Search results for """ "Routledge Companion to Applied Musicology""

Book SynopsisThe Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond provides a comprehensive exploration of women's participation in musical leadership from the nineteenth century to the present. Global in scope, with contributors from over thirty countries, this book reveals the wide range of ways in which women have taken leadership roles across musical genres and contexts, uncovers new histories, and considers the challenges that women continue to face.The volume addresses timely issues in the era of movements such as #MeToo, digital feminisms, and the resurgent global feminist movements. Its multidisciplinary chapters represent a wide range of methodologies, with historical musicology, models drawn from ethnomusicology, analysis, philosophy, cultural studies, and practice research all informing the book. Including almost fifty chapters written by both researchers and practitioners in the field, it covers themes including:Histori

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Book SynopsisViewing the plurality of creativity in music as being of paramount importance to the field of music education, The Routledge Companion to Creativities in Music Education provides a wide-ranging survey of practice and research perspectives. Bringing together philosophical and applied foundations, this volume draws together an array of international contributors, including leading and emerging scholars, to illuminate the multiple forms creativity can take in the music classroom, and how new insights from research can inform pedagogical approaches.In over 50 chapters, it addresses theory, practice, research, change initiatives, community, and broadening perspectives. A vital resource for music education researchers, practitioners, and students, this volume helps advance the discourse on creativities in music education.

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Book SynopsisThe Routledge Handbook of Women's Work in Music presents a unique collection of core research by academics and music practitioners from around the world, engaging with an extraordinarily wide range of topics on women's contributions to Western and Eastern art music, popular music, world music, music education, ethnomusicology as well as in the music industries.The handbook falls into six parts. Part I serves as an introduction to the rich variety of subject matter the reader can expect to encounter in the handbook as a whole. Part II focuses on what might be termed the more traditional strand of feminist musicology research which highlights the work of historical and/or neglected composers. Part III explores topics concerned with feminist aesthetics and music creation and Part IV focuses on questions addressing the performance and reception of music and musicians. The narrative of the handbook shifts in Part V to focus on opportunities and leadership in the music profTable of ContentsEditor’s IntroductionPart I: Challenging Gender Inequalities Sophie Fuller, Grace, Betty, Maude and Me: 30 Years of Fighting for Women Composers Susan Wollenberg, ‘Where Are We Now?’: Teaching and Studying Women Composers post-Citron Helen Elizabeth Davies, ‘Because I’m a Girl’: Exploring Experiences, Practices and Challenges Relating to Gender and Sexuality for Female Musicians in Popular Music Higher Education Emily Doolittle, Composer, Mother Stephen Wilford, ‘The Algerian woman is very strong’: Music, Identity and Gender in Algerian London Valentine Harding, In Search of the Field: Reflections on an Ethnomusicological Project in India Christina Homer, Women’s Work in Ethnomusicology: Alternative Spaces Part II: (Re)Discoveries Zaina Shihabi, A Brief Historical and Sociological Examination of Twentieth-Century Arab Women Composers and Performers in Egypt Sally Macarthur, The Rise and Rise of Women in Australian Composition Susan Clauson-Elliott, Women Composers and the Proms: The First 100 Years (1895–1994) Claudia Chibici-Revneanu, Chasing María Teresa Lara: An Autoethnographic Account of Trying to Recuperate the Story of a ‘Lost’ Woman Composer Joanna Schiller-Rydzewska, The Artistic Path and Achievement of Polish Composer Ewa Synowiec Eva M. Maschke, Composer, Performer, Teacher: Jeanne Barbillion (1895-1992) and the Schola Cantorum de Paris Elisabeth Honn Hoegberg, How Theocritus Sang: Eleanor Everest Freer’s Sonnets from the Portuguese Rhian Davies, A Life in Fragments: Morfydd Owen (1891–1918) Part III: Aesthetics and Music Creation Rebecka Sofia Ahvenniemi, Overcoming the ‘Male Gaze’ of Music: Towards Renewed Compositional Strategies Isabel Nogueira, Voices, Sounds and Herstories: Constructing Feminist Research in Experimental Music Angela Elizabeth Slater, Invisible Canons: A Reflective Commentary on the Formation of my Personal Canon of Women Composers Lucy Hollingworth, Storytelling in Autoethnography – The Poetess J. Michele Edwards, Chen Yi: Trauma, Myths, and Representation Laura Dallman, Considering Autonomy and Collaboration in Three Concerti by Jennifer Higdon Ji Yeon Lee, Decoding the Riddle: The Tea-Party Scene in Unsuk Chin’s Alice in Wonderland David Forrest, Kate Bush’s Uncanny Harmonic Language Part IV: Performance and Reception Bella Powell, Notions of Virtuosity, Female Accomplishment, and the Violin as Forbidden Instrument in Early-Mid Nineteenth-Century England Nuppu Koivisto, Visitors from ‘the Merry Town by the Danube’: Viennese Ladies’ Orchestras, Public Image and Variety Shows in Finland from 1870 to 1914 Maren Bagge, Women Song Composers and the London Ballad Concerts Ivette Janet Céspedes Gómez, Sara Gonzáles: A Different Song About Women Grace Takyi Donkor, Changing Roles of Women in the Gospel Music Performance Space in Ghana Maree Sheehan, Māori Women at the Forefront of Aotearoa/New Zealand Music in the Mid 1980s and Early 1990s Li-ming Pan, The Stereotypical Image and Body Representation of Taiwanese Female Musicians Part V: Opportunities and Leadership in the Music Professions Jessica Duchen, Climb Every Mountain Edwina Wolstencroft, Celebrating Women Composers on BBC Radio 3 Miia Laine, Contested Spaces: Gender Dynamics in Independent Radio Stations in London Karlyn King, ‘And her voice is a backwards record’: The Gendering of Phonograph Technology Carolyn Watson, Cracks in the Glass Ceiling: Women Conductors, New Trends, Old Challenges Frances Novillo, Personal Reflections on Professional Experience of Women’s Liturgical Leadership as Musicians in the Roman Catholic Church Gabriela Sanchez Diaz, Re-Mapping and Connecting Bodies of Women Musicians Part VI: New Perspectives on Women’s Work in Music Yuemin He, Materiality, Editorship and Canonisation in Wang Duanshu’s Collection of Elegance (1667) Jennifer Cable, Mary Carlisle Howe (1882–1964) and Adella Prentiss Hughes (1869–1950): Creating an Arts Culture in America, One Woman at a Time Elina G. Hamilton, Louise Hanson-Dyer (1884–1962): Patroness of Music Publishing Lia Lonnert and Helen Davies Mikkelborg, Lady Llanover and the Swedish Connection: A Welsh Musical Legacy Jessica Beck, The Women Musicians of the British Ethical Movement, 1887–1927 Kirstie Alison Muldoon, The Role of Women in Irish Music Institutions in the Early Twentieth Century Helen C. Thomas, The Beedle-Carter Correspondence: An Analysis of the Cultural Work Undertaken by Maureen Beedle to Promote Elliott Carter’s Music in the UK and Europe

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Book SynopsisNow in an updated 2nd edition, Musicology: The Key Concepts is a handy A-Z reference guide to the terms and concepts associated with contemporary musicology. Drawing on critical theory with a focus on new musicology, this updated edition contains over 35 new entries including: Autobiography Music and Conflict Deconstruction Postcolonialism Disability Music after 9/11 Masculinity Gay Musicology Aesthetics Ethnicity Interpretation Subjectivity With all entries updated, and suggestions for further reading throughout, this text is an essential resource for all students of music, musicology, and wider performance related humanities disciplines.Table of ContentsIntroduction A-Z Key Concepts Bibliography Index

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Book SynopsisModern literature has always been obsessed by music. It cannot seem to think about itself without obsessing about music. And music has returned the favour. The Routledge Companion to Music and Modern Literature addresses this relationship as a significant contribution to the burgeoning field of word and music studies. The 37 chapters within consider the partnership through four lensesthe universal, opera and literature, musical and literary forms, and popular music and literatureand touch upon diverse and pertinent themes for our modern times, ranging from misogyny to queerness, racial inequality to the claimed universality of whiteness. This Companion therefore offers an essential resource for all who try to decode the musico-literary exchange.

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Book SynopsisThe Routledge Companion to Interdisciplinary Studies in Singing, Volume I: Development introduces the many voices necessary to better understand the act of singingâa complex human behaviour that emerges without deliberate training. Presenting research from the social sciences and humanities alongside that of the natural sciences and medicine alike, this companion explores the relationship between hearing sensitivity and vocal production, in turn identifying how singing is integrated with sensory and cognitive systems while investigating the ways we test and measure singing ability and development. Contributors consider the development of singing within the context of the entire lifespan, focusing on its cognitive, social, and emotional significance in four parts: Musical, historical and scientific foundations Perception and production Multimodality Assessment In 2009, the Social Sciences and Humanities Research Table of ContentsIntroduction: Singing, development, interdisciplinarity, and the biopsychosocial framework (Frank A. Russo, Beatriz Ilari and Annabel J. Cohen) / Part I: Musical, historical and scientific foundations of singing development / 1. Historical, musical, and scientific foundations for studies of singing: Introduction to Part I (Beatriz Ilari and Frank A. Russo) / 2. From canonical babbling to early singing and its relation to the beginnings of speech (Stefanie Stadler Elmer) / 3. An evolutionary perspective on the human capacity for singing (Nicholas Bannan) / 4. Salomon Henschen and the Search for a Brain Center for Singing (Amy B. Graziano, Eric C. Born, and Julene K. Johnson) / 5. The mechanics and acoustics of the singing voice: registers, resonances and the source-filter interaction (Joe Wolfe, Maëva Garnier, Nathalie Henrich Bernardoni and John Smith) / 6. Brain mechanisms underlying singing (Annabel J. Cohen, Daniel Levitin, and Boris Kleber) / 7. Singing and speech as comparable phenomena: a dynamical approach (Beatriz Raposo de Medeiros) / 8. Linguistic tone and melody in the singing of sub-Saharan Africa (Thomas M. Pooley) / 9. The effects on hormones and age on the voice (Jennifer P. Rodney and Robert T. Sataloff) / 10. An empirical evaluation of note segmentation of automatic pitch-extraction methods for the singing voice (Johanna Devaney) / 11. Annotating multimodal data of singing and speaking (Coralie Vincent) / Part II: The relation between the perception and production of singing / 12. Perception, vocal production and the development of singing: Introduction to Part II (Beatriz Ilari) / 13. The role and functions of infant-directed singing in early development (Simone Falk and Christine D. Tsang) / 14. Home musical environment and singing development in infancy (Eugenia Costa-Giomi and Lucia Bennett) / 15. An Exploration of the Relationships Between Perception, Production, Cognition and Environment in the Development of Singing in Children (Christine D. Tsang and Laurel J. Trainor) / 16. Vocal Communication in Birds and Humans – Beyond Song and Speech (Leslie S. Phillmore and Christine D. Tsang) / 17. Singing and the child who is deaf: Focusing on the individual (Maria Yennari, Lyn Schraer-Joiner, and Georgiann Toole) / Part III: Multimodal (audio, visual, and motor) aspects of singing development / 18. Multimodal Aspects of Singing Development: Introduction to Part III (Frank A. Russo) / 19. Infant-directed singing from a dynamic multimodal perspective: Evolutionary origins, cross-cultural variation, and relation to infant-directed speech (Sandra E. Trehub and Frank A. Russo) / 20. Before singing: The role of reflexivity during vocal interactions with caregivers in diaper change daily routine (Anna Rita Addessi) / 21. Motor system involvement in the perception of singing (Frank A. Russo) / Part IV: Assessing multiple singing skills / 22. Measuring the development of singing ability and the mental testing tradition: Introduction to Part IV (Annabel J. Cohen) / 23. A meta-analytic perspective on the development of singing in children (Christina L. Svec) / 24. Construction and validation of the Seattle Singing Accuracy Protocol (SSAP): An automated online measure of singing accuracy (Peter Q. Pfordresher and Steven M. Demorest) / 25. Solo or Doubled Singing: Ecological Validity and Effects in Two Response Modes (Bryan E. Nichols) / 26. Correlations among music aptitude, singing voice development, and singing accuracy achievement in young children (Catherine M. Tu, Texas A & M University-Kingsville) / 27. Performance of Canadians on the automated AIRS Test Battery of Singing Skills: music training and age (Annabel J. Cohen, Bing Yi Pan, Eric da Silva, and Kyle Dutton) / 28. Analyzing singing abilities and language skills during the elementary school years (Michael Forrester) / 29. "What is Your Favorite Song?": Musical Preferences and Taste in School-Aged Children Over Five Years (Eun Cho, Assal Habibi and Beatriz Ilari) / 30. How musical culture is reflected in the choice of favorite songs of Estonian children (Marju Raju, Laura Välja and Jaan Ross) / 31. Tone-language and musical experience: Pitch accuracy and key choice in the AIRS Test Battery of Singing Skills (ATBSS) (Annabel J. Cohen, Jingyuan Sun, Esther Mang, Bing-Yi Pan and Lee Fui Lim) / 32. Effects of group vocal training in older adults: Pitch accuracy and vocal improvisation (Jennifer Bugos, Chloe Kantoris, and Joel Pagán) / Conclusion: Interdisciplinary research in singing development: The way forward (Annabel J. Cohen, Beatriz Ilari, and Frank A. Russo)

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Book SynopsisThe Routledge Companion to Diasporic Jazz Studies recognizes the proliferation of jazz as global music in the 21st century. It illustrates the multi-vocality of contemporary jazz studies, combining local narratives, global histories and cultural criticism. It rests on the argument that diasporic jazz is not a passive, second-hand reflection of music originating in the US, but possesses its own integrity, vitality and distinctive range of identities. This companion reveals the contradictions of cultural globalization from which diasporic jazz cultures emerge, through 45 chapters withinseven thematic parts: What is Diasporic Jazz? Histories and Counter-Narratives Making, Disseminating and Consuming Diasporic Jazz Culture, Politics and Ideology Communities and Distinctions Presenting and Representing Diasporic Jazz Challenges and New DirectionsThe Routledge Companion to Diasporic Jazz Studies tra

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Book SynopsisThe Routledge Companion to Music and Human Rights is a collection of case studies spanning a wide range of concerns about music and human rights in response to intensifying challenges to the well-being of individuals, peoples, and the planet. It brings forward the expertise of academic researchers, lawyers, human rights practitioners, and performing musicians who offer critical reflection on how their work might identify, inform, or advance mutual interests in their respective fields. The book is comprised of 28 chapters, interspersed with 23 voices' portraits that focus on individuals' intimate experiences with music in the defence or advancement of human rights and explores the following four themes: 1) Fundamentals on music and human rights; 2) Music in pursuit of human rights; 3) Music as a means of violating human rights; 4) Human rights and music: intrinsic resonances.Table of ContentsTable of ContentsIntroductionPart I Fundamentals on Human Rights and Music1 What Are Human Rights?Manfred NowakVoice: Andra Matei (Romania/France)Voice: Sajad Sepehri (Iran/stateless)2 Why Music and Human Rights?Julian FiferVoice: Saba Anglana (Somalia/Ethiopia/Italy)3 The Human Right to MusicNoelle Higgins and Michael O’FlahertyVoice: Ramzi Aburedwan (Palestine)4 Music Education: Child Development and Human RightsSteven J. Holochwost and Elizabeth Stuk5 Censorship of MusicKoen De FeyterVoice: Srirak Plipat (Thailand/Norway)6 The Right to Let Culture DieTrevor Reed7 Music Sustainability, Human Rights, and Future JusticeCatherine GrantVoice: Joy-Leilani Garbutt (US)Part II Music in Pursuit of Human Rights8 Orality and the Poetics of Forgiveness in South SudanAngela Impey9 Girls Can Dance Xigubu, Too: An Embodied Response to Gender-Based Violence in MozambiqueKaren Boswall and Jane K. CowanVoice: Ani Zonneveld (Malaysia/US)10 Reimagine: The Role of Popular Music in Overcoming Homophobia in Sub-Saharan Anglophone AfricaFrans ViljoenVoice: Roshnie Moonsammy (South Africa)11 Rock Nacional in Argentina: Resistance to Censorship and Cultural Repression During the Military Dictatorship (1976–1983)Diego Lopez and Veronica GomezVoice: Katia Chornik (Chile/UK) for Victor Jara (Chile)Voice: Erich Schneiderman (US) for Ramy Essam (Egypt/Sweden) and Shady Habash (Egypt)12 Silence, Complicity, and Forgotten Voices HeardKelly Hall-TompkinsVoice: Katy Ambrose (US)Voice: Weston Sprott (US)13 Reinvoking Gran Bwa (Great Forest): Music, Environmental Justice, and a Vodou-Inspired Mission to Plant Trees Across HaitiRebecca Dirksen14 Music and Human Rights: A Perspective From the Humanitarian SectorTeresa HanleyVoice: Laura Hassler (based in the Netherlands)15 Music and the Arts as Healing Power During and After the Siege of SarajevoManfred NowakVoice: Merima Ključo (Bosnia and Herzegovina)16 Claiming Human Rights in Iraq: Reflections on the Creation of a Musicians’ Collective to Advance Freedom of Expression, Gender Equality, and Cultural ParticipationLuca ChiavinatoVoice: Ibrahim Salama (Egypt)Voice: Iara Lee (Brazil/Korea/US)17 Music in Contexts of Incarceration: Perspectives From Javanese Gamelan PerformanceMaria MendonçaVoice: Molly Carr (US)18 Music Therapy and Human Rights Issues in the Clinic and the CommunityBrynjulf StigeVoice: Kanayo Ueda (Japan)Part III Music as a Means of Violating Human Rights19 Music Torture in the ‘War on Terror’Manfred Nowak20 Music, Terror, and Civilizing Projects in China’s Xinjiang Uyghur Autonomous RegionRachel Harris and Aziz Isa Elkun21 Weaponized Music: Schubert, Interrogation, and Memory in Dorfman’s La muerte y la doncellaKatja Stroke-Adolphe22 Sounds of a Caste-Ending Cultural Movement in Western IndiaRasika AjotikarVoice: Casteless Collective (India)Part IV Human Rights and Music: Intrinsic Resonances23 The Sound of Human Rights: Wordless Music That Speaks for HumanityBruce Adolphe24 Adorno Revisited: Aesthetic Theory, Politics, and Human RightsGeorge UlrichVoice: Lukas Ligeti (Austria/US)25 Decoding Viktor Ullmann’s Last Piano Sonata Through Legal MethodologyMichael WienerVoice: Jeff Janeczko (US)26 Music and a ‘Universal Culture of Human Rights’Peter G. Kirchschlaeger27 Don’t Just Sing About It: Choral Music in the Pursuit of Human RightsJustin Jalea and Alexander Lloyd BlakeVoice: David A. McDonald (US)28 Human Rights and the Professional Musician in the Twenty-First CenturyJulian FiferVoice: Mai Khôi (Vietnam)EpilogueInterview with Alessio AllegriniAlessio Allegrini and George Ulrich

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Book SynopsisThe Routledge Companion to Ethics and Research in Ethnomusicology is an in-depth survey of the moral challenges and imperatives of conducting research on people making music. It focuses on fundamental and compelling ethical questions that have challenged and shaped both the history of this discipline and its current practices. In 26 representative cases from across a broad spectrum of geographical, societal, and musical environments, authors collectively reflect on the impacts of ethnomusicological research, exploring the ways our work may instantiate privilege or risk bringing harm, as well as the means that are available to provide recognition, benefit, and reciprocation to the musicians and others who contribute to our studies. In a world where differing ethical values are often in conflict, and where music itself is meanwhile a powerful tool in projecting moral claims, we aim to uncover the conditions and consequences of the ethical choices we face as ethnomusicologists,

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Book SynopsisThe Routledge Companion to Interdisciplinary Studies in Singing, Volume III: Wellbeing explores the connections between singing and health, promoting the power of singingin public policy and in practicein confronting health challenges across the lifespan. These chapters shape an interdisciplinary research agenda that advances singing's theoretical, empirical, and applied contributions, providing methodologies that reflect individual and cultural diversities. Contributors assess the current state of knowledge and present opportunities for discovery in three parts: Singing and Health Singing and Cultural Understanding Singing and Intergenerational Understanding In 2009, the Social Sciences and Humanities Research Council of Canada funded a seven-year major collaborative research initiative known as Advancing Interdisciplinary Research in Singing (AIRS). Together, global researchers from a broad range of disciplines addressed three chalTable of ContentsIntroduction: Singing and wellbeing: Harnessing the power of singing Rachel Heydon, Daisy Fancourt & Annabel J. Cohen / Part I: Singing and Health / 1. A logic model for the effects of singing on health Daisy Fancourt & Katey Warran / 2. Singing and wellbeing across the lifecourse: Evidence from recent research Norma Daykin, Louise Mansfield, & Christina Victor / 3. The potential of the human voice for early parent-infant interactions in at-risk populations Marie Dahlstrom, Lauren Stewart, & Helen Shoemark / 4. Singing and stuttering Simone Falk, Ramona Schreier, & Frank Russo / 5. Singing for health and wellbeing in children and adolescents with mental disorders Katarzyna Grebosz-Haring & Leonhard Thun-Hohenstein / 6. Singing for cancer: Implications for psychoneuroimmunology Daisy Fancourt & Katey Warran / 7. Singing for lung health Phoene Cave, Adam Lewis, & Daisy Fancourt / 8. Singing for rehabilitation: Efficacy of singing-based interventions in major ageing-related neurological disorders Teppo Särkämö / 9. The Impact of singing on human communication in aging: From protection to rehabilitation Pascale Tremblay & Julie-Anne Veilleux / 10. Singing and Parkinson’s disease Merrill Tanner / 11. Singing as an evolved behavior for social bonding: The ice-breaker effect, beta-endorphins, and groups of more than 150 people Jacques Launay & Eiluned Pearce / 12. Effects of singing on social support and wellbeing amongst marginalized communities Jane Davidson & Benjamin Leske / 13. Group singing in prison: Discovering and developing best possible self Jody Kerchner / 14. Singing in palliative care, oncology, and bereavement music therapy Amy Clements-Cortes & Rebecca Wright / Part II: Singing and Cultural Understanding / 15. Singing, cultural understanding, and wellbeing- Research approaches Annabel J. Cohen & Lily Chen-Hafteck / 16. Reducing prejudices through cross-cultural music education programs that include singing Félix Neto / 17. Cross-cultural perspectives on researching children’s singing and cultural understanding Lily Chen-Hafteck / 18. Exploring strategies of promoting the singing of multicultural songs in primary school education in Kenya Elizabeth Achieng Andang’o / 19. The effects of using audiovisual materials to support multicultural song-learning in two Brazilian schools Alda Oliveira, Zuraido Bastião, & Angelita Broock / 20. Exploring the impact of a culture bearer on intercultural understanding within a community choir Benjamin Bolden & Larry O’Farrell / 21. Development of multicultural choirs on college campuses: Theory and practice Annabel J. Cohen, Karen Ludke, & Bing-Yi Pan / 22. Fun and formality in two multicultural university choirs/song circles in Atlantic Canada Godfrey Baldacchino, Anna Baldacchino, & Blair Ellis / 23. Studying singing storytellers in Cape Breton: Community-engaged research-creation as a methodology Marcia Ostashewski / 24. Building bridges between self and others: A suggestion for music education through Greek singing Maria Hnaraki & Antonia Forari / 25. Breathless: Singing and social justice in a time without air Shana Redmond / 26. Choral singing in Australian Indigenous Christian contexts and its implications for intergenerational wellbeing Muriel Swijghuisen Reigersberg / Part III: Singing and Intergenerational Understanding / 27. Intergenerational singing and wellbeing Rachel Heydon, Christopher Eaton, Sarah Black, Emma Cooper, & Susan O’Neill / 28. Songs of gender and generation: Ethnographic perspectives on initiation songs and wellbeing in southern Africa Thomas Pooley / 29. Connecting intergenerational voices: Curricula to foster the wellbeing of young children and elders Rachel Heydon, Lori McKee, & Susan O’Neill / 30. Singing and elders: Toward a life experience approach Lisa Crawford, Eun Cho, and Beatriz Ilari / 31. Singing my way back to you: Mapping the learning journey of persons with dementia through singing in an intergenerational choir Carol Beynon & Jennifer Lang / 32. Nurturing voices in intergenerational choral programs: The singing voice as voice of agency Jennifer Lang / 33. Multigenerational singing in a francophone minority setting Josée Benoît & Marie-Josée Vignola / Conclusion: Singing and wellbeing – From research to advocacy Annabel J. Cohen & Rachel Heydon

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Book SynopsisThe Routledge Companion to Audiences and the Performing Arts represents a truly multi-dimensional exploration of the inter-relationships between audiences and performance.This study considers audiences contextually and historically, through both qualitative and quantitative empirical research, and places them within appropriate philosophical and socio-cultural discourses. Ultimately, the collection marks the point where audiences have become central and essential not just to the act of performance itself but also to theatre, dance, opera, music and performance studies as academic disciplines.This Companion will be of great interest to academics, researchers and postgraduates, as well as to theatre, dance, opera and music practitioners and performing arts organisations and stakeholders involved in educational activities.Table of ContentsThe Paradox of AudiencesMatthew Reason, Lynne Conner, Katya Johanson and Ben WalmsleyPart One: Histories, Theories and Questions of Social JusticeIntroductionLynne Conner1. Ellen Dissanayake in Conversation Ellen Dissanayake and Lynne Conner2. Histories of Audiencing: On Evidence, Mythology and NostalgiaHelen Freshwater3. Disrupting the Audience as MonolithLynne Conner4. Who? Why? and How?: The Contribution of Sociology to the Study of Arts Audiences and Where it Needs HelpLaurie Hanquinet5. The Future of Audiences and AudiencingJennifer Novak Leonard6. Which Global? Which Local?: Aucitya, Rasa, Development, Ase and other Demands on the Audience Glenn Odom and Giri Raghunathan7. Forced Experiences: Shifting Modes of Audience Involvement in Immersive PerformancesDoris Kolesch and Theresa SchützPart Two: Policies, Politics and PracticesIntroductionBen Walmsley8. Alan Brown in ConversationAlan Brown and Emma McDowell 9. Are We the Baddies?: Audience Development, Cultural Policy and Ideological PrecaritySteven Hadley10. At what cost? Working Class Audiences and the Price of Culture Maria Barrett11. A ‘Universal Design’ for Audiences with Disabilities?Bree Hadley12. Fans and Fandom in the Performing ArtsKirsty Sedgman13. The Role of the Audience in Forum and Interactive Theatre: Perspectives from BangladeshMeghna Guhathakurta14. Audience Engagement and the Production of Efficacious Theatre: Case Studies from GhanaAwo Mana Asiedu15. Critical Perspectives on Valuing Culture: Tensions and Disconnections between Research, Policy and PracticeBen Walmsley and Julian MeyrickPart Three: Methods, Methodologies and Understanding AudiencesIntroductionMatthew Reason16. Martin Barker in Conversation Martin Barker and Matthew Reason17. Mixing Methods in Audience Research Practice: A multi-method(ological) discussionEmma McDowell18. Quantifying the Dance Spectacle in the Audience’s Mind: A Methodological Quest for Neuroscience ResearchCorinne Jola19. Continuous and Collective Measures of Real-Time Audience EngagementL.S. Merritt Millman, Guido Orgs and Daniel Richardson20. Audience Interaction: Approaches to Researching the Social Dynamics of Live AudiencesPatrick G.T. Healey, Matthew T. Harris and Michael F. Schober21. Quantitative Measures of Audience ExperienceWing Tung Au, Zhumeng Zuo and Paton Pak Chun Yam22. The Benefits and Challenges of Large-Scale Qualitative ResearchStephanie Pitts and Sarah Price23. Creative Methods and Audience Research: Affordances and Radical PotentialMatthew Reason24. Ethics in Audience Research: By the Book or on the Hop? Katya Johanson and Hilary GlowPart Four: Shorts: Adventures in Thinking About AudiencesIntroductionKatya Johanson25. AffectLucy Thornett26. AgencyAstrid Breel27. Co-CreationMichael Pinchbeck and Rachel Baynton28. Covid-19Tully Barnett29. DataRishi Coupland30. DialogueMaddy Costa31. Integrated and InclusiveVipavinee Artpradid32. LabourMartin Young33. LanguageMichelle Loh34. LaughterNatalie Diddams35. MarginaliaHelen Yung36. MemoryElaine Faull37. One-to-OneRachel Gomme38. PantomimeRobert Marsden39. Post-HumanityFayen D’Evie40. Post-ShowDiane Ragsdale41. RehearsalAnja Ali Haapala42. RelaxedLauren Hall and Paul Wilshaw43. RiskElla de Búrca44. SicknessVerónica Rodríguez45. ThresholdsStefania Donini46. TouchElena S.V. FlysAfterword: Covid-19, Audiences, and the Future of the Performing ArtsMatthew Reason, Lynne Conner, Katya Johanson and Ben Walmsley

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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 SynopsisGlobal in scope and featuring thirty-five chapters from more than fifty dance, music, and theatre scholars and practitioners, The Routledge Companion to Musical Theatre introduces the fundamentals of musical theatre studies and highlights developing global trends in practice and scholarship.Investigating the who, what, when, where, why, and how of transnational musical theatre, The Routledge Companion to Musical Theatre is a comprehensive guide for those studying the components of musical theatre, its history, practitioners, audiences, and agendas. The Companion expands the study of musical theatre to include the ways we practice and experience musicals, their engagement with technology, and their navigation of international commercial marketplaces. The Companion is the first collection to include global musical theatre in each chapter, reflecting the musicalâs status as the worldâs most popul

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Book SynopsisSeventeen studies by noted experts that demonstrate recent approaches toward the creative interpretation of primary sources regarding Renaissance and Baroque music, Mozart, Beethoven, Mendelssohn, Verdi, Debussy, and beyond. How do we know what notes a composer intended in a given piece? -- how those notes should be played and sung? -- the nature of musical life in Bach's Leipzig, Schubert's Vienna? -- how music related to literature and other arts and social currents in different times and places? -- what attitudes musicians and music lovers had toward the music that they heard and made? We know all this from musical manuscripts and prints, opera libretti, composers'letters, reviews in newspapers and magazines, archival data, contemporary pedagogical writings, essays on aesthetics, and much else. Some of these categories of sources are the bedrock of music history and musicology. Others havebegun to be examined only in recent years. Furthermore, musicologists -- including biographers of famous composers -- now explore these various kinds of sources in a variety of ways, some of them richly traditional and others exciting and novel. These seventeen essays, all newly written, use a wide array of source materials to probe issues pertaining to a cross section of musical works and musical life from the sixteenth through the twentieth centuries. The resulting, pluralistic profile of current musicology will prove welcome to anyone fascinated by the problems of reconstructing -- reimagining, sometimes -- the evanescent musical art of the past and pondering its implications for musical life today and in the future. Roberta Montemorra Marvin is a Research Fellow at the Obermann Center for Advanced Studies at the University of Iowa where she is also Director of the Institute for Italian Opera Studies; Stephen A. Crist is associate professor and chair of the Music Department at Emory University.Trade ReviewIn this book some of the best minds in current musicology explore untrodden territory. They show that the classic source study and the traditional methods of musical analysis are not only alive and kicking, but generating new rich ideas -- some of them controversial, all of them stimulating. --Nicholas Temperley, professor emeritus of musicology, University of Illinois, and author of Bound for America: Three British Composers * . *Striding onto the stage of the 'New Musicology', the seventeen contributors to Historical Musicology proceed to kick in the footlights. Out of the broken glass, they manage to create an approach to the scholarly study of music that recognises that musical scholarship [whatever its methodological imperatives] remains rooted in the study of primary sources, and go on to demonstrate brilliantly how the benefits of the 'New' can be combined with the 'Old'. -- Mark Everist, professor of music, University of SouthamptonTable of ContentsIntroduction: Scholarly Inquiry in Historical Musicology: Sources, Methods, Interpretations - Roberta Marvin A Collaboration between Cipriano de Rore and Baldissera Donato? - Jessie Ann Owens New Perspectives on Bach's Great Eighteen Chorales - Russell Stinson Historical Theology and Hymnology as Tools for Interpreting Bach's Church Cantatas: The Case of Ich elender Mensch, wer wird mich erlösen, BWV 48 BWV 48 - Stephen Crist Performance Practice Issues That Affect Meaning in Two Bach Instrumental Works - Michael Marissen Mozart's Mitridate: Going beyond the Text - Ellen T. Harris Carl Philipp Emanuel Bach and the Aesthetics of Patricide - Richard Kramer Joseph Haydn's Influence on the Symphonies of Antonio Rosetti - Lawrence F. Bernstein Reason and Imagination: Beethoven's Aesthetic Evolution - Maynard Solomon Schubert as Formal Architect: The Quartrttsatz, D.703 - Lewis Lockwood Sex, Sexuality, and Schubert's Piano Music - Jeffrey Kallberg "Le Belle Exécution": Johann Nepomuk Hummel's Treatise and the Art of Playing the Pianoforte - Mark Kroll "For You Have Been Rebellious against the Lord": The Jewish Image in Mendelssohn's Moses and Marx's Mose - Jeffrey Sposato Andrea Maffei's "Ugly Sin": The Libretto for Verdi's I masnadieri - Roberta Marvin Mozart's Piano Concertos and the Romantic Generation - Claudia Macdonald "Wo die Zitronen blühn": Re-Versions of Arie antiche - Margaret Murata Material Culture and Postmodern Positivism: Rethinking the "Popular" in Late-Nineteenth Century French Music - Jann Pasler Otto Gombosi's Correspondence at the University of Chicago - Laurence Libin

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Book SynopsisThe Routledge Companion to Remix Studies comprises contemporary texts by key authors and artists who are active in the emerging field of remix studies. As an organic international movement, remix culture originated in the popular music culture of the 1970s, and has since grown into a rich cultural activity encompassing numerous forms of media.The act of recombining pre-existing material brings up pressing questions of authenticity, reception, authorship, copyright, and the techno-politics of media activism. This book approaches remix studies from various angles, including sections on history, aesthetics, ethics, politics, and practice, and presents theoretical chapters alongside case studies of remix projects. The Routledge Companion to Remix Studies is a valuable resource for both researchers and remix practitioners, as well as a teaching tool for instructors using remix practices in the classroom.Table of ContentsIntroduction Eduardo Navas, Owen Gallagher, xtine burrough Part I: History 1. Remix and the Dialogic Engine of Culture: A Model for Generative Combinatoriality Martin Irvine 2. A Rhetoric of Remix Scott H. Church 3. Toward a Remix Culture: An Existential Perspective Vito Campanelli 4. An Oral History of Sampling: From Turntables to Mashups Kembrew McLeod 5. Can I Borrow Your Proper Name? Remixing Signatures and the Contemporary Author Cicero da Silva 6. The Extended Remix: Rhetoric and history Margie Borschke 7. Culture and Remix: A Theory on Cultural Sublation Eduardo NavasPart II: Aesthetics 8. Remix Strategies in Social Media Lev Manovich 9. Remixing Movies and Trailers Before and After the Digital Age Nicola Maria Dusi 10. Remixing the Plague of Images: Video Art from Latin America in a Transnational Context Erandy Vergara 11. Race & Remix: The Aesthetics of Race in the Visual & Performing Arts Tashima Thomas 12. Digital Poetics and Remix Culture: From the Artisanal Image to the Immaterial Image Monica Tavares 13. The End of an Aura: Nostalgia, Memory, and the Haunting of Hip-hop Roy Christopher 14. Appropriation is Activism Byron RussellPart III: Ethics 15. The Emerging Ethics of Networked Culture Aram Sinnreich 16. The Panopticon of Ethical Video Remix Practice Mette Birk 17. Cutting Scholarship Together/Apart: Rethinking the Political-Economy of Scholarly Book Publishing Janneke Adema 18. Copyright and Fair Use in Remix: From Alarmism to Action Patricia Aufderheide 19. I Thought I Made A Vid, But Then You Told Me That I Didn’t: Aesthetics and Boundary Work in the Fan Vidding Community Katharina Freund 20. Peeling The Layers of the Onion: Authorship in Mashup and Remix Cultures John Logie 21. remixthecontext (a theoretical fiction) Mark AmerikaPart IV: Politics 22. A Capital Remix Rachel O’Dwyer 23. Remix Practices and Activism: A Semiotic Analysis of Creative Dissent Paolo Peverini 24. Political Remix Video as a Vernacular Discourse Olivia Conti 25. Locative Media as Remix Conor McGarrigle 26. The Politics of John Lennon’s "Imagine": Contextualizing the Roles of Mashups and New Media in Political Protest J. Meryl Krieger 27. Détournement as a Premise of the Remix from Political, Aesthetic, and Technical Perspectives Nadine Wanono 28. The New Polymath (Remixing Knowledge) Rachel FalconerPart V: Practice 29. Crises of Meaning in Communities of Creative Appropriation: A Case Study of the 2010 RE/Mixed Media Festival Tom Tenney 30. Of "REAPPROPRIATIONS" Gustavo Romano 31. Aesthetics of Remix: Networked Interactive Objects and Interface Design Jonah Brucker-Cohen 32. Reflections on the Amen Break: A Continued History, an Unsettled Ethics Nate Harrison 33. Going Crazy with Remix: A Classroom Study by Practice via Lenz v. Universal xtine burrough and Dr. Emily Erickson 34. A Remix Artist and Advocate Desiree D’Alessandro 35. Occupy / Band Aid Mashup: "Do They Know It’s Christmas?" Owen Gallagher 36. Remixing the Remix Elisa Kreisinger 37. A Fair(y) Use Tale Eric Faden 38. An Aesthetics of Deception in Political Remix Video Diran Lyons 39. Radical Remix: Manifestoon Jesse Drew 40. In Two Minds Kevin Atherton

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Book SynopsisReissuing works originally published between 1968 and 1995, this fascinating collection of books on song and culture and folk music more widely is a superb resource in cultural studies, history and music in one place. Some works look at the contribution of an individual to the understanding of folk singing, or the songs and stories from one region, while others take a wider look at the spread within the Anglo-American folk music sphere. Nearly all books contain tunes and lyrics related to their topics and between them present a great display of the scholarship in this deeply interesting area.

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Book SynopsisCritical Essays in Popular Musicology is an essential reference work which reproduces in facsimile form many of the most important and innovative journal articles and papers in the field, along with an introductory overview by the editor Allan Moore. The volume is designed to improve access to the most significant, concise English-language writing, which articulates and demonstrates some of the key constituents of a popular musicology. It avoids those pieces which have been published in other collections. The essays are divided into two parts - those that articulate the key questions of popular musicology, which discuss contexts for addressing texts, and those that demonstrate the discipline in practice, which actually address those texts. This is a valuable volume for libraries expanding their collections in musicology and popular music studies and will provide scholars and graduate students with a convenient and authoritative reference source.Trade Review'...an exceptional collection of writings from the emerging field of popular music studies...a useful reference source...' Fontes Artis MusicaeTable of ContentsContents: Introduction; Part I Contexts for Addressing Texts: Theory: 'Black music', 'Afro-American music', and 'European music', Philip Tagg; A theory of musical competence, Gino Stefani; Can we get rid of the 'popular' in popular music?, a virtual symposium with contributions from the international advisory editors of Popular Music, Various; Browsing musical spaces: categories and the musical mind, Franco Fabbri; The high analysis of low music, Dai Griffiths; Second thoughts on a rock aesthetic: The Band, Andrew Chester; Why I'll never teach rock 'n' roll again, Sean MacCann; Authenticity as authentication, Allan Moore; Intertextuality and hypertextuality in recorded popular music, Serge Lacasse; From refrain to rave: the decline of figure and the rise of ground, Philip Tagg; What does it mean to analyse popular music?, Adam Krims; Music Theory: The formation of a musical style:early rock, Ronald Byrnside; Toward a theory of popular harmony, Peter K. Winkler; On aeolian harmony in contemporary popular music, Alf Björnberg; The so-called 'flattened seventh' in rock, Allan Moore ; Making sense of rock's tonal systems, Walter Everett; Incongruity and predictability in British dance-band music of the 1920s and 1930s, Derek B. Scott; Rhythm, rhyme and rhetoric in the music of Public Enemy, Robert Walser. Part II Addressing Texts: Fantastic remembrance in John Lennon's 'Strawberry Fields Forever' and 'Julia', Walter Everett; The Rutles and the use of specific models in musical satire, John R. Covach; The aesthetics of music video: an analysis of Madonna's 'Cherish', Carol Vernallis; 'Gently tender': the Incredible String Band's early albums, Charlie Ford; Cathy's homecoming and the other world: Kate Bush's 'Wuthering Heights', Nicky Losseff; Pulp, pornography and spectatorship: subject matter and subject position in Pulp's 'This is Hardcore', Nicola Dibben; Glamour and evasion: the fabulous ambivalence of the Pet Shop Boys, Fred E. Maus; Vicars of 'wannabe': authenticity and the Spice Girls, Elizabeth Eva Leach ; Oh Boy! (Oh Boy!): mutual desirability and musical structure in the buddy group, Barbara Bradby; Name index.

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Book SynopsisDisciplining Music confronts a topic that has sparked considerable debate in recent years: how do musicians and music scholars discipline music in their efforts to confer order and meaning on it? This collection of essays addresses this issue by formulating questions about music's canons.Table of ContentsPreface 1: Prologue, Disciplining Music Katherine Bergeron 2: The Canons in the Musicology Toolbox Dan Michael Randel 3: Sophie Drinker's History Ruth A. Solie 4: Rethinking Musical Culture: Canonic Reformulations in a Post Tonal Age Robert P. Morgan 5: Cultural Dialogics and Jazz: A White Historian Signifies Gary Tomlinson 6: History and Works That Have No History: Reviving Rossini's Neapolitan Operas Philip Gossett 7: Ethnomusicology's Challenge to the Canon: the Canon's Challenge to Ethnomusicology Philip V. Bohlman 8: Mozart and the Ethnomusicological Study of Western Culture: An Essay in Four Movements Brune Nettl 9: Hierarchical Unity, Plural Unities: Toward a Reconciliation Richard Cohn, Douglas Dempster. 10: A Lifetime of Chants Katherine Bergeron 11: Epilogue: Musics and Canons Philip V. Bohlman Contributors Index

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Book SynopsisThe Routledge Handbook of Applied Linguistics, published in 2011, has long been a standard introduction and essential reference point to the broad interdisciplinary field of applied linguistics.Reflecting the growth and widening scope of applied linguistics, this new edition thoroughly updates and expands coverage. It includes 27 new chapters, now consists of two complementary volumes, and covers a wide range of topics from a variety of perspectives. Volume One is organized into two sections â âLanguage learning and language educationâ and âKey areas and approaches in applied linguisticsâ â and Volume Two also has two sections â âApplied linguistics in societyâ and âBroadening horizonsâ.Each volume includes 30 chapters written by specialists from around the world. Each chapter provides an overview of the history of the topic, the main current issues, recommendations for practice, and possible future trajectories. Where appropriate, authors discuss the impact and use of new research methods in the area. Suggestions for further reading and cross-references are provided with every chapter.The Routledge Handbook of Applied Linguistics remains the authoritative overview to this dynamic field and essential reading for advanced undergraduate and postgraduate students, scholars, and researchers of applied linguistics.

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Book SynopsisThis comprehensive companion is a much-needed reference source for the expanding field of radio, audio, and podcast study, taking readers through a diverse range of essays examining the core questions and key debates surrounding radio practices, technologies, industries, policies, resources, histories, and relationships with audiences. Drawing together original essays from well-established and emerging scholars to conceptualize this multidisciplinary field, this bookâs global perspective acknowledges radioâs enduring affinity with the local, historical relationship to the national, and its unpredictably transnational reach. In its capacious understanding of what constitutes radio, this collection also recognizes the latent time-and-space shifting possibilities of radio broadcasting, and of the myriad ways for audio to come to us 'live.' Chapters on terrestrial radio mingle with studies of podcasts and streaming audio, emphasizing continuities and innovations in form and conte

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Book SynopsisTranslation in literary and academic discourse.- Between texts, languages, cultures, semiotic systems: Key concepts and methods in translation studies.- Towards a definition of the term Musical Translation' Musical arrangement, cover version, and performance in the light of musicological research.- Applying translation theories in musicological research.- Concluding remarks.

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Book SynopsisMade in Puerto Rico: Studies in Popular Music serves as a comprehensive introduction to the history, culture, and musicology of 20th and 21st century popular music in Puerto Rico. The essays in this volume, written by both local experts and leading scholars, contextualize under-researched areas of Puerto Rican popular music-making in relation to ideologies, aesthetics, and symbolism, and propose new ways of thinking about Puerto Rican musical cultures.A groundbreaking introduction to Puerto Rican musical culture, the volume covers the major figures, styles, and social contexts of popular music in Puerto Rico, while also going beyond conventional narratives. Rather than simply providing histories of key genres, these insightful essays focus on the ways in which Puerto Rican musicians reimagine their distinctive musical language as it transmutes from local practices into global expressions.Offering both a survey of Puerto Rican popular music and pathways into deep

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Book SynopsisThe Oxford Companion to Music is one of the most famous music reference works of all time. This invaluable Companion now reappears in a completely new edition. Over a million words in length, it is the biggest, most authoritative, and most up to date single-volume music reference book available. The new edition draws on both the classic Oxford Companion to Music by Percy Scholes, first published in 1938, and the two-volume New Oxford Companion to Music, edited by Denis Arnold (1983), but is thoroughly revised and reimagined for the 21st century. Alison Latham has assembled a distinguished team of over 120 international contributors, bringing their distinctive voices to an exceptionally broad sweep of musical subjects ranging from composers, performers, conductors, individual works, instruments and notation, and forms and genres, to music scholarship and aesthetics, music education, broadcasting and publishing, all aspects of music theory, and performance practice, as well as jazz, popuTrade ReviewA well-loved friend returns ... The latest incarnation is in one volume, sports a stellar contributors' list and more than matches the authority of its immediate predecessor ... probably the best one-volume music reference book going. * Times Educational Supplement *Table of ContentsPreface ; Acknowledgements ; Contributors ; Abbreviations ; Oxford Companion to Music ; Index of people

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Book SynopsisThe Routledge Companion to Choreomusicology: Dialogues in Music and Dance is a distinguished collection of essays by leading scholars presenting research that redefines and rethinks the question of what dance and music are, together and apart, and which promotes new ideas and voices in the discipline.Focusing on matters historical, critical, and conceptual, and defining dance-music interactions from the era of aristocratic court dance to the present, the book covers a wide range of topics, including dance and music performance practice, queer studies, colonialism and exoticism, disability studies, the âœreparativeâ humanities, and film. The volume is organized into two sections: Part 1 examines theoretical and conceptual issues, including theories of embodiment, musicality, and dance aesthetics, with examples including contemporary ballet, the role of the conductor, and even fountains in Las Vegas. In Part 2, contributors consider choreomusicology as a historical disci

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Book SynopsisOne of the defining aspects of music is that it exists in time. From clapping to dancing, toe-tapping to head-nodding, the responses of musicians and listeners alike capture the immediacy and significance of the musical beat. This Companion explores the richness of musical time through a variety of perspectives, surveying influential writings on the topic, incorporating the perspectives of listeners, analysts, composers, and performers, and considering the subject across a range of genres and cultures. It includes chapters on music perception, visualizing rhythmic notation, composers'' writings on rhythm, rhythm in jazz, rock, and hip-hop. Taking a global approach, chapters also explore rhythmic styles in the music of India, Africa, Bali, Latin America and the Caribbean, and Indigenous music of North and South America. Readers will gain an understanding of musicians'' approaches to performing complex rhythms of contemporary music, and revealing insights into the likely future of rhythTrade Review'The importance of this collection for music scholarship lies not only in the subject matter - rhythm has long been ignored by traditional music studies - but in the fact that fully half the volume is devoted to music other than the Western European classical canon … Summing Up: Recommended. Upper-division undergraduates through faculty; professionals.' M. Dineen, ChoiceTable of ContentsIntroduction Russell Hartenberger and Ryan McClelland; I. Overview of rhythm: 1. Rhythm in Western music: Concepts and literature Ryan McClelland; 2. Perception of rhythm Daniel Cameron and Jessica Grahn; II. Performing rhythm: 3. Visualizing the rhythms of performance Alan Dodson; 4. A percussionist understands rhythm Steven Schick; 5. A different kind of virtuosity Russell Hartenberger; 6. Conducting rhythm David Robertson; III. Composing with rhythm: 7. Expressive rhythm and meter in the German Lied Harald Krebs; 8. Rhythm in post-tonal music: a modernist primer Gretchen Horlacher; 9. The concept of rhythm: composers in their own words Adam Sliwinski; IV. Rhythm in jazz and popular music: 10. Jazz rhythm: the challenge of “swing” Matthew W. Butterfield; 11. Rhythmic influence in the rock revolution Trevor de Clercq; 12. Rhythm in contemporary rap music Mitchell Ohriner; V. Rhythm in global musics: 13. The musical rhythm of Agbadza songs David Locke; 14. Rhythmic thought and practice in the Indian subcontinent James Kippen; 15. The draw of Balinese rhythm Leslie Tilley; 16. Rhythmic structures in Latin American and Caribbean music Peter Manuel; 17. Indigenous rhythm and dance in North and South America Kristina F. Nielsen; VI. Epilogue: 18. The future of rhythm Nick Collins; Select bibliography; Index.

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Book SynopsisThis collection of original essays is in tribute to the work of Derek Scott on the occasion of his sixtieth birthday. As one of the leading lights in Critical Musicology, Scott has helped shape the epistemological direction for music research since the late 1980s. There is no doubt that the path taken by the critical musicologist has been a tricky one, leading to new conceptions, interactions, and heated debates during the past two decades. Changes in musicology during the closing decades of the twentieth century prompted the establishment of new sets of theoretical methods that probed at the social and cultural relevance of music, as much as its self-referentiality. All the scholars contributing to this book have played a role in the general paradigmatic shift that ensued in the wake of Kerman''s call for change in the 1980s. Setting out to address a range of approaches to theorizing music and promulgating modes of analysis across a wide range of repertories, the essays in this colTrade Review'The stellar line-up of authors in this tribute to the work of Derek Scott attests to the significance of his research on music, culture and ideology. The essays encompass a diverse range of music from the nineteenth century onwards and reflect his interdisciplinary identity - a combination of music historian, music analyst, sociologist and cultural theorist. Derek Scott's role as one of the founders of critical musicology is also reflected here, via the inclusion of a history of the movement in its wider scholarly context. Stan Hawkins has created a fascinating volume that provides an insight into current thinking influenced by critical musicology, while representing Derek Scott's distinctive musicological interests and celebrating his profound impact as a colleague, teacher and mentor.' Nicola Dibben, University of Sheffield, UK '... an excellent collection of essays covering a wide range of historical, philosophical, and interpretive approaches to musicological subjects... This collection is an admirable testament to the expansion of the discipline of musicology into both historical and theoretical methodological considerations.' Popular Music and Society '... an impressive volume that brings together some of the most significant voices in critical musicology today... By addressing issues and defining methodologies that are currently relevant to the field of musicology, Critical Musicological Reflections provides insight into the current state of critical musicology and identifies promising avenues for future work.' Canadian Association of Music Libraries Review

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Book SynopsisA collection of essays from leading scholars and practitioners in the burgeoning field of film music studies. The book provides a uniquely comprehensive overview of how music functions in film soundtracks from a variety of historical periods, genres and film industries, including those of the USA, UK, France, Italy, India and Japan.Trade Review'Going beyond new historical research on early film music, genre studies, and film music analysis, this diverse collection of current essays is ambitious. … Summing Up: Highly recommended. Upper-division undergraduates through faculty.' M. Goldsmith, CHOICE'… a fine addition to the film music literature. … Particularly successful is the combination of general overviews (historical, technological, theoretical, methodological) with case-study chapters that exemplify a range of approaches to examining soundtracks. This book could readily be offered to undergraduate and postgraduate students as a 'toolkit' to inspire and guide their own studies, and while the balance is towards musicological study, the relatively accessible tone and varied methodologies additionally make the book worthy of attention for those from other disciplines. The editors are to be commended for assembling a collection that represents much of the variety of modern film music scholarship.' Jonathan Godsall, Popular MusicTable of ContentsIntroduction Mervyn Cooke and Fiona Ford; Part I. Making Film Music: 1. Evolving practices for film music and sound, 1925–35 James Buhler and Hannah Lewis; 2. 'Pictures that talk and sing': sound history and technology David Cooper; 3. The composer and the studio: Korngold and Warner Bros. Ben Winters; 4. Can't buy me love? Economic imperatives and artistic achievements in the British pop music film Stephen Glynn; 5. 'A film's first audience': the composer's role in film and television George Fenton in conversation with Mervyn Cooke; Part II. Approaching Film Music: 6. Film music theory Guido Heldt; 7. Studying film scores: working in archives and with living composers Kate Daubney; 8. Returning to Casablanca Peter Franklin; 9. Parental guidance advised? Mash-ups and mating penguins in Happy Feet Fiona Ford; 10. Materializing film music Miguel Mera; Part III. Genre and Idiom: 11. Film noir and music David Butler; 12. Another other history of jazz in the movies Krin Gabbard; 13. Horror and science fiction Stan Link; 14. The Western Robynn J. Stilwell; 15. The music of screen musicals Caryl Flinn; 16. 'Britannia - The Musical': scores, songs and soundtracks in British animation Paul Wells; Part IV. Music in World Cinemas: 17. Leone, Morricone and the Italian way to revisionist westerns Sergio Miceli; 18. Music, noise and silence in the late cinema of Jean-Luc Godard Danae Stefanou; 19. Hans Werner Henze and The Lost Honour of Katharina Blum Annette Davison; 20. Tōru Takemitsu's collaborations with Masahiro Shinoda: the music for Pale Flower, Samurai Spy and Ballad of Orin Tim Koozin; 21. Welcome to Kollywood: Tamil film music and popular culture in South India Mekala Padmanabhan.

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Book SynopsisThis companion explores a range of conceptual and practical relationships between sound and space across various disciplines, providing insights from technical, creative, cultural, political, philosophical, psychological, and physiological perspectives. The content spans a wide range of spatial typologies, from large reverberant buildings to modest and intimate ones, from external public squares to domestic interiors, and from naturally formed environments to highly engineered spaces. These compiled insights and observations explore the vast diversity of ways in which sonic and spatial realms interact.This publication therefore forms important bridges between the intricate and diverse topics of technology, philosophy, composition, performance, and spatial design, to contemplate the potential of sound and space as tools for creative expression and communication, as well as for technical innovation. It is hoped that by sharing these insights, this book will inspire practitioner

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Book SynopsisSeit wann gibt es Musikwissenschaft als akademische Disziplin in Ländern wie Italien, Schweden, Chile oder Südkorea? Welche Fachkonzeptionen wurden dort jeweils zugrunde gelegt? Welche nationalen oder gesellschaftspolitischen Motivationen und Anknüpfungspunkte waren dabei ausschlaggebend? In 12 Beiträgen arbeiten internationale Forscherinnen und Forscher erstmals vergleichend die Etablierung der Musikwissenschaft in zahlreichen Ländern Europas, Amerikas und Asiens auf. Der zeitliche Rahmen reicht dabei vom ausgehenden 19. Jahrhundert bis in die jüngere Vergangenheit. Personelle, institutionelle und inhaltlich-methodische Aspekte kommen dabei ebenso zur Sprache wie die Frage, welche Bedeutung das Fach und seine Inhalte für national(istisch)e und kulturpolitische Diskurse hatte.Table of ContentsVorwort.- Beiträge.- Synopse der Gründungsphasen.- Register

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Book SynopsisThis comprehensive research guide surveys the most significant published materials relating to William Byrd. This new edition includes research since the publication of the last edition.Table of ContentsChapter 1 Catalog of Byrd’s Works; Chapter 2 Ecclesiastical or Domestic?, Roger Bowers; Chapter 3 Byrd Literature; Chapter 4 Classified Annotated Bibliography; Chapter 5 Byrd Discography 2004–2010, Michael Greenhalgh;

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Book SynopsisMusic education is a well-established and flourishing area of research and study. It is also a complex and contested area in which there is a considerable variety of published work, ranging from the justificatory to the critical, and from advice on pedagogical practice to provocative alternative paradigms. The proliferation and range of these publications stems from the complexity of music and music education itself. Along with multiple perspectives on the nature and value of music, music education is much more socially interwoven than most school subjects. It is also very complex organizationally, with multiple sources of funding.This new four-volume collection from Routledgeâs acclaimed Major Themes in Education series meets the need for an authoritative, up-to-date, and comprehensive reference work to make sense of the areaâs voluminous literature. Indeed, the dizzying scale of the research outputâand the breadth of the fieldâmakes this new Routledge title especially welcome. It provides a one-stop collection of classic and contemporary contributions to facilitate ready access to the most influential and important scholarship.Fully indexed and with an introduction, newly written by the editor, which places the collected material in its historical and intellectual context, Music Education is an essential work of reference. It is destined to be valued by specialists in music education and scholars working in related areasâas well as by educational policy-makers and professionalsâas a vital research tool.

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Book SynopsisLong treated as peripheral to music history, dance has become prominent within musicological research, as a prime and popular subject for an increasing number of books, articles, conference papers and special symposiums. Despite this growing interest, there remains no thorough-going critical examination of the ways in which musicologists might engage with dance, thinking not only about specific repertoires or genres, but about fundamental commonalities between the two, including embodiment, agency, subjectivity and consciousness. This volume begins to fill this gap. Ten chapters illustrate a range of conceptual, historical and interpretive approaches that advance the interdisciplinary study of music and dance. This methodological eclecticism is a defining feature of the volume, integrating insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology and literary criticism into the study of music and dance.Trade Review'An engaging, erudite, and brilliantly edited collection of important essays on music and dance. Here the producers and process of art are valued as much as the product. While honoring the embodied knowledge of dancers themselves and respecting the all too human aspects of dance, the authors also, in complementary ways, address the sublime – the beauty beyond our mortal ken.' Simon Morrison, Princeton University, New Jersey'This refreshing and thoughtful book contributes to the body of research that has been synthesizing dance and music for more than 30 years … Recommended. Upper-division undergraduates through faculty.' A. E. Handfield, Choice'Dance has proved an increasingly rich site of musicological study since the 1980s, and a new collected volume edited by Davinia Caddy and Maribeth Clark from Cambridge University Press makes a valuable contribution to that growing body of literature … Scholars in this interdisciplinary space will welcome a work brimming with the diversity of conceptual, historical, and interpretative approaches that this text provides.' Lena Leson, Revue de musicologie'The glimpses of live performance directly referenced in Musicology and Dance are not only informative but, dare it be said, entertaining too … [The book] offers many fresh insights into relationships between dance and music.' Jeremy Barlow, Dance ChronicleTable of ContentsIntroduction Davinia Caddy and Maribeth Clark; Part I. Conceptual Studies: 1. J. S. Bach and the dance of humankind John Butt; 2. Dance as 'other': contrasting modes of musical representation Suzanne Aspden; 3. Thinking on our feet: a somatic enquiry into a Haydn minuet Joseph Fort; 4. Making moves in reception studies: music, listening and Loie Fuller Davinia Caddy; Part II. Case Histories: 5. The 'splendid and shameful art': dancing in and around the Wagnerian Gesamtkunstwerk Thomas Grey; 6. Hymnody, dance and the sacred in the illustrated song Marian Wilson Kimber; 7. Pavanes and passepieds in the age of the cancan Carlo Caballero; Part III: Critical Readings: 8. Nijinsky, modernism, repression: the Faune ballet – once again – under analysis David J. Code; 9. Choreographing Mahler songs at the centenary Wayne Heisler, Jr; 10. Embodied heritage: English country dance in Austen screen adaptations Maribeth Clark.

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Book SynopsisThe renowned treatise on music, by an eleventh-century monk, in a critical edition with annotated English translation, introduction, and detailed indexes. Long recognized as one of the most important medieval treatises on music, the Musica of Hermannus Contractus is here presented in a newly revised translation, with commentary reflecting the best current scholarship. A polymath and monk, Hermannus Contractus (1013-54) contributed to the important advancements made in European arts and sciences in the first half of the eleventh century, writing on history, astronomy, and time-keeping devices,among other topics, and composing several chants. His music theory, founded on a systematic treatment of traditional concepts and terminology dating back to the ancient Greeks, is concerned largely with the organization of pitchin Gregorian chant. Hermann's approach stems from Germanic species-based thought, and is marked by a distinction between aspects of form and aspects of position, privileging the latter. He expresses this in terms imported from then-new developments in Italian music theory, thus acting as a nexus for the two traditions. Numerology and number symbolism play significant roles in Hermann's theories, and his critiques of other theorists offer insights into medieval intellectual life. Hermann also uses chant citations and exercises to help his readers apply theory to practice. John L. Snyder's revised edition of Ellinwood's long-standard 1952 text and translation offers a new introduction, including codicological descriptions of the sources; a critical edition of the Latin text with an annotated English translation on facing pages; appendices detailing the documents pertaining to Hermann's life, his citations of plainsong, and his original diastematic notation system; and greatly expanded indexes. Snyder's Musica will serve as the standard version of this major historical document for years to come. Leonard Ellinwood (1905-94) served in the Library of Congress cataloging divisions in music and in the humanities for thirty-five years. He published scholarly works and editions of both medieval music and church music. John L. Snyder is Professor of Music Theory and Musicology at the University of Houston's Moores School of Music.Trade ReviewThis new edition of the Music of Hermannus Contractus (or Herman of Reichenau) is very welcome. Snyder's introduction deals comprehensively with Herman's life and the content of his treatise as well as its influence on later authors. The manuscripts are fully described and their relationship discussed...The edition is enhanced by the end-matter, which includes variant readings of several diagrams and of all the neumed chant quotations. -- John Caldwell * MUSIC & LETTERS *This new edition is a welcome addition to any library and will surely eclipse Ellinwood's older edition as a standard reference for Hermann studies, and for medieval musicology, from this point forward. -- Karen M. Cook * FRANCIA-RECENSIO *One of the most important eleventh-century music treatises written north of the Alps. A substantial introduction [by Snyder] gives a solid overview of the contents of the treatise and of its background-principally Boethius, the Musica enchiriadis, and Bernon de Reichenau. The fragment now in Kassel [and here incorporated for the first time] comes from a lineage distinct from that of the two complete manuscripts and often gives better readings for the diagrams. Three appendixes complete the edition. -- Christian Meyer * REVUE DE MUSICOLOGIE *Table of ContentsPreface to Leonard Ellinwood's 1952 Edition Preface to the Second Edition Abbreviations Introduction Musica Variantiae Figurarum Variantiae Neumarum Plates Appendix 1: Biographical Documents in English Translation Appendix 2: Chants Cited Appendix 3: Hermann's Diastematic Notation Bibliography Index Verborum Index Cantuum General Index

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