This book presents four extended essays that are rooted in the growing interdisciplinary field of applied musicology, in which music theory - in particular, the zygonic conjecture - is used to inform thinking in the domains of music psychology, music education and music therapy research. It is essential reading for academics and postgraduate students working in these fields. The topics covered include a new study on the emergence of musical abilities in the early years, using the Sounds of Intent framework of musical development; an exploration of how the Sounds of Intent model can be extended to map how people with learning difficulties engage in creative multisensory activities; an investigation of the expectations generated on hearing a piece of music more than once evolve in cognition, using evidence from a musical savant; and a report on the effect on listeners of repeated exposure to a novel melody. Data are drawn from the findings of postgraduate and postdoctoral projects. It is hoped that this exciting new work will act as a catalyst in the emerging field of applied musicological research, and bring recognition to a group of new young academics.

The first history of keyboard improvisation in European music in the postclassical and romantic periods, Free Play: Fantasies of Improvisation in Nineteenth-Century Music documents practices of improvisation on the piano and the organ, with a particular emphasis on free fantasies and other forms of free playing. Case studies of performers such as Abbe Vogler, J. N. Hummel, Ignaz Moscheles, Robert Schumann, Carl Loewe, and Franz Liszt describe in detail the motives, intentions, and musical styles of the nineteenth century's leading improvisers. Grounded in primary sources, the book further discusses the reception and valuation of improvisational performances by colleagues, audiences, and critics, which prompted many keyboardists to stop improvising. Author Dana Gooley argues that amidst the decline of improvisational practices in the first half of the nineteenth century there emerged a strong and influential "idea" of improvisation as an ideal or perfect performance. This idea, spawned and nourished by romanticism, preserved the aesthetic, social, and ethical values associated with improvisation, calling into question the supposed triumph of the "work."

Music After Deleuze explores how Deleuzian concepts offer interesting ways of thinking about a wide range of musics. The concepts of difference, identity and repetition offer novel approaches to Western art music from Beethoven to Boulez and Bernhard Lang as well as jazz improvisation, popular and sacred music. The concepts of the 'rhizome', the 'assemblage' and the 'refrain' enable us to think of the specificity of musical works as the meeting of productive forces, for example in the contemporary opera of Dusapin and the experimental music theatre of Aperghis. The concepts of smooth and striated space form the starting point for musical and political reflections on pitch in Western and Eastern music. Deleuze's notion of time as multiple illumines the distinctive conceptions of musical time found in Debussy, Messiaen, Boulez, Carter and Grisey. Finally, the innovative semiotic theory forged in Deleuze-Guattarian philosophy offers valuable insights for a semiotics capable of engaging with the innovative, molecular music of Lachenmann, Aperghis and Levinas.

The search for the origins of language was one of the most pressing philosophical issues of the eighteenth century. It has escaped notice, however, that music figured prominently in that search. This study analyzes reflections on music and music theory as they appear within the logical and narrative structure of texts by, for example, Rousseau, Diderot, Rameau and Condillac, and considers the ways in which music facilitates links between language and meaning, between conceptions of an original society and an ideal social order.

The subject of harmonic approximation has recently matured into a coherent research area with extensive applications. This is the first book to give a systematic account of these developments, beginning with classical results concerning uniform approximation on compact sets, and progressing through fusion techniques to deal with approximation on unbounded sets. All the time inspiration is drawn from holomorphic results such as the well-known theorems of Runge and Mergelyan. The final two chapters deal with wide-ranging and surprising applications to the Dirichlet problem, maximum principle, Radon transform and the construction of pathological harmonic functions. This book is aimed at graduate students and researchers who have some knowledge of subharmonic functions, or an interest in holomorphic approximation.

Interpreting Music Video introduces students to the musical, visual, and sociological aspects of music videos, enabling them to critically analyze a multimedia form with a central place in popular culture. With highly relevant examples drawn from recent music videos across many different genres, this concise and accessible book brings together tools from musical analysis, film and media studies, gender and sexuality studies, and critical race studies, requiring no previous knowledge. Exploring the multiple dimensions of music videos, this book is the perfect introduction to critical analysis for music, media studies, communications, and popular culture.

The Musical Matrix Reloaded proposes a striking new scenario for the music of Beethoven and Schubert in the contemporary world. It draws on the theory of Multiple Worlds in physics, and on sci-fi and movies, as powerful contemporary models of alternative realities to explain radical features of interpolation, dislocation, and ultimately of return. Confronting familiar assumptions about Beethoven's and Schubert's music as long-range consonance, the book proposes instead that musical action is predicated on an underlying disruptive energy, Nietzsche's Dionysian disruptive background re-interpreted in the contemporary world. When it breaks through the musical surface, it dislocates continuity and re-routes tonal narrative into new, unforeseen directions. These unforeseen paths enable us to glimpse in Beethoven's and Schubert's music the beautiful, and often haunting, reality of another world.

The term 'lyric' has evolved, been revised, redefined and contested over the centuries. In this fascinating introduction, Scott Brewster: traces the history of the term from its classical origins through the early modern, Romantic and Victorian periods and up to the twenty-first century demonstrates the influence of lyric on poetic practice, literature, music and other popular cultural forms uses three aspects -- the lyric 'self', love and desire and the relationship between lyric, poetry and performance -- as focal points for further discussion not only charts the history of lyric theory and practice but re-examines assumptions about the lyric form in the context of recent theoretical accounts of poetic discourse. Offering clarity and structure to this often intense and emotive field, Lyric offers essential insights for students of literature, performance, music and cultural studies.

How does structural economic change look and feel? How are such changes normalized? Who represents hope? Who are the cautionary tales? Unfinished Business argues that U.S. deindustrialization cannot be understood apart from issues of race, and specifically apart from images of, and works by and about African Americans that represent or resist normative or aberrant relationships to work and capital in transitional times. It insists that Michael Jackson's performances and coverage of his life, plays featuring Detroit, plans for the city's postindustrial revitalization, and Detroit installations The Heidelberg Project and Mobile Homestead have something valuable to teach us about three decades of structural economic transition in the U.S., particularly on the changing nature of work and capitalism between the mid-1980s and 2016. Jackson and Detroit offer examples of the racialization of deindustrialization, how it operates as structures of feeling and as representations as well as a shift in the dominant mode of production, and how industrialization's successor mode, financialization, uses imagery both very similar to and very different from its predecessor.

In The Art of Listening, Anthony Arnone interviews 13 of the top cello teachers of our time, sharing valuable insights about performing, teaching, music, and life. While almost every other aspect of twenty-first-century life has been changed by technological advancements, the art of playing and teaching the cello has largely remained the same. Our instruments are still made exactly the same way and much of what we learn is passed on by demonstration and word of mouth from generation to generation. We are as much historians of music as we are teachers of the instrument. The teaching lineage in the classical music world has formed a family tree of sorts with a select number of iconic names at the top of the tree, such as Pablo Casals, Gregor Piatigorsky, and Leonard Rose. A large percentage of professional cellists working today studied with these giants of the cello world, or with their students. In addition to discussing the impact of these masters and their personal experience as their students, the renowned cellists interviewed in this book touch on a variety of topics from teaching philosophies to how technology has changed classical music.

The Art of Digital Orchestration explores how to replicate traditional orchestration techniques using computer technology, with a focus on respecting the music and understanding when using real performers is still the best choice. Using real-world examples including industry-leading software and actual sounds and scores from films, VR/AR, and games, this book takes readers through the entire orchestration process, from composition to instruments, performance tools, MIDI, mixing, and arranging. It sheds light on the technology and musical instrument foundation required to create realistic orchestrations, drawing on decades of experience working with virtual instruments and MIDI. Bringing together the old and new, The Art of Digital Orchestration is an excellent resource for anyone using software to write or compose music. The book includes access to online videos featuring orchestration techniques, MIDI features, and instrument demonstrations.

The Art of Digital Orchestration explores how to replicate traditional orchestration techniques using computer technology, with a focus on respecting the music and understanding when using real performers is still the best choice. Using real-world examples including industry-leading software and actual sounds and scores from films, VR/AR, and games, this book takes readers through the entire orchestration process, from composition to instruments, performance tools, MIDI, mixing, and arranging. It sheds light on the technology and musical instrument foundation required to create realistic orchestrations, drawing on decades of experience working with virtual instruments and MIDI. Bringing together the old and new, The Art of Digital Orchestration is an excellent resource for anyone using software to write or compose music. The book includes access to online videos featuring orchestration techniques, MIDI features, and instrument demonstrations.

The title coinage of this book, stimulacra, refers to the fundamental capacity of literary narrative to stimulate our minds and senses by simulating things through words. Musical stimulacra are passages of fiction that readers are empowered to transpose into mental simulations of music. The book theorizes how fiction can generate musical experience, explains what constitutes that experience, and explores the musical dimensions of three American novels: William T. Vollmann's Europe Central (2005), William H. Gass's Middle C (2013), and Richard Powers's Orfeo (2014). Musical Stimulacra approaches fiction's music from a readerly perspective. Instead of looking at how novels forever fail to compensate for music's physical, structural, and affective properties, the book concentrates on what literary narrative can do musically. Negotiating common grounds for cognitive audionarratology and intermediality studies, Musical Stimulacra builds its case on the assumption that, among other things, fiction urges us to listen-to musical words and worlds.

This collection of essays offers a historical reappraisal of what musical modernism was, and what its potential for the present and future could be. It thus moves away from the binary oppositions that have beset twentieth-century music studies in the past, such as those between modernism and postmodernism, between conceptions of musical autonomy and of cultural contingency and between formalist-analytical and cultural-historical approaches. Focussing particularly on music from the 1970s to the 1990s, the volume assembles approaches from different perspectives to new music with a particular emphasis on a critical reassessment of the meaning and function of the legacy of musical modernism. The authors include scholars, musicologists and composers who combine culturally, socially, historically and aesthetically oriented approaches with analytical methods in imaginative ways.

Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education offers a comprehensive overview of the many facets of musical experience, behavior and development in relation to this diverse variety of contexts. In this first of two volumes, an international list of contributors discuss a range of key issues and concepts associated with music learning and teaching. The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the school-age years. Exploring how children across the globe learn and make music and the skills and attributes gained when they do so, these chapters examine the means through which music educators can best meet young people's musical needs. The second volume of the set brings the exploration beyond the classroom and into later life. Whether they are used individually or in tandem, the two volumes of The Oxford Handbook of Music Education update and redefine the discipline, and show how individuals across the world learn, enjoy and share the power and uniqueness of music.

A new wave of scholarship inspired by the ways the writers and musicians of the long nineteenth century themselves approached the relationship between music and words. Words and Notes encourages a new wave of scholarship inspired by the ways writers and musicians of the long nineteenth century themselves approached the relationship between music and words. Contributors to the volume engage in two dialogues: with nineteenth-century conceptions of word-music relations, and with each other. Criss-crossing disciplinary boundaries, the authors of the book's eleven essays address new questions relating to listening, imagining and performing music, the act of critique, and music's links with philosophy and aesthetics. The many points of intersection are elucidated in an editorial introduction and via a reflective afterword. Fiction and poetry, musicography, philosophy, music theory, science and music analysis all feature, as do traditions within English, French and German studies. Wide-ranging material foregrounds musical memory, soundscape and evocation; performer dilemmas over the words in Satie's piano music; the musicality of fictional and non-fictional prose; text-setting and the rights of poet vs. composer; the rich novelistic and critical testimony of audience inattention at the opera;German philosophy's potential contribution to musical listening; and Hoffmann's send-ups of the serious music-lover. Throughout, music - its composition, performance and consumption - emerges as a profoundly physical and social force, even when it is presented as the opposite. PHYLLIS WELIVER is Associate Professor of English, Saint Louis University. KATHARINE ELLIS is Stanley Hugh Badock Professor of Music at the University of Bristol. Contributors: Helen Abbott, Noelle Chao, Delia da Sousa Correa, Peter Dayan, Katharine Ellis, David Evans, Annegret Fauser, Jon-Tomas Godin, Cormac Newark, Matthew Riley, Emma Sutton, Shafquat Towheed, Susan Youens, Phyllis Weliver

Twentieth- and Twenty-First-Century Song Cycles: Analytical Pathways Toward Performance presents analyses of fourteen song cycles composed after the turn of the twentieth century, with a focus on offering ways into the musical and poetic structure of each cycle to performers, scholars, and students alike. Ranging from familiar works of twentieth-century music by composers such as Schoenberg, Britten, Poulenc, and Shostakovich to lesser-known works by Van Wyk, Sviridov, Wheeler, and Sanchez, this collection of essays captures the diversity of the song cycle repertoire in contemporary classical music. The contributors bring their own analytical perspectives and methods, considering musical structures, the composers' selection of texts, how poetic narratives are expressed, and historical context. Informed by music history, music theory, and performance, Twentieth- and Twenty-First-Century Song Cycles offers an essential guide into the contemporary art-music song cycle for performers, scholars, students, and anyone seeking to understand this unique genre.

Practical suggestions, and documentary evidence, for performers wishing to understand the gestures and nuances embedded in eighteenth-century musical notation. There are, of course, no commas, periods, or question marks in music of the Baroque and Classic eras. Nonetheless, the concept of "punctuating" music into longer and shorter units of expression was richly explored by many of the era's leading composers, theorists, and performers. The Art of Musical Phrasing in the Eighteenth Century gathers and discusses, for the first time, an extensive collection of quotations and musical illustrations relevant tophrase articulation and written and unwritten rests. Among the notable authors cited and discussed are Muffat, Telemann, C. P. E. Bach, Mattheson, Marpurg, Tartini, and Mozart's father Leopold (author of the most important eighteenth-century treatise on string playing). On a larger scale, The Art of Musical Phrasing demonstrates the role of punctuation within the history of rhetoric during the Age of Enlightenment. From this, the performer of todaycan gain a greater appreciation for both the strengths and shortcomings of the analogy that writers of the day drew between punctuation in written language and in music. Modern performers, argues Vial, have the challenge andresponsibility of understanding and conveying the nuances, inflections, and rhythmic gestures deeply embedded in eighteenth-century musical notation. The Art of Musical Phrasing, the fruit of Vial's rich experience as a cellist performing on both period and modern instruments, lays out long-needed practical suggestions for achieving this goal. Stephanie D. Vial performs and records widely as a cellist and has taught at the University ofNorth Carolina at Chapel Hill and Duke University.

Musical Solidarities: Political Action and Music in Late Twentieth-Century Poland is a music history of Solidarity, the social movement opposing state socialism in 1980s Poland. The story unfolds along crucial sites of political action under state socialism: underground radio networks, the sanctuaries of the Polish Roman Catholic Church, labor strikes and student demonstrations, and commemorative performances. Through innovative close listenings of archival recordings, author Andrea F. Bohlman uncovers creative sonic practices in bootleg cassettes, televised state propaganda, and the unofficial, uncensored print culture of the opposition. She argues that sound both unified and splintered the Polish opposition, keeping the contingent formations of political dissent in dynamic tension. By revealing the diverse repertories-singer-songwriter verses, religious hymns, large-scale symphonies, experimental music, and popular song-that played a role across the decade, she challenges paradigmatic visions of a late twentieth-century global protest culture that place song and communitas at the helm of social and political change. Musical Solidarities brings together perspectives from historical musicology, ethnomusicology, and sound studies to demonstrate the value of sound for thinking politics. Unfurling the rich soundscapes of political action at demonstrations, church services, meetings, and in detention, it offers a nuanced portrait of this pivotal decade of European and global history.

Northern Soul is a cultural phenomenon twice removed from its original source in Britain in the late 1960s. Rooted in gospel and rhythm and blues music, with pounding "four-to-the floor" beats, it is often accompanied by swirling strings, vibraphone flourishes, and infectious clapping. Since the 1960s Northern Soul has spread globally, via the Internet and migration, to such unlikely places as Medellin in Colombia. By giving voice to the members of this scene, this book explores theories about how identity and cultural literacy evolve through engagement with popular culture. It seeks to contribute to understandings about patterns of economic and media consumption, informal learning, intercultural communication, and about how migrants perceive themselves and form connections with others.

Concepts of Time in Post-War European Music gives a historical and philosophical account of the discussions of the nature of time and music during the mid-twentieth century. The nature of time was a persistent topic among composers in Paris and Darmstadt in the decades after World War II, one which influenced their musical practice and historical relevance. Based on the author's specialized knowledge of the relevant philosophical discourses, this volume offers a balanced critique of these composers' attempts at philosophizing about time. Touching on familiar topics such as Adorno's philosophy of music, the writings of Boulez and Stockhausen, and Messiaen's theology, this volume uncovers specific relationships among varied intellectual traditions that have not previously been described. Each chapter provides a philosophical explanation of specific problems that are relevant for interpreting the composer's own essays or lectures, followed by a musical analysis of a piece of music which illustrates central theoretical concepts. This is a valuable study for scholars and researchers of music theory, music history, and the philosophy of music.

Resounding Transcendence is a pathbreaking set of ethnographic and historical essays by leading scholars exploring the ways sacred music effects cultural, political, and religious transitions in the contemporary world. With chapters covering Christian, Muslim, Jewish, and Buddhist practices in East and Southeast Asia, the Indian subcontinent, North America, the Caribbean, North Africa, and Europe, the volume establishes the theoretical and methodological foundations for music scholarship to engage in current debates about modern religion and secular epistemologies. It also transforms those debates through sophisticated, nuanced treatments of sound and music - ubiquitous elements of ritual and religion often glossed over in other disciplines. Resounding Transcendence confronts the relationship of sound, divinity, and religious practice in diverse post-secular contexts. By examining the immanence of transcendence in specific social and historical contexts and rethinking the reified nature of "religion" and "world religions," these authors examine the dynamics of difference and transition within and between sacred musical practices. The work in this volume transitions between traditional spaces of sacred musical practice and emerging public spaces for popular religious performance; between the transformative experience of ritual and the sacred musical affordances of media technologies; between the charisma of individual performers and the power of the marketplace; and between the making of authenticity and hybridity in religious repertoires and practices. Broad in scope, rich in ethnographic and historical detail, and theoretically ambitious, Resounding Transcendence is an essential contribution to the study of music and religion.

Die gitarrenbezogene historische Auffassung der Virtuosität sowie die Verbalisierung spielpraktischer Ansätze aus dem 19. Jahrhundert sind die Hauptthemen dieses Bandes. Die Untersuchung der Virtuosität basiert auf einer vergleichenden Analyse zwischen Bearbeitungen und deren Vorlagen, welche durch das Heranziehen von Gesangslehrbüchern, Instrumentalschulen und Konzertberichten ergänzt wird. Der Klang und die unterschiedlichen Klangkonzepte wie z. B. die musikalische Gestaltung mit Klangfarben oder das instrumentale Singen bilden den Kern der gitarristischen Virtuosität und werden praxisnah dargelegt.