Theory of music and musicology Books

Book SynopsisSonata form is the most commonly encountered organizational plan in the works of the classical-music masters, from Haydn, Mozart, and Beethoven to Schubert, Brahms, and beyond. Sonata Theory, an analytic approach developed by James Hepokoski and Warren Darcy in their award-winning Elements of Sonata Theory (2006), has emerged as one of the most influential frameworks for understanding this musical structure. What can this method from the new Formenlehre teach us about how these composers put together their most iconic pieces and to what expressive ends?In this new Sonata Theory Handbook, Hepokoski introduces readers step-by-step to the main ideas of this approach. At the heart of the book are close readings of eight individual movements from Mozart''s Piano Sonata in B-flat, K. 333, to such structurally complex pieces as Schubert''s Death and the Maiden String Quartet and the finale of Brahms''s Symphony No 1 that show this analytical method in action. These illustrative analyses areTrade ReviewAn excellent addition and deepening of the standard work from 2006 * Stefan Keym, Die Musikforschung *The analyses are consistently subtle and convincing ... A Sonata Theory Handbook will get a lot of use. Incidentally, Hepokoski and Darcy's indexing scheme -- segregation by names, works, and concepts -- remains the best method ever devised. * B. J. Murray, CHOICE *Highly Recommended. * CHOICE *Much more than simply a how-to guide, this handbook vividly presents and clarifies the concepts of Sonata Theory through a series of penetrating analyses, inviting its readers to share in the exciting interpretive possibilities offered by this landmark approach. * L. Poundie Burstein, author of Journeys through Galant Expositions *This book is so much more than a companion piece to the influential Elements of Sonata Theory — it is an invitation to listen to some old favorites from Mozart to Brahms with fresh ears. Each page is brimming with compelling detail and vivid prose. Hepokoski brings sonata form to life. * Alexander Rehding, Fanny Peabody Professor of Music, Harvard University *Table of ContentsAcknowledgments Overture Chapter 1: What Is Sonata Theory? Chapter 2: Mozart, Piano Sonata in B-flat, K. 333/i (Allegro) Chapter 3: Mozart, Symphony No. 34 in C, K. 338/ii (Andante di molto più tosto allegretto) Chapter 4: The Basics: Sonata Types 3 and 1 Chapter 5: Haydn, Symphony No. 100 in G, "Military," first movement (Adagio allegro) Chapter 6: Haydn, String Quartet in G, op. 76 no. 1/i (Allegro con spirito) Chapter 7: Beethoven, Symphony No. 2 in D, op. 36/i (Adagio molto-Allegro con brio) Chapter 8: The Minor-Mode Sonata Chapter 9: Beethoven, String Quartet in E Minor, op. 59 no. 2/i (Allegro) Chapter 10: Schubert, String Quartet No. 14 in D Minor, D. 810/i (Allegro) Chapter 11: The Type 2 Sonata Chapter 12: Brahms, Symphony No. 1 in C Minor, op. 68/iv (Adagio--Più andante--Allegro non troppo, ma con brio--Più allegro) Appendix: Sonata Types 4 and 5 Bibliography

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

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Book SynopsisThis encyclopaedic book proposes a sweeping reformulation of the basic concepts of Western music theory, revealing simple structures underlying a wide range of practices from the Renaissance to contemporary pop. Its core innovation is a collection of simple geometrical models describing the implicit knowledge governing a broad range of music-making, much as the theory of grammar describes principles that tacitly guide our speaking and writing. Each of its central chapters re-examines a basic music-theoretical concept such as voice leading, repetition, nonharmonic tones, the origins of tonal harmony, the grammar of tonal harmony, modulation, and melody. These are flanked by two largely analytical chapters on rock harmony and Beethoven. Wide-ranging in scope, and with almost 700 musical examples from the Middle Ages to the present day, Tonality: An Owner''s Manual weaves philosophy, mathematics, statistics, and computational analysis into a new and truly twenty-first century theory of muTrade ReviewTonality: An Owner's Manual is Dmitri Tymoczko's dazzling answer to the controversial quest for a transhistorical definition of tonality. By disentangling what composers do from what theorists say, Tymoczko presents a fascinating exposition of common compositional principles that animate Western music from Renaissance polyphony to jazz, rock, and contemporary triadic idioms. * Suzannah Clark, Morton B. Knafel Professor of Music and Director of the Mahindra Humanities Center, Harvard University *Dmitri Tymoczko is an original musical thinker who combines mathematical skills and good musicianship in search of universal principles of pitch organization. Tonality: An Owner's Manual continues this quest in proposing a geometrical, hierarchical voice-leading theory that has applications across diverse musical styles. It is written with admirable clarity. * Fred Lerdahl, Fritz Reiner Professor Emeritus of Musical Composition, Columbia University *Table of ContentsPreface and Acknowledgements 1. Implicit musical knowledge 1. Gesualdo's trick 2. The quadruple hierarchy 3. Philosophy 4. Statistics 5. Schema 6. Outline Prelude: transposition along a collection 2. Rock logic 1. A melodic principle 2. A harmonic principle 3. A first chord-loop family 4. Two more families 5. Shepard-tone passacaglias 6. Minor triads and other trichords 7. A fourth family 8. Other modalities 9. Function and retrofunction 10. Continuity or reinvention? Prelude: the Tinctoris transform 3. Line and configuration 1. The imperfect system 2. Voice exchanges 3. Other intervals 4. The circle of diatonic triads 5. Voice exchanges and multiple chord types 6. Four-voice triadic counterpoint 7. Counterpoint within the chord 8. Seventh chords 9. Harmony and counterpoint Prelude: sequence and function 4. Repetition 1. Repetition reimagined 2. Repeating contrapuntal patterns 3. The geometry of two-voice sequences 4. Three voices and the circle of triads 5. Three voices arranged 2+1 6. Four voices 7. Contrary-motion sequences 8. Melodic sequences and near sequences 9. Near sequences 10. Sequences as reductional targets Prelude: three varieties of analytical reduction 5. Nonharmonic tones 1. The first practice and the SNAP system 2. Schoenberg's critique 3. Monteverdi's "Ohimè" 4. The standardized second practice 5. A loophole 6. After nonharmonicity Prelude: functional and scale-degree analysis 6. The origins of functional harmony 1. The logical structure of protofunctionality 2. Similarities and differences 3. Origin and meaning 4. Harmony and polyphony 5. The Pope Marcellus Kyrie 6. A broader perspective 7. "I Cannot Follow" Prelude: could the Martians understand our music? 7. Functional progressions 1. A theory of harmonic cycles 2. A more principled view 3. Rameau and Bach 4. Functional melody, functional harmony 5. Fauxbourdon and linear idioms 6. Sequences 7. Bach the dualist Prelude: chromatic or diatonic? 8. Modulation 1. Two models of key distance 2. Enharmonicism and loops in scale space 3. Minor keys 4. Modulatory schemas 5. Up and down the ladder 6. Modal homogenization and scalar voice leading 7. Generalized set theory Prelude: hearing and hearing-as 9. Melodic strategies 1. Strategy and reduction 2. Two models of the phrase 3. Chopin and the Prime Directive 4. An expanded vocabulary of melodic templates 5. Simple harmonic hierarchy 6. The four-part phrase 7. Grouping, melody, harmony 8. Beyond the phrase: hierarchy at the level of the piece Prelude: why Beethoven? 10. Beethoven theorist 1. Meet the Ludwig 2. From schema to flow 3. The Tempest 4. The Fifth Symphony 5. The "Pastorale" sonata, op. 28 6. Schubert's Quartettsatz 7. The prelude to Lohengrin 11. Conclusion 12. Appendix 1: Fundamentals 13. Appendix 2: Deriving the spiral diagrams 14. Appendix 3: From sequence to transformation 15. Appendix 4: Music theory and corpus analysis Terms and Abbreviations Bibliography

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

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

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

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Book SynopsisThis book explores historical and philosophical connections between music, leisure, and education. Specifically, it considers how music learning, teaching, and participation can be reconceptualized in terms of leisure.Trade ReviewREVIEW: Stephanie Pitts, Professor of Music Education, University of Sheffield, UK, Quote loaded: 24/09/2021.REVIEW: Gareth Dylan Smith, Assistant Professor of Music Education, Boston University , Quote loaded: 24/09/2021.Table of ContentsAcknowledgements Preface PART I Chapter 1: Music, Leisure, and Education Chapter 2: Leisure and Living PART II Chapter 3: Progressive Times: Settlements, Rational Recreation, and Music Chapter 4: Progressive Times: Play, Music, and Education Chapter 5: The Fears and Promises of the 1920s and 1930s PART III Chapter 6: How Should One Live?: Leisure and Happiness (Well-being) Chapter 7: How One Should Live: Leisure and Work Chapter 8: Leisure, Music, and the Common Good Chapter 9: Music Education as Leisure Education Notes References Index

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Book SynopsisMusical Form and Transformation collects four of David Lewin's analytic essays to stimulate thought about the general methodology of musical analysis and issues of large-scale form as they relate to transformational analytic structuring.Trade ReviewNo one can match David Lewin's ability to present detailed analyses of 20th-century music in such a way that the committed reader can absorb them in all of their richness. Beyond their originality and interpretive mastery, these essays are indispensable for their stylistic qualities. * Richard L. Cohn, Battell Professor of the Theory of Music, Yale University *David Lewin's great gift was his ability to connect sophisticated mathematics to musical experience in ways that were deeply compelling, never losing sight of either the music, or the experience. Together these two volumes display both his theoretical brilliance and his sensitivity to the individuality of musical works. Most significantly, they are imbued with his unflagging dedication to and abiding love for the acts of making and understanding music. * Andrew Mead, Professor of Music, University of Michigan *David Lewin's work is among the most important on music theory in the twentieth century. Through some of the examples of practical applications, Generalized Musical Intervals and Transformations was the inception and theoretical basis of the 'Neo-Riemannian' strand of tonal music theory. In addition, its transformational network analysis paradigm has become part of every music theorist's standard repertory for analysis, and has since been extended by Lewin himself, Klumpenhouwer, Lambert, Stoecker, Headlam, Rahn, and Mazzola among many others. The analytical essays in Musical Form and Transformations illustrate the new analytical paradigm Lewin introduced in Generalized Musical Intervals and Transformations. These seminal works on music theory are essential reading. * John Rahn, Professor of Music, University of Washington *While David Lewin's thought had been animated for decades by some of these books' ideas---the complex significance of interval, the audibility of pitch-class inversional indices, the definition of directed motion more by context than convention---it was their concentrated presentation here that enabled many readers to assimilate them as a 'theory.' The result was a shift in the discipline's conception of its methods, even its goals, to the point where imitation of the books (of their imitable aspects) could become a career path. In a renewed encounter with the originals, we are confronted once more by Lewin's intellectual probity, his intense concern with every construction's relation to hearing (which need not mean anything so simple as that every construction is heard), his fastidious eschewal of hype. With these taken as exemplary, the field would change again. * Joseph Dubiel, Professor of Music, Columbia University *Table of ContentsFOREWORD BY ED GOLLIN; INTRODUCTION; REFERENCES INDEX

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Book SynopsisThis study explores the nature of musical competence. Using the collaborative structure of gamelan - Javanese ensemble music - as a point of departure, this work lays the foundation for a comprehensive theory of musical competence and interaction.Table of ContentsList of Illustrations Acknowledgments Technical Notes A Sketch of Central Javanese Gamelan Introduction Prelude. Two Performances 1: Modeling Musical Competence 2: Javanese Musical Competence 3: Individual Competences 4: Who Knows What? 5: Acquiring Competence 6: My Experience Is My Teacher: The Acquisition of Javanese Musical Competence 7: Toward a Theory of Musical Interaction 8: Musical Interaction in Javanese Gamelan 9: Interaction in Javanese Multimedia Productions 10: Individuals Making Music Together 11: Musical Competence and Interaction Appendix Glossary Bibliography Discography Index

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Book SynopsisPapers of the international conference "A Voice as Something More," held at the University of Chicago in November 2015.

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Book Synopsis

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Book SynopsisAn account of nineteenth-century music in Atlantic worlds told through the history of the art's elemental medium, the air. Often experienced as universal and incorporeal, music seems an innocent art form. The air, the very medium by which music constitutes itself, shares with music a claim to invisibility. In Creatures of the Air, J. Q. Davies interrogates these claims, tracing the history of music's elemental media system in nineteenth-century Atlantic worlds. He posits that air is a poetic domain, and music is an art of that domain. From West Central African ngombi harps to the European J. S. Bach revival, music expressed elemental truths in the nineteenth century. Creatures of the Air tells these truths through stories about suffocation and breathing, architecture and environmental design, climate strife, and racial turmoil. Contributing to elemental media studies, the energy humanities, and colonial histories, Davies shows how music, no longer just an innocent luxury, is implTrade Review“Erudite and virtuosic, this beautifully written book changes our understanding of the European nineteenth century in significant ways by exploring how cultural reveries about atmosphere, breath, and air were allied to musical aesthetics, performance, and sound making. Davies’s work addresses environments and their impact on humans, the global transmission of cultural artifacts, and colonialism’s legacy. What emerges is no less than a seismic shift in our understanding of Western art music.” * Carolyn Abbate, Harvard University *“With Creatures of the Air, Davies offers a sweeping, multicontinent analysis of air as a matrix for nineteenth-century European colonial genealogies of music, which he argues were fundamentally biopolitical and entangled with racial capitalism. ‘Music’—in contrast with earlier European paradigms like aria—emerges in Davies’s account as an artful sounding abstracted from its potentially dangerous source elements and environments. This extractivist impulse, he shows, required intensive management of sound production and built sound environs from Gabon to New York, Amazonia, and industrial Britain. Elegantly written and replete with fascinating case studies, Creatures of the Air makes a major contribution to ecomusicology, nineteenth-century cultural history, and European music studies, and it will undoubtedly be read and assigned for years to come.” * Olivia Bloechl, University of Pittsburgh *“Creatures of the Air is also a history of things heard, touched, breathed, and felt. Piercing the nineteenth century’s vacuum-packed conception of music, Davies spins each self-contained chapter out of a network of sounding objects, from climate-controlled performance halls and bell jars to possessive spirits and wax cylinders. Linking them all is the airy realm of music, a field of (disavowed) materiality that is alternatively haunting and life-giving.” * Critical Inquiry *Table of ContentsList of Illustrations Introduction Chapter 1 White “Genius”: Ngango, Gabon Estuary, 1817 Chapter 2 A Falcon under Glass: Paris, France, 1838 Chapter 3 Moral Atmospherics in Elijah: Black Country, Britain, 1846–1860 Chapter 4 Black Musics Control: Santa Maria de Belém do Grão-Pará, Brazil, 1871 Chapter 5 A Spectral Image of Breath: New York, United States, 1901 Chapter 6 Albert Schweitzer’s Equatorial Piano: Lambaréné, Gabon, 1913 Epilogue Acknowledgments Notes Index

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Book SynopsisKnown affectionately as The Red Book, Bruno Nettl's The Study of Ethnomusicology became a classic upon its original publication in 1983. Scholars and students alike have hailed it not just for its insights but for a disarming, witty style able to engage and entertain even casual readers while providing essential grounding in the field. In this third edition, Nettl revises the text throughout, adding new chapters and discussions that take into account recent developments across the field and reflecting on how his thinking has changed or even reversed itself during his sixty-year career. An updated bibliography rounds out the volume. A classroom perennial and a must-have for any scholar's bookshelf, the third edition of The Study of Ethnomusicology introduces Nettl's thought to a new generation.Trade Review"The Study of Ethnomusicology is a gift to the field, authored by one of the few scholars--a true giant--capable of such a monumental, broadly focused treatise." --Journal of Folklore Research"Anyone who has ever opened a book to study music will be fascinated with this latest from the indefatigable Bruno Nettl. . . . Nettl covers all the issues, concepts, and controversies of the now well-established field as only he can. Highly recommended."--Choice "An amazing repository of information recounted from texts and others sources, as well as from Nettl's own work and personal interpretations of events, relationships, ideas, directions, and experiences over the course of the history of the discipline. . . Overall, the text provides an excellent historical account of the discipline: it issues, concepts, ideas, methods, terminology, and seminal (and other) scholars." --Notes

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Book SynopsisA combination of button accordion and bajo sexto, conjunto originated in the Texas-Mexico borderlands as a popular dance music and became a powerful form of regional identity. Today, listeners and musicians around the world have embraced the genre and the work of conjunto masters like Flaco Jiménez and Mingo Saldívar. Erin E. Bauer follows conjunto from its local origins through three processes of globalization--migration via media, hybridization, and appropriation--that boosted the music’s reach. As Bauer shows, conjunto’s encounter with globalizing forces raises fundamental questions. What is conjunto stylistically and socioculturally? Does context change how we categorize it? Do we consider the music to be conjunto based on its musical characteristics or due to its performance by Jiménez and other regional players? How do similar local genres like Tejano and norteño relate to ideas of categorization? A rare look at a fascinatTable of ContentsAcknowledgements Introduction: The Globalization of Conjunto Part I: The Migration of Conjunto 1. “We love you, Flaco!”: Chicken Skin Music, “Mingomania,” and the Inter/national Presentation of Conjunto 2. “Ladies and gentlemen, Dodge presents Flaco Jiménez!”: Arhoolie Records, KEDA Radio Jalapeño, and the Mediated Dispersal of Conjunto 3. “From Texas to Washington and across to Michigan and Illinois…”: Los Cuatro Vientos, Los Texmaniacs, Los Lobos, and the U.S American Spread of Conjunto Part II: The Hybridization of Conjunto 4. “You have to mix it up!”: “Seguro Que Hell Yes,” the Texas Tornados, Los Super Seven, and the Cultural Hybridity of Flaco Jiménez 5. “I play the jazz accordion!”: “Rueda de Fuego (Ring of Fire),” “My Toot Toot,” and the Country/Zydeco Influences of Mingo Saldívar and Steve Jordan 6. “It’s jealousy…”: Eva Ybarra and the Hybrid Offerings of Women in Conjunto Part III: The Appropriation of Conjunto 7. “That’s my music!”: Kenji Katsube, Dwayne Verheyden, and the Worldwide Participation in Conjunto 8. “¡Esto es globalización!”: Rowwen Hèze, the Rolling Stones, and the Commercialized Appropriation of Conjunto Conclusion Notes Discography Works Cited Index

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Book SynopsisInstitutions in Recife, Brazil, have restructured subsidies in favor of encouraging musicians to become more entrepreneurial. Falina Enriquez explores how contemporary and traditional musicians in the fabled musical city have negotiated these intensified neoliberal cultural policies and economic uncertainties. Drawing on years of fieldwork, Enriquez shows how forcing artists to adopt neutral market solutions reinforces, and generates, overlapping racial and class-based inequalities. Lacking the social and financial resources of their middle-class peers, working-class musicians find it difficult to uphold institutional goals of connecting the city's cultural roots to global markets and consumers. Enriquez also links the artists' situation to that of cultural and creative workers around the world. As she shows, musical sponsorship in Recife and the contemporary gig economy elsewhere employ processes that, far from being neutral, uphold governmental and corporate ideologies that produce sTrade Review"The Costs of the Gig Economy is a welcome English-language contribution about Recife's contemporary music scene, which receives less attention compared to those in São Paulo, Rio de Janerio, and Salvador. . . . In a clear and engaging writing style, Enriquez zooms in and out of various scales—from local to global—and weaves her theoretical framework of 'rooted cosmopolitanism' into the interconnected issues musicians, cultural promoters, and bureaucrats encounter. Her case studies are refreshingly inclusive of both popular and traditional musicians navigating this environment." --Notes

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Book SynopsisTrade ReviewAn insightful critique of ethnomusicology that challenges its colonialist roots and the resulting inequalities and exclusionary practices. At the Crossroads of Music and Social Justice provides multiple paths to restructuring the discipline around the ideologies of social justice. In the process, the 'new norm' embraces difference—the ideas, opinions, approaches, and priorities of historically marginalized groups. This book turns the discipline on its head with the goal of encouraging ethnomusicologists to engage in self-reflection on how we research, teach and practice ethnomusicology. At the Crossroads of Music and Social Justice is an ideal companion for monographs on the history of the field. -- Portia K. Maultsby, coeditor of Issues in African American Music: Power, Gender, Race, Representation and African American Music: An Introduction, 2nd ed.The book's emphasis on a justice-oriented ethnomusicology offers hope. Gathering what could be called testimonio-like narratives by established scholars, the editors work to reimagine the field as one that is justice-oriented and in the process take the pulse of this exciting and necessary discipline. The editors have culled the work of authors to present the pedagogical implications as well as the practice of a social justice approach to the study of music and to performance. They are spot on in grouping the chapters around four main themes: Truth Telling and Listening Lovingly, Radical Inclusivity, Coalition Building, and Direct Action. The contributors' voices build a coherent picture through intriguing explorations of the field and offer new directions toward a justice-oriented ethnomusicology. -- Norma E. Cantú, Trinity UniversityTable of ContentsPreface, by Andrew G. Snyder and Katelyn E. BestAcknowledgmentsIntroduction: Pathways toward a Justice-Oriented Ethnomusicology, by David A. McDonaldPart I: Truth Telling and Listening Lovingly1. Diversity on Repeat: The Deceptive Cadence of Social Domination in Ethnomusicology, by Kyra D. Gaunt2. Social Justice and My Work as a Music Scholar, Teacher, and Artist, by Steven Loza3. Punk and Politics and Transforming Musical Academe, by Brenda M. Romero4. Going Forward with Vigilance: American Indian Music is Always There, by Charlotte W. Heth5. Deliver Me from Danger, Èşù-Elgbára! Musical Offerings in Social Justice, by Paul AusterlitzPart II: Radical Inclusivity6. Ethnocentrism 2.0: Hearing-Centrism, Inclusivity, and Musical Expression in Deaf Culture, by Katelyn E. Best7. Pink Menno Hymn Sings: Queerness, Inclusivity, and the Mennonite Church, by Katie J. Graber8. Unsettling Euro-American Conceptions of Race in the Egyptian Independent Music Scene, by Darci Sprengel9. Reclaiming Nanook of the North, Tanya Tagaq's Sonic and Performative Counterpoints to Inuit Stereotypes, by Ho Chak Law10. "If I Could Go Back in Time": Rethinking Popular Culture, Social Justice, and the Compassionate Gaze in Palestine, by David A. McDonaldPart III: Coalition Building11. Promoting Social Justice through Traditional Irish Music: A New Model for Applied Research, by Alexandria Carrico12. The Sonic Politics of Interracial Coalitions, by Susan M. Asai13. "¡Vamos a Pelear en la Guerra!": Musical Manifestations of Coalition Building in the South Texas Chicano Movement, by Erin E. BauerPart IV: Direct Action14. "Music is Liberation": The Brass Liberation Orchestra and Direct Action, by Andrew G. Snyder15. Ecological Frictions and Borderless Futures: Art and Activism on a Sailing Ship, by Rebekah E. Moore16. Raising the Imperative for Direct Action, by Susan M. Asai17. Circling Back on Direct Action: On Difference and Representation, by Brenda M. RomeroList of ContributorsIndex

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Book SynopsisA commonsense, self-contained introduction to the mathematics and physics of music; essential reading for musicians, music engineers, and anyone interested in the intersection of art and science.“Mathematics can be as effortless as humming a tune, if you know the tune,” writes Gareth Loy. In Musimathics, Loy teaches us the tune, providing a friendly and spirited tour of the mathematics of music—a commonsense, self-contained introduction for the nonspecialist reader. It is designed for musicians who find their art increasingly mediated by technology, and for anyone who is interested in the intersection of art and science.In Volume 1, Loy presents the materials of music (notes, intervals, and scales); the physical properties of music (frequency, amplitude, duration, and timbre); the perception of music and sound (how we hear); and music composition. Calling himself “a composer seduced into mathematics,” Loy provides answers to foundat

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Book SynopsisA techno-cognitive look at how new technologies are shaping the future of musicking. “Musicking” encapsulates both the making of and perception of music, so it includes both active and passive forms of musical engagement. But at its core, it is a relationship between actions and sounds, between human bodies and musical instruments. Viewing musicking through this lens and drawing on music cognition and music technology, Sound Actions proposes a model for understanding differences between traditional acoustic “sound makers” and new electro-acoustic “music makers.” What is a musical instrument? How do new technologies change how we perform and perceive music? What happens when composers build instruments, performers write code, perceivers become producers, and instruments play themselves? The answers to these pivotal questions entail a meeting point between interactive music technology and embodied music cognition

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Book SynopsisInclusive, knowledgeable, and enthusiastic, Kenyon shows that no matter how great the crisis, music has the power to bring us togetherTrade Review“A wonderfully engaging survey...It is what every music lover needs close by...We are left in no doubt about music’s extraordinary power.”—Ian Thomson, Financial Times“Nicholas Kenyon is an amiable and enthusiastic guide to a thousand years of classical music.”—Neil Fisher, The Times“This is always a book about music in performance, and about the art of listening. At almost every turn, I wanted to stop reading and listen to the music Kenyon describes – and consistently felt rewarded for doing so.”—Mathew Lyons, Literary Review“The Life of Music is at its lively best when Kenyon’s own passions are laid bare...his belief, above all, in the power of music to unite individual and community.”—Fiona Maddocks, The Observer“Kenyon loops elegantly between decades and nations, making connections between works of different styles, always making sure that the reader is not stranded.”—Anna Picard, Times Literary Supplement“A brilliant introduction to early music...Certainly, it's hard to think of any living individual better placed than Kenyon to take such an all-embracing overview.”—Richard Bratby, Gramophone“[Kenyon] is not oblivious to forms of music that for some classical lovers is at best ignored and here we are venturing briefly into contemporary popular song, traditional folk, the areas that owe to new interactive technology and sounds from across the world. The end chapters are worth their weight in gold; stimulating, arresting thoughts on music and culture pour out from Nicholas Kenyon. Hey, this is a super book.”—Tony Jasper, Methodist Recorder“Nicholas Kenyon is a fluent and gifted writer, and this is a personal history with reference to performers and recordings on the way.”—Ronald Corp, Church Times“A typically wise and thoughtful book, which manages to combine a wealth of unexpected information with an immensely readable style - it should grab anybody, whatever their level of musical knowledge.”—Sir Simon Rattle, music director, London Symphony Orchestra"What better moment to ponder the question of where music has been, where it might be headed and the existential issue of what meaning it may hold? The Life of Music ponders these questions with wit and a depth of information."—Deborah Borda, president and CEO, New York Philharmonic Orchestra"Nicholas Kenyon brings a lifetime of listening and wisdom to his encyclopaedic survey of the Western classical music canon. In a narrative of breadth and critical acumen, The Life of Music traverses a millennium of music-making with stopping points along the way to ponder its past, present and future."—John Adams, composer 'As critic, author, broadcaster, and administrator, Nicholas Kenyon has seen the art and life of music from every possible angle, and the breadth of his experience is evident on every page of this hugely absorbing volume. He also brings to bear keen insight, an aversion to dogma, and a wisdom steeped in humility. Classical music has a tendency toward grandiose rhetoric: Kenyon unfurls the entire monumental story in unwaveringly human terms.'—Alex Ross, music critic at The New Yorker and author of The Rest is Noise“Nick Kenyon takes us to the very heart and soul of music, by surveying the past, he gives us hope for the future."—Gustavo Dudamel, artistic and music director, Los Angeles Philharmonic

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Book SynopsisHolistic Musical Thinking presents a comprehensive view of how people engage with music from a hands-on and heart-felt perspective. This approach embraces the teaching and learning processes as a multi-dimensional amalgamation of knowing, doing, and feeling through musical experiences. The result is a five-dimensional model that synthesizes cognitive, affective, and psychomotor learning with curricular integration.With pedagogical applications, Holistic Musical Thinking offers a multi-faceted perspective that benefits both music teachers and their students. This innovative approach uses established research for a new model of musical thinking and taxonomy of musical engagement. Complete with classroom vignettes and pedagogical strategies, this book reframes musical thinking as a new direction in music education. Written for music teachers, teacher-educators, and their students, this book provides practical applications of the multi-dimensional Model of Holistic

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Book SynopsisDistortion in Music Production offers a range of valuable perspectives on how engineers and producers use distortion and colouration as production tools. Readers are provided with detailed and informed considerations on the use of non-linear signal processing, by authors working in a wide array of academic, creative, and professional contexts.Including comprehensive coverage of the process, as well as historical perspectives and future innovations, this book features interviews and contributions from academics and industry practitioners. Distortion in Music Production also explores ways in which music producers can implement the process in their work and how the effect can be used and abused through examination from technical, practical, and musicological perspectives. This text is one of the first to offer an extensive investigation of distortion in music production and constitutes essential reading for students and practitioners working in music produTable of ContentsPart I Technology of Distortion 1. A History of Distortion in Music Production; 2. The Development of Audio Software with Distortion; 3. A Browser-based WebAudio Ecosystem to Dynamically Play with Real-time Simulations of Historic Guitar Tube Amps and Their Typical Distortions; 4. Non-linearity and Dynamic Range Compressors; 5. Low Order Distortion in Creative Recording and Mixing; Part II Perception and Semantics of Distortion 6. Understanding the Semantics of Distortion; 7. An Ecological Approach to Distortion in Mixing Audio: Is Distortion an Expected, Rather than an Unwanted Artefact?; 8. Towards a Lexicon for Distortion Pedals; Part III Retrospective Perspectives of Distortion 9. Hit Hardware: Vintage Processing Technologies and the Modern Recordist; 10. Even Better than the Real Thing: A Comparison of Traditional and Software-Emulated Distortion in the Contemporary Audio Production Workflow; 11. ‘It Just Is My Inner Refusal’: Innovation and Conservatism in Guitar Amplification Technology; 12. A Saturated Market; Part IV Musicology of Distortion 13. The Studio’s Function in Creating Distortion Related Compositional Structures in Hard Rock and Heavy Metal; 14. The Distortion of Space in Music Production; 15. Distorting Jazz Guitar: Distortion as Effect, Creative Tool and Extension of the Instrument; 16. 'Got a Flaming Heart': Vocal Climax in the Music of Led Zeppelin; 17. The Aesthetics of Distortion

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Book SynopsisExplorations in Music Theory: Harmony, Musicianship, Improvisation offers an innovative learning approach to music theory, centered on instrumental skills, improvisation, and composition. Providing a comprehensive textbook to support music theory curricula, along with an accompanying workbook, it includes extensive performance-based exercises in each chapter, alongside written theory and analysis. This book teaches harmony as a series of historical practices, each with different advantages and disadvantages. Classes are empowered to critically compare these practices and adopt those that they find most effective. Designed to support multiple learning modalities, and incorporating repertoire from a diverse array of composers, this book offers instructors and students a comprehensive and engaging foundation in music theory.Features of this book include: Modular lessons centered on inquiry-driven pedagogy, offering flexibility Lesson difficulty is mar

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Book SynopsisThe Ordo Virtutum, Hildegard von Bingenâs twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon. Not only does the Ordoâs expansive duration set it apart from its precursors, but also its complex imagery and non-biblical narrative have raised various questions concerning its context and genre. As a poetic meditation on the fall of a soul, the Ordo deploys an array of personified virtues and musical forces over the course of its eighty-seven chants. In this ambitious analysis of the work, Michael C. Gardiner examines how classical Neoplatonic hierarchies are established in the music-drama and considers how they are mediated and subverted through a series of concentric absorptions (absorptions related to medieval Platonism and its various theological developments) which lie at the core of the workâs musical design and text. This is achieved primarily through Gardinerâs musical network Table of Contents1. A Metaphysical Medieval Assemblage 2. Analytic Introduction 3. Deterritorialized Bodies 4. The Taking-Place of Prayer 5. On Reterritorialization

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Book SynopsisInnovation in Music: Technology and Creativity is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering composition and performance, and technology and innovation, this volume offers truly international perspectives on ever-evolving practices.Including chapters on audience interaction, dynamic music methods, AI, and live electronic performances, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.

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Book SynopsisThis book studies George Crumbâs The Winds of Destiny (2004) and Black Angels (1970) as artifacts of collective memory and cultural trauma. It situates these two pieces in Crumbâs output and unpacks the complex methodologies needed to understand these pieces as contributions and challenges to traditional narratives of the Civil War and the Vietnam War. The Winds of Destiny is shown to be a critical commentary on the legacy of American wars and militarism, both concepts crucial to American identity. The Winds of Destiny also acts as an ironic war memorial as a means of critiquing such concepts. Black Angels has long been associated with the Vietnam War. This book shows how this association began and how it endures through connections to iconic Vietnam War media, including films and books. Together these analyses show the legacy of trauma in American collective memory, which is in a continuous crisis. Crumbâs musical critiques poi

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Book SynopsisThis interdisciplinary volume explores the girlâs voice and the construction of girlhood in contemporary popular music, visiting girls as musicians, activists, and performers through topics that range from female vocal development during adolescence to girlsâ online media culture. While girlsâ voices are more prominent than ever in popular music culture, the specific sonic character of the young female voice is routinely denied authority. Decades old clichÃs of girls as frivolous, silly, and deserving of contempt prevail in mainstream popular image and sound. Nevertheless, girls find ways to raise their voices and make themselves heard. This volume explores the contemporary girlâs voice to illuminate the way ideals of girlhood are historically specific, and the way adults frame and construct girlhood to both valorize and vilify girls and women. Interrogating popular music, childhood, and gender, it analyzes the history of the all-girl band from the Runaways to the present; the changing anatomy of a girlâs voice throughout adolescence; girlâs participatory culture via youtube and rock camps, and representations of the girlâs voice in other media like audiobooks, film, and television. Essays consider girl performers like Jackie Evancho and Lorde, and all-girl bands like Sleater Kinney, The Slits and Warpaint, as well as performative 'girlishness' in the voices of female vocalists like Joni Mitchell, BeyoncÃ, Miley Cyrus, Taylor Swift, Kathleen Hanna, and Rebecca Black. Participating in girl studies within and beyond the field of music, this book unites scholarly perspectives from disciplines such as musicology, ethnomusicology, comparative literature, womenâs and gender studies, media studies, and education to investigate the importance of girlsâ voices in popular music, and to help unravel the complexities bound up in music and girlhood in the contemporary contexts of North America and the United Kingdom. Table of ContentsPART IVoice and Agency 1 I’m with the Band: Redefining Young Feminism 15 LUCY O’BRIEN 2 Girls at Work: Gendered Identities, Sex Segregation,and Employment Experiences in the Music Industry 37 MARION LEONARD 3 "I Love Beyoncé, but I Struggle with Beyoncé": Girl ActivistsTalk Music and Feminism 56 LYN MIKEL BROWN AND DANA EDELL WITH MONTGOMERY JONES, GEORGIA LUCKHURST, AND JONEKA PERCENTIE PART IIVoice and Vocality 4 "These Stupid Little Sounds in Her Voice": Valuing andVilifying the New Girl Voice 77 DIANE PECKNOLD 5 Girls and Puberty: The Voice, It Is a-Changin’;A Discussion of Pedagogical Methods for theTraining of the Voice through Puberty 99 BARBARA FOX DEMAIO 6 The Curse of the "O mio bambino caro": Jackie Evancho as Prodigy, Diva, and Ideal Girl 113 DANA GORZELANY-MOSTAK 7 Authority, Ability, and the Aging Ingénue’s Voice 143 ALEXANDRA APOLLONIPART IIIVoice and Authenticity 8 Performing Pop Girlhood on Disney Channel 171 MORGAN BLUE 9 When Loud Means Real: Tween Girls and the Voices of Rock Authenticity 191 SARAH DOUGHER 10 YouTube, Twerking and You: Context Collapse andthe Handheld Copresence of Black Girls and Miley Cyrus 208 KYRA D. GAUNT PART IVVoice and Narrative 11 The Counterpoint of Aging and Coming of Age in the Mother–Daughter Duets of Tori Amos and Natashya Hawley 235 LORI BURNS 12 Listen to the Mockingjay: Voice, Identity, and Agency in

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Book SynopsisSchenkerGUIDE is an accessible overview of Heinrich Schenker's complex but fascinating approach to the analysis of tonal music. The book has emerged out of the widely used website, www.SchenkerGUIDE.com, which has been offering straightforward explanations of Schenkerian analysis to undergraduate students since 2001.Divided into four parts, SchenkerGUIDE offers a step-by-step method to tackling this often difficult system of analysis. Part I is an introduction to Schenkerian analysis, outlining the concepts that are involved in analysis Part II outlines a unique and detailed working method to help students to get started on the process of analysis Part III puts some of these ideas into practice by exploring the basics of a Schenkerian approach to form, register, motives and dramatic structure Part IV provides a series of exercises from the simple to the more sophTable of ContentsPart 1: An Overview of Schenkerian Analysis 1. An Introduction to the Concepts of Schenkerian Analysis 2. An Overview of the Basics 3. Larger Scale Structures Part 2: Getting Started on an Analysis 4. A Four-stage Method 5. Presenting a Schenkerian Analysis Part 3: The Schenkerian Approach to Form, Register, Motives and Dramatic Structure 6. Schenkerian Analysis and Form 7. Playing with Register 8. Parallelisms and Dramatic Structure 9. Beyond Schenker: the Breakdown of Tonal Hierarchy Part 4: Exercises

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Book SynopsisCreative Music Composition is designed to be an introductory textbook for music students. Creative composition-composing in your own style, rather than in the style of a composer of the past-is embraced by music educators not only for composition students, but for beginning performers and music educators, and is often offered to all music students and non-music majors who wish to enhance their musical creativity. With 25 years of experience teaching fledgling composers, the author tackles the key ingredients that make for successful composition, including: stimulus to the musical imagination; discussion of a variety of current musical languages; analysis of many examples from contemporary scores; technical exercises; suggestions as to how to start a composition; structures; and examinations of works from particular genres. Wilkins covers several musical languages, from folk and popular to serialism; analyses various rhythmic forms; suggests approaches for composing for a variety of instruments, from traditional to electronic ones, as well as for the human voice; addresses the nuts and bolts of score preparation; and offers career advice. For all composition students-and for music students in general-Creative Music Composition offers a clear and concise introduction that will enable them to reach their personal goals.Table of ContentsAcknowledgements. Introduction. Glossary of Terms. 1. Young Composers and a Creative Environment. 2. Concepts of the Imagination 3. Structures 4. Musical Languages 5. Technical Exercises 6. Exploring Instruments 7. Composing for Traditional Ensembles 8. Composing for Voices 9. Composing for a Monodic Instrument 10. Moving Ahead. Music Examples. Contents of the CD. Bibliography. Index

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Book SynopsisA Piece a Week Piano Grade 3 is ideal to be used alongside the Improve your sight-reading! graded piano books to support and improve the reading skills so fundamental to successful sight-reading. These fun, short pieces are specifically written to be learnt one per week.Table of ContentsAnts and aardvarks; The chase is on; Piccolo and tuba; Ghosts in a hurry; Hot air balloon; Bumper cars; Down town; The knights of the round table; The slow train; Charms and hexes; Bagpipes at breakfast; Expedition; Venus; Banana split; Square dance; Tsar's dance; Minuet for the king's cook; Farewell; The old cart; Ping pong; Agent TX9 goes undercover; Spanish guitar; Tolling bells; Zero gravity; The snow is falling; What's around the corner?; Agent TX9 waiting in the shadows

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Book SynopsisThis collection of essays offers a historical reappraisal of what musical modernism was, and what its potential for the present and future could be. It thus moves away from the binary oppositions that have beset twentieth-century music studies in the past, such as those between modernism and postmodernism, between conceptions of musical autonomy and of cultural contingency and between formalist-analytical and cultural-historical approaches. Focussing particularly on music from the 1970s to the 1990s, the volume assembles approaches from different perspectives to new music with a particular emphasis on a critical reassessment of the meaning and function of the legacy of musical modernism. The authors include scholars, musicologists and composers who combine culturally, socially, historically and aesthetically oriented approaches with analytical methods in imaginative ways.Trade Review’This collection present[s] ways in which we might (and must) reconsider modernism, enlarging our understanding of its breadth, depth and reach, and projecting a happier future for its reception. It does this through the sharpness of its arguments for the expressive, technical and social achievements of musical modernism. ... this is a collection of top-drawer contributions, intelligently compiled and thoroughly polished for publication.’ TempoTable of ContentsContents: Introduction: new music and the modernist legacy, Björn Heile; Part I New Music , Social Debates and the Aesthetics of Critical Modernism: Modernism's moment of plenitude, Andrew Timms; Fields of rubble: on the poetics of music after the post modern, John Croft; Spectralism, politics and the post-industrial imagination, Eric Drott; The scream in avant-garde music: the new left and the rediscovery of the body, Beate Kutschke; Verbal discourse as aesthetic arbitrator in contemporary music, Ian Pace; Weltmusik and the globalization of new music, Björn Heile. Part II Aspects of Compositional Poetics: Temps perdu: Aldo Clementi and the eclipse of music as praxis, David Osmond-Smith; Feldman - Beckett - Johns: patterning, memory and subjectivity, Catherine Laws; Brian Fernyhough, 'postmodern modernist', Lois Fitch; The electroacoustic music of Henri Pousseur and the 'open' form, John Dack; Self-portrait with Boulez and Machaut (and Ligeti is there as well): Harrison Birtwistles's Hoquetus Petrus, Mark Delaere; Local polymetric structures in Elliott Carters 90+ for Piano (1994), Ève Poudrier; Select bibliography; Index.

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Book SynopsisIn Musical Resilience, Shalini Ayyagari shows how professional low-caste musicians from the Thar Desert borderland of Rajasthan, India have skillfully reinvented their cultural and economic value in postcolonial India.

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Book SynopsisShows how the album - "Use Your Illusion" - has matured into a work whose baroque excesses have something to teach us about pop and the platforms it raises and lowers, about a man who suddenly found himself praised to the firmament for every character trait that had hitherto marked him as an irredeemable loser.Trade ReviewAn astute scholar of the pop marketplace as well as of pop music, Eric Weisbard tackles Guns N’ Roses’ 1991 double album Use Your Illusion … choosing to write first about how it exists in the pop cultural landscape—both as a conservative inversion of rock’s countercultural aims and as a colossal monument that closed out the 1980s and ushered in the alternative ‘90s … ultimately and begrudgingly respects the band’s ridiculously outsize ambitions. -- Stephen M. Deusner * Pitchfork *

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Book SynopsisThis book is a music-theoretical and critical-theoretical study of late tonal music, and, in particular, of the music of Wagner's Götterdämmerung.First, in terms of music theory, it proposes a new theory of tonal function that returns to the theories of Hugo Riemann to rediscover a development of his thought that has been covered over by the recent project of neo-Riemannian theory. Second, in terms of its philosophical approach, it reawakens the critical-theoretical examination of the relation between music and the late capitalist society that is sedimented in the musical materials themselves, and which the music, in turn, subjects to aesthetically embodied critique. The music, the theory, and the listeners and critics who respond to them are all radically reimagined.This book will be of interest to professional music theorists, undergraduates, and technically inclined musicians and listeners, that is, anyone who is fascinated by the chromatic magic of late-nineTable of Contents1. Riemannian Theory and the Problem of Chromatic Function 2. Waltraute’s Plaint: Riemannian Tonal Function and Dramatic Narrative 3. Two Nineteenth-Century Examples of Hexatonic-Diatonic Tonal Function 4. The Multiple Lives of Seventh Chords 5. ‘Here Time Becomes Space’: Schenkerising Riemann/Riemannising Schenker

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Book SynopsisEthical Musicality addresses the crossroads between music and ethics, combining philosophical knowledge, theoretical reflection, and practical understanding. When tied together, music and ethics link profoundly, offering real-life perspectives that would otherwise be inaccessible to us. The first part elucidates music and ethics through some influential and selected scholars ranging from Antiquity via modern philosophy to contemporary voices. In the second part, different roles and arenas are illustrated and explored through various music practices in real-life encounters for the musician, the music educator, the music therapist, the musicologist, the lay' musician, and the music researcher. The third part unfolds an ethical musicality focusing on the body, relationship, time, and space. Following these fundamental existentials, ethical musicality expands our lifeworld, including context, involvement, power, responsibility, sustainability, and hope. Such an ethical musTable of ContentsAcknowledgements; Introduction; 1 Ethics as a discipline: a music-philosophical discourse; 2 Ethics as a practice: music in real-life encounters; 3 Reflexivity: music and ethics; Index

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Book SynopsisFrom the Minds of Jazz Musicians, Volume II: Conversations with the Creative and Inspired is a follow-up to Volume I's celebration of contemporary jazz artists who have toiled, struggled, and succeeded in finding their creative space. Volume II was developed through transcribing and editing selected interviews with 29 jazz artists, conducted by the author since 2011, along with a historical essay on each artist. The interviews feature musicians from a broad range of musical styles and experiences, with their beginnings ranging from the '50s to the early '80s. Topics range from biographical life histories to descriptions of mentor relationships, revealing the important life lessons they learned along the way. With the goal to discover the person behind the persona, the author elicits conversations that speak of the creative process, mining the individualistic perspectives of seminal artists who witnessed history in the making. By comparing and contrasting each artist's perspTable of ContentsAbout the authorAcknowledgmentsPrefaceConversation With Randy WestonConversation With Wayne ShorterConversation With John ScofieldConversation With Jimmy CobbConversation With Richard BonaConversation With Mark TurnerConversation With Antonio SanchezConversation With Lenny WhiteConversation With Stefon HarrisConversation With Kenny BurrellConversation With Sergio MendesConversation With Peter ErskineConversation With Tom ScottConversation With Lyle MaysConversation With Herb AlpertConversation With Marcus MillerConversation With John McLaughlinConversation With Mercedes EllingtonConversation With Chandrika TandonConversation With Carla BleyConversation With Steve SwallowConversation With Don MenzaConversation With Pat GleesonConversation With Mike MainieriConversation With Steve KhanConversation With John PatitucciConversation With Richie BeirachConversation With Lew TabackinConversation With Paul ChiharaIndex

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Book SynopsisMixing in Flow is a focused guide for mix engineers who are familiar with the basics of mixing and now seek greater consistency and refinement in their work. Rather than covering every fundamental aspect of mixing, it picks up where many mixers experience a plateau âwhen they know the mechanics but struggle with inconsistent or lacklustre results.The book begins by defining the art of mixing, before moving into an intensive bootcamp where readers delve deep into working with the essential tools and developing effective workflows to maximize their potential. Within this framework, special emphasis is placed on ear training and critical engagement with sound. Using a problem-based approach, the focus then shifts to mixing in practice, by exploring common mixing challenges from the perspective of what we hear, with various techniques offered for addressing these sonic issues. The final section covers advanced topics, providing further insights that follow on from the deve

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Book SynopsisFrom studio albums to stadium tours, Taylor Swift is a record-setting pop artist whose impacts are outsized and global in scale. At the same time, she has cultivated an audience base that finds her, her songs, and her voice eminently relatable. Taylor Swift: The Star, The Songs, The Fans positions Swift as a prismatic figure for the musical world of the 21st century.This collection includes new work from interdisciplinary scholars who focus on Swiftâs star persona; the lyrics, themes, and meanings of Swiftâs songs; and the ways that fans interact with Swiftâs work and with each other. Together, the essays evaluate Swiftâs career with attention to how her work has resonated in a changing global society, how she has navigated shifts in the music industry, and how she has negotiated changes in her musical transition from country to pop along the lines of her age, gender, race, and class identity.Including contributions by scholars, practitioners, and journalists, this book offers a serious consideration of one of todayâs most popular music stars that shows why and how she matters. Engaging a wide variety of disciplines and methodological perspectivesâincluding fan studies, cultural studies, philosophy, musicology and music theory, journalism, and songwritingâTaylor Swift: The Star, The Songs, The Fans will be of interest to students and scholars of music, media studies, popular culture, fan studies, gender and sexuality studies, and sound studies.

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Book SynopsisHeaviness in Metal Music Production, Volume I: How and Why it Works provides an in-depth analysis of the art and craft of producing heaviness, the fundamental musical quality in metal music. Using primarily ethnographic research which draws on interviews and engineering documentation from various producers across different generations, the distinguishing feature of the study is the song 'In Solitude', which was written, recorded, and produced by the researchers themselves.Written by practising musicians, producers, and experts in music technology and musicology, this book offers a comprehensive understanding of the interplay between structural, performative and technological components of a metal recording, the perceptual and discursive factors determining heaviness, and the relationship between creative freedom and technical demands in contemporary metal music production.Heaviness in Metal Music Production is a rigorous academic study that advances the field of metal music production research through an innovative and methodologically robust approach. At its core is an unprecedented experiment in which eight leading producers each mixed the same song, with their processes meticulously documented and analysed through in-depth interviews. This study not only provides unique insights into the conceptualisations and craft of heaviness in metal music production but also sets a new standard for empirical research in the discipline. As a result, it serves as a vital resource for scholars, researchers, and students in audio engineering and metal music studies, making it essential supplementary reading for advanced undergraduates, postgraduates, and academics engaged in these fields.This two-volume set offers a well-rounded insight into the production of heaviness in theory and practice.The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution (CC BY) 4.0 International license.

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