Sound coming from outside the field of vision, from somewhere beyond, holds a privileged place in the Western imagination. When separated from their source, sounds seem to manifest transcendent realms, divine powers, or supernatural forces. According to legend, the philosopher Pythagoras lectured to his disciples from behind a veil, and two thousand years later, in the age of absolute music, listeners were similarly fascinated with disembodied sounds, employing various techniques to isolate sounds from their sources. With recording and radio came spatial and temporal separation of sounds from sources, and new ways of composing music.
Sound Unseen: Acousmatic Sound in Theory and Practice explores the phenomenon of acousmatic sound. An unusual and neglected word, "acousmatic" was first introduced into modern parlance in the mid-1960s by avant garde composer of musique concrete Pierre Schaeffer to describe the experience of hearing a sound without seeing its cause. Working through, and often against, Schaeffer's ideas, Brian Kane presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses. Kane investigates acousmatic sound from a number of methodological perspectives -- historical, cultural, philosophical and musical -- and provides a framework that makes sense of the many surprising and paradoxical ways that unseen sound has been understood. Finely detailed and thoroughly researched, Sound Unseenpursues unseen sounds through a stunning array of cases -- from Bayreuth to Kafka's "Burrow," Apollinaire to %Zi%zek, music and metaphysics to architecture and automata, and from Pythagoras to the present-to offer the definitive account of acousmatic sound in theory and practice.
The first major study in English of Pierre Schaeffer's theory of "acousmatics," Sound Unseen is an essential text for scholars of philosophy of music, electronic music, sound studies, and the history of the senses."

The Oxford Handbook of The American Musical offers new and cutting-edge essays on the most important and compelling issues and topics in the growing, interdisciplinary field of musical-theater and film-musical studies. Taking the form of a "keywords" book, it introduces readers to the concepts and terms that define the history of the musical as a genre and that offer ways to reflect on the specific creative choices that shape musicals and their performance on stage and screen. The handbook offers a cross-section of essays written by leading experts in the field, organized within broad conceptual groups, which together capture the breadth, direction, and tone of musicals studies today.
Each essay traces the genealogy of the term or issue it addresses, including related issues and controversies, positions and problematizes those issues within larger bodies of scholarship, and provides specific examples drawn from shows and films. Essays both re-examine traditional topics and introduce underexplored areas. Reflecting the concerns of scholars and students alike, the authors emphasize critical and accessible perspectives, and supplement theory with concrete examples that may be accessed through links to the handbook's website.
Taking into account issues of composition, performance, and reception, the book's contributors bring a wide range of practical and theoretical perspectives to bear on their considerations of one of America's most lively, enduring artistic traditions. The Oxford Handbook of The AmericanMusical will engage all readers interested in the form, from students to scholars to fans and aficionados, as it analyses the complex relationships among the creators, performers, and audiences who sustain the genre.

The Second Edition of Teaching Music to Students with Special Needs offers updated accounts of music educators' experiences, featured as vignettes throughout the book. An accompanying Practical Resource includes lesson plans, worksheets, and games for classroom use. As a practical guide and reference manual, Teaching Music to Students with Special Needs, Second Edition addresses special needs in the broadest possible sense to equip teachers with proven, research-based curricular strategies that are grounded in both best practice and current special education law. Chapters address the full range of topics and issues music educators face, including parental involvement, student anxiety, field trips and performances, and assessment strategies. The book concludes with an updated list of resources, building upon the First Edition's recommendations.

In Max/MSP/Jitter for Music, expert author and music technologist V. J. Manzo provides a user-friendly introduction to a powerful programming language that can be used to write custom software for musical interaction. Through clear, step-by-step instructions illustrated with numerous examples of working systems, the book equips readers with everything they need to know in order to design and complete meaningful music projects. The book also discusses ways to interact with software beyond the mouse and keyboard through use of camera tracking, pitch tracking, video game controllers, sensors, mobile devices, and more. The book does not require any prerequisite programming skills, but rather walks readers through a series of small projects through which they will immediately begin to develop software applications for practical musical projects. As the book progresses, and as the individual's knowledge of the language grows, the projects become more sophisticated. This new and expanded second edition brings the book fully up-to-date including additional applications in integrating Max with Ableton Live. It also includes a variety of additional projects as part of the final three project chapters. The book is of special value both to software programmers working in Max/MSP/Jitter and to music educators looking to supplement their lessons with interactive instructional tools, develop adaptive instruments to aid in student composition and performance activities, and create measurement tools with which to conduct music education research.

Early in his career, the composer Arnold Schoenberg maintained correspondence with many notable figures: Gustav Mahler, Heinrich Schenker, Guido Adler, Arnold Rose, Richard Strauss, Alexander Zemlinsky, and Anton von Webern, to name a few. In this volume of Oxford's Schoenberg in Words series, Ethan Haimo and Sabine Feisst present English translations of the entirety of Arnold Schoenberg's early correspondence, from the earliest extant letters in 1891 to those written in the aftermath of the controversial premieres of his String Quartet No. 1, Op. 7, and the Kammersymphonie, Op. 9. The letters provide a wealth of information on many of the crucial stages in Schoenberg's early career, offering invaluable insights into his daily life and working habits. New details emerge about his activities at Wolzogen's Buntes Theater in Berlin, his frequently confrontational interactions with his first publisher (Dreililien Verlag), the reactions of friends and critics to the premieres of his works, his role in the founding of the Vereinigung schaffender Tonkunstler, his activities as a teacher, and his (all too often unsuccessful) attempts to convince musicians to perform his music. Presented alongside the editors' extensive running commentary, the more than 300 letters in this volume create a vivid picture of the young Schoenberg and his times.

Seven men. Ten years. 48 million Twitter followers. 27 billion YouTube views. 30 billion Spotify streams. Sold out world tours. BTS are a global phenomenon – this is their story. Fully revised and updated for a second time, this edition of the bestselling biography is the definitive account of BTS’s journey from their trainee days to the explosive global breakthroughs of ‘Dynamite’ and ‘Butter’, their retrospective compilation album Proof and their blossoming solo endeavours, exploring how this group of guys from South Korea have taken over the world. RM, Jin, SUGA, j-hope, Jimin, V and Jungkook can sing, dance and rap, and write and produce their own music too. From humble beginnings at a small agency to topping charts all over the world, their story is truly incredible, and testament to the amazing talent and hard work of each of the members. Their dedicated fanbase, ARMY, have supported them through thick and thin, celebrating triumphs alongside their idols and pushing them to ever-greater heights. Extensively researched, and written in an upbeat and accessible style, this unofficial biography interweaves the backstories of each of the members with the narrative of the band as a whole, their modest debut and their astonishing rise to fame in their home country and beyond. It also includes 8 pages of full colour photographs of the band performing, posing and having fun.

Adult coloring book fans will delight in these beautifully drawn and inviting idyllic settings. Created by illustrator and paper-cutting artist Mihoko garden Kurihara, "Harmony of Nature" presents pastoral vignettes both whimsical and serene: squirrels and birds, field mice and rabbits, deer, butterflies, foxes, and more, all surrounded by halcyon havens of lush florals. Each drawing imparts a welcome sense of calm, and the book also includes eight pages of aspirational full-color art plus two heavy-stock pages that can be cut out and used for framing or gift tags."

Written by an expert in the field who is both a teacher and a teacher-educator, this book is an in-depth and practical resource for educators and parents who wish to introduce music to children with hearing loss. Author Lyn Schraer-Joiner makes a compelling case for offering music education to children with hearing loss before presenting a series of important and up-to-date teaching strategies meant to inform their educational experience, including preparations for the classroom, communication strategies for parents and teaching staff, and tips on more specific or technical matters such as conducting musical audiograms. These resources provide a solid background for hands-on instructional materials such as music lessons, supplemental activities, educational resources, discussion points, and journal samples for the classroom and home. Schraer-Joiner goes to great lengths to offer detailed, purposeful suggestions for specific classroom settings such as general music, choral ensemble, and instrumental ensemble as well as a set of recommended listening lessons that take this potential variety of settings into account. Furthermore, Schraer-Joiner provides suggestions for incorporating music into everyday activities and also presents an overview of recent research which reinforces the benefits of music upon social and emotional development as well as speech and language development. Each chapter concludes with a section entitled For Your Consideration which features review questions, ideas, and instructional activities that teachers and parents can accomplish with deaf and hard of hearing children. The book's "Kids Only" online component provides deaf and hard-of-hearing children with descriptions of the many opportunities available to them in the arts, inspirational case studies and stories, as well as important ideas and topics for deaf and hard-of-hearing children to consider discussing with the teachers, family members, and healthcare professionals that they work with. The message of this book is a powerful one particularly in this day and age. As hearing aid and cochlear implant technologies improve and become increasingly widespread, all teachers-especially music teachers-should expect to see more deaf and hard-of-hearing children in their classrooms. Awareness and preparation are not only vital in aiding these children in the classroom, but are in fact required of teachers by federal law. This book is a comprehensive resource for teachers and parents who wish to gain a better understanding of the emerging field of music education for students with hearing loss.

The guitarist and composer Pat Metheny ranks among the most popular and innovative jazz musicians of all time. In Pat Metheny: The ECM Years, 1975-1984, Mervyn Cooke offers the first in-depth account of Metheny's early creative period, during which he recorded eleven stunningly varied albums for the pioneering European record label ECM (Edition of Contemporary Music). This impressive body of recordings encompasses both straight-ahead jazz playing with virtuosic small ensembles and the increasingly complex textures and structures of the Pat Metheny Group, a hugely successful band also notable for its creative exploration of advanced music technologies which were state-of-the-art at the time. Metheny's music in all its shapes and forms broke major new ground in its refusal to subscribe to either of the stylistic poles of bebop and jazz-rock fusion which prevailed in the late 1970s. Through a series of detailed analyses based on a substantial body of new transcriptions from the recordings, this study reveals the close interrelationship of improvisation and pre-composition which lies at the very heart of the music. Furthermore, these analyses vividly demonstrate how Metheny's music is often conditioned by a strongly linear narrative model: both its story-telling characteristics and atmospheric suggestiveness have sometimes been compared to those of film music, a genre in which the guitarist also became active during this early period. The melodic memorability for which Metheny's compositions and improvisations have long been world-renowned is shown to be just one important element in an unusually rich and flexible musical language that embraces influences as diverse as bebop, free jazz, rock, pop, country & western, Brazilian music, classical music, minimalism, and the avant-garde. These elements are melded into a uniquely distinctive soundworld which, above all, directly reflects Metheny's passionate belief in the need to refashion jazz in ways which can allow it to speak powerfully to each new generation of youthful listeners.

The Band Teacher's Percussion Guide: Insights into Playing and Teaching Percussion is an essential practical resource for instrumental music teachers and band directors. Author Stewart Hoffman, a Juilliard-trained percussionist, performer, private instructor, and former classroom teacher, offers comprehensive yet accessible and clearly written handbook to help set teachers and students alike firmly on the road to classroom success. In this book, he offers a thorough foundation in snare drum, timpani, keyboard percussion, drum set, and auxiliary and Latin percussion techniques. More than this, he provides practical advice on curriculum and methodology, packing page after page with teaching tips developed through the decades of experience. For educators and band directors who want to learn more about percussion instruments and playing techniques, refine their percussion-teaching skills, or set the classroom stage for a more effective and rewarding teaching experience, The Band Teacher's Percussion Guide: Insights into Playing and Teaching Percussion will be a valued resource for discovering: -keys to effective and relevant evaluation -how to plan a percussion program, organize a band room and select percussionists -lists of recommended instruments and mallets, and guidelines for instrument maintenance and repair -"lifts and levels", a system that leads students to greater control and a more relaxed snare drum technique dozens of practical exercises for the development of techniques on all the main and accessory percussion instruments -easily referenced lists summarizing important points to focus on when practicing -guidelines for teaching jazz, Latin and rock drumset -numerous suggestions and tips to help teachers bring out the best in their students' playing

Grief is all around us. At the heart of the brightly coloured, vividly characterised, joyful films of Studio Ghibli, they are wracked with loss - of innocence, of love, of the connection to our world and of that world itself. Now Go enters these emotional waters to interrogate not only how Studio Ghibli navigates grief so well, but how that informs our own understanding of grief's manifold faces.

Screenwriters and film directors have long been fascinated by the challenges of representing the listening experience on screen. While music has played a central role in film narrative since the conception of moving pictures, the representation of music listening has remained a special occurrence. In Situated Listening: The Sound of Absorption in Classical Cinema, author Giorgio Biancorosso argues for a redefinition of the music listener as represented in film. Rather than construct the listener as a reverential concertgoer, music analyst, or gallery dweller, this book instead shows how films offer a new way of thinking about listening as distributed experience, an activity made public and shareable across vast cultural spaces rather than an insular motion. It shows how cinema functions as not only a reservoir of established modes of listening, but also an agent in the development of new listening practices. As Biancorosso argues, many films have perpetuated a long-existing paradox of music as a means of silencing. Consider an aggressive score overlaying battle scenes or a romantic scene conveying unspoken intimacy. In the place of conversational exchange exists a veil of sound in the form of music, and Situated Listening explains why this function influences both the course of interpretation and empathy experienced by film spectators. By focusing on cinematic, physical, and emotional scenery surrounding a character, viewers can recognize aspects of their own lives, developing a deeper empathy for each fictional character through real and shared listening practices.

This is the first book to tackle the diverse styles and multiple histories of popular musics in India. It brings together fourteen of the world's leading scholars on Indian popular music to contribute chapters on a range of topics from the classic songs of Bollywood to contemporary remixes, summarized by a reflective afterword by popular music scholar Timothy Taylor. The chapters in this volume address the impact of media and technology on contemporary music, the variety of industrial developments and contexts for Indian popular music, and historical trends in popular music development both before and after the Indian Independence in 1947. The book identifies new ways of engaging popular music in India beyond the Bollywood musical canon, and offers several case studies of local and regional styles of music. The contributors address the subcontinent's historical relationships with colonialism, the transnational market economies, local governmental factors, international conventions, and a host of other circumstances to shed light on the development of popular music throughout India. To illustrate each chapter author's points, and to make available music not easily accessible in North America, the book features an Oxford web music companion website of audio and video tracks.

Music and the Broadcast Experience explores the complex ways in which music and broadcasting have developed together throughout the twentieth and into the twenty-first centuries. It brings into dialogue researchers working in media and music studies; explores and develops crucial points of contact between studies of music in radio and music in television; and investigates the limits, persistence, and extensions of music broadcasting in the Internet era. The book presents a series of case studies that address key moments and concerns in music broadcasting, past and present, written by leading scholars in the field, who hail from both media and music studies. Unified by attentiveness both to musical sound and meaning and to broadcasting structures, practices, audiences, and discourses, the chapters in this collection address the following topics: the role of live orchestral concerts and opera in the early development of radio and their relation to ideologies of musical uplift; the relation between production culture, music, and television genre; the function of music in sponsored radio during the 1930s; the fortunes of musical celebrity and artistic ambition on television; questions of music format and political economy in the development of online radio; and the negotiation of space, community, and participation among audiences, online and offline, in the early twenty-first century. The collection's ultimate aim is to explore the usefulness and limitations of broadcasting as a concept for understanding music and its cultural role, both historically and today.