenker to queer shame, disability studies, and posthumanism; and authors such as Edward Cone and Edward Prime-Stevenson. Together, they rethink the field''s major tenets, examine hidden histories, and view listening practices from the perspective of non-normative subjectivities. Ultimately, Queer Ear works to queer the field of music theory while paying heed to the ways in which music theory intersects with diverse, embodied LGBTQ lives.Trade ReviewThe first monograph on queer music theory, and a much-needed contribution to the field. The essays in Queer Ear challenge us to recognize the importance of gender, sexuality, and race in analysis, while breaking down the traditional divide between music theory and musicology. * Patricia Hall, Professor of Music, University of Michigan *Table of ContentsIntroduction: Queer Ear Gavin S.k. Lee 1 Queer and Critical Race Theory, Figuring Out Music Theory Gavin S.K. Lee, Philip Ewell, and Robert Hatten Queer Music Analysis 2 Music Analysis; Queer Academy James Currie 3 Queering Schubert's "Der Atlas": Reflections on Positionality and Close Reading David Bretherton 4 The Expression of Queerness in Hans Werner Henze's Music Federica Marsico 5 Multiplicities, Truth, Ethics: a queering analysis of Chaya Czernowin's Anea Crystal Judith Lochhead Queer Temporality 6 Sun Ra's Fletcher Henderson Chris Stover 7 The Chronographic Fallacy of Unilinear Music Theory, Or, Un(Re)productive Temporality in Dichterliebe Gavin S.K. Lee 8 Queering Musical Chrononormativity: Percussion Works of the West Coast Group Bill Solomon Queer Narratology 9 Queer Sexuality and Musical Narrative Fred Everett Maus 10 "Legendary In-Reading": Musical Meaning, Analysis, and Biography in Edward Prime-Stevenson's Music Criticism and Sexology Kristin Franseen 11 Animating Musical Agency Vivian Luong Index
£30.32
