Contents:
Preface Acknowledgements Introduction 1. The Poetics of Jazz: From Symbolic to Semiotic 2. The Rehistoricizing of Jazz: Chicago's "Urban Bushmen" and the Problem of Representation 3. Performing Identity: Jazz Autobiography and the Politics of Literary Improvisation 4. "Space is the Place": Jazz, Voice, and Resistance 5. Nice Work If You Can Get It: Women in Jazz 6. Capitulating to Barbarism: Jazz and/as Popular Culture 7. Up for Grabs: The Ethicopolitical Authority of Jazz Conclusion Works Cited Sound and Video Recordings Consulted

Celebrating the diversity of indigenous nations, cultures and religions, the essays which comprise this volume discuss the musics performed by a wide variety of peoples as an integral part of their cultural traditions. These include examinations of the various styles of Maori, Inuit and Australian Aboriginal musics, and the role of music in Korean Shaman rituals. Indeed, music forms a key component of many such rituals and belief systems and examples of these are explored amongst the peoples of Uganda, Amazonia and Africa. Through analysis of these rituals and the part music plays in them, the essays also open up further themes including social groupings and gender divisions, and engage with issues and debates on how we define and approach the study of indigeneity, religiosity and music. With downloadable resources featuring some of the music discussed in the book and further information on other available recordings, this is a book which gives readers the opportunity to gain a richer experience of the lived realities of indigenous religious musics.

Organized in five parts, this Companion enhances understanding of Schubert's Winterreise by approaching it from multiple angles. Part I examines the political, cultural, and musical environments in which Winterreise was created. Part II focuses on the poet Wilhelm Muller, his 24-poem cycle Die Winterreise, and changes Schubert made to it in fashioning his musical setting. Part III illuminates Winterreise by exploring its relation to contemporaneous understandings of psychology and science, and early nineteenth-century social and political conditions. Part IV focuses more directly on the song cycle, exploring the listener's identification with the cycle's protagonist, text-music relations in individual songs, Schubert's compositional 'fingerprints', aspects of continuity and discontinuity among the songs, and the cycle's relation to German Romanticism. Part V concentrates on Winterreise in the nearly two centuries since its completion in 1827, including lyrical and dramatic performance traditions, the cycle's influence on later composers, and its numerous artistic reworkings.

- Offers a comprehensive guide to the major questions of pedagogy in today's music theory classroom, with coverage of both classic issues of the curriculum and contemporary concerns such as making use of technology, addressing diverse student needs, incorporating popular and global music repertoires - Contributions from leading scholars ensure that the book deals with the cutting edge - Combination of theoretical and applied chapters offers readers both a guide to the issues at play and a set of practical examples that can be brought to bear in their own classrooms

In Mars By 1980, David Stubbs charts the evolution of electronic music from the earliest mechanical experiments in the late nineteenth century, through to the ubiquitous, familiar sounds of electronica, house and techno that we know today. It's a tale of mavericks and future dreamers overcoming Luddite resistance, malfunctioning devices, and sonic mayhem. The beginnings may be in the world of avant-classical composition, but it continues on through the sonic funk of Stevie Wonder and Giorgio Moroder, via the astonishing sounds of the BBC Radiophonic Workshop, through unforgettable eighties electropop by the likes of Depeche Mode, the Pet Shop Boys and Laurie Anderson, and right up to present-day innovators on the underground scene.

The Beatles and Duke Ellington's Orchestra stand as the two greatest examples of collaboration in music history. Thomas Brothers delivers a portrait of the creative process at work, demonstrating that the cooperative method at the foundation of these two artist-groups was the primary reason for their unmatched musical success. While clarifying the historical record of who wrote what, with whom and how, Brothers brings the past to life with photos, anecdotes and more than thirty years of musical knowledge, and analysis of songs from "Strawberry Fields Forever" to "Chelsea Bridge". Help! describes in rich detail the music and mastery of two cultural leaders whose popularity has never dimmed, and the process of collaboration that allowed them to achieve an artistic vision greater than the sum of their parts.

Ranging from Antiquity to contemporary analytic philosophy, it provides a concise but thorough analysis of the arguments developed by some of the most outstanding philosophers of all times. Besides the aesthetics of music proper, the volume touches upon metaphysics, ethics, philosophy of language, psychology, anthropology, and scientific developments that have influenced the philosophical explanations of music. Starting from the very origins of philosophy in Western thought (Pythagoras, Plato, Aristotle) the book talks about what music is according to Augustine, Descartes, Leibniz, Rousseau, Kant, Hegel, the Romantics, Schopenhauer, Nietzsche, Wittgenstein, Susanne Langer, Bloch, Adorno, and many others. Recent developments within the analytic tradition are illustrated with particular attention to the ontology of the musical artwork and to the problem of music and emotions. A fascinating idea which recurs throughout the book is that philosophers allow for a sort of a secret kinship between music and philosophy, as means to reveal complementary aspects of truth.

Where does music come from? What kind of agency does a song have? What is at the root of musical pleasure? Can music die? These are some of the questions the Greeks and the Romans asked about music, song, and the soundscape within which they lived, and that this book examines. Focusing on mythical narratives of metamorphosis, it investigates the aesthetic and ontological questions raised by fantastic stories of musical origins. Each chapter opens with an ancient text devoted to a musical metamorphosis (of a girl into a bird, a nymph into an echo, men into cicadas, etc.) and reads that text as a meditation on an aesthetic and ontological question, in dialogue with 'contemporary' debates - contemporary with debates in the Greco-Roman culture that gave rise to the story, and with modern debates in the posthumanities about what it means to be a human animal enmeshed in a musicking environment.

I've long known that musicians understand copyright law as little as copyright lawyers understand music, but this book shows brilliantly that such mutual ignorance is deeply rooted in historical, philosophical and practical arguments about music making. In persuading both musicologists and legal theorists to address issues of authorship, creativity, property and performance, Andreas Rahmatian has put together a collection that is essential reading for anyone concerned with the uneasy relationship of music and law. This is a sophisticated, instructive and stimulating book.' - Simon Frith, University of Edinburgh, UK'Rahmatian's edited collection in ''Concepts of Music and Copyright' is provoking and revelatory. It is an elegant colloquy between four musicologists and four lawyers. The resultant discourse reveals a rich seam of amazing stories and judicial decisions on authorship, creativity and the law in the sphere of musical composition and performance. The book is not only for music scholars and copyright lawyers, but is ideal for any scholar who professes to enjoy socio-legal philosophy, music lore, or the history of ideas. Needless to add, it is a must-have for copyright judges.' - Uma Suthersanen, University of London, UK 'This collection considers the blurred lines between copyright law and music - from early musicology to the Golden Age of MTV and the rise of YouTube and mash-ups. It explores key concepts such as copyright works, subject matter, authorship, originality, copyright infringement, safe harbours, and takedown notices. This collection also examines the clash between legal theories of music, and perceptions of copyright law in musical communities.' - Matthew Rimmer, Queensland University of Technology (QUT), Australia Copyright specialists have often focused on the exploitation of copyright of music and on infringement, but not on the question of how copyright conceptualises music. This highly topical volume brings together specialists in music, musicology and copyright law, providing a genuinely interdisciplinary research approach. It compares and contrasts the concepts of copyright law with those of music and musical performance. Several tensions emerge between the ideas of music as a living art and of the musical work as a basis for copyright protection. The expert contributors discuss the notions of the musical work, performance, originality, authorship in music and in copyright, and co-ownership from the disciplinary perspectives of music, musicology and copyright law. The book also examines the role of the Musicians' Union in the evolution of performers' rights in UK copyright law, and, in an empirical study, the transaction costs theory for notice-and-takedown regimes in relation to songs uploaded on YouTube. This unique study offers an interdisciplinary perspective for academics, policymakers and legal practitioners seeking a state-of-the-art understanding of music and copyright law. Contributors: J. Butt, M. Parker Dixon, A. Firth, P.J. Heald, B. Heile, A. Rahmatian, C. Waelde, J. Williamson

Contents:
Introduction. Kate Van Orden
Printing the 'New Music'. Tim Carter
Elite Books, Popular Readers, and the Curious Hundred Year History of the Liber Usualis. Katherine Bergeron
Public Music in Private Spaces: Piano-Vocal Scores and the Domestication of Opera. Thomas Christensen
Alban Berg Remembers Emil Hertzka: Composer and Publisher Between Real and Ideal. Robert Holzer
Orlando di Lasso, Composer and Print Entrepreneur. James Haar
Authors and Anonyms: Recovering the Anonymous Subject in Cinquecento Vernacular Objects. Martha Feldman
Enterprise and Identity: Black Music, Theater, and Print Culture in Turn-of-the-Century Chicago. Thomas Bauman
Bénigne de Bacilly and the Recueil des plus beaux vers, qui ont esté mis en chant of 1661. Lisa Perella
Cheap Print and Street Songs Following the Vespres Lyonnaise. Kate Van Orden
Afterword. Roger Chartier

Discovering Music Theory is a suite of workbooks and corresponding answer books that offers all-round preparation for the updated ABRSM Music Theory exams from 2020, including the new online papers. This full-colour workbook will equip students of all ages with the skills, knowledge and understanding required for the ABRSM Grade 2 Music Theory exam. Written to make theory engaging and relevant to developing musicians of all ages, it offers: - straightforward explanations of all new concepts - progressive exercises to build skills and understanding, step by step - challenge questions to extend learning and develop music-writing skills - helpful tips for how to approach specific exercises - ideas for linking theory to music listening, performing and instrumental/singing lessons - clear signposting and progress reviews throughout - a sample practice exam paper showing you what to expect in the new style of exams from 2020 As well as fully supporting the ABRSM theory syllabus, Discovering Music Theory provides an excellent resource for anyone wishing to develop their music literacy skills, including GCSE and A-Level candidates, and adult learners.

See the film Hallelujah: Leonard Cohen, A Journey, A Song from Sony Pictures Classics This "thoughtful and illuminating" (The New York Times) work of music journalism is an unforgettable, fascinating, and unexpected account of one of the most performed and beloved songs in pop history-Leonard Cohen's heartrending "Hallelujah." Featuring a new foreword and afterword by the author. When Leonard Cohen first wrote and recorded the song "Hallelujah," it attracted little attention or airplay, dismissed by both fans and critics alike. Today, it is one of the most recorded songs in history, having been covered by a variety of music icons including Celine Dion, Bon Jovi, Willie Nelson, and, most famously, Jeff Buckley. It's been featured on soundtracks as diverse as Shrek to The West Wing. And in the days after major tragedies, it has brought comfort to thousands after being featured in the MTV 9/11 tribute video and the telethon for the 2010 Haitian earthquake. So how did one relatively unknown song become an unofficial international anthem for human triumph and tragedy, one which each successive generation feels they have discovered and claimed as uniquely their own? Through in-depth interviews and expansive research, longtime music journalist Alan Light follows the captivating and improbable journey of "Hallelujah" to the heart of popular culture. Discover how great songs come to be, and how we as listeners have the endless ability to project a succession of meanings onto a cultural artifact, forever reinterpreting art through the lens of current events and the latest trends. "A combination mystery tale, detective story, pop critique, and sacred psalm of its own" (Daily News, New York),The Holy or the Broken is a revelatory and masterful exploration of the overwhelming power of music.

Few composers have responded as powerfully to place as Frederick Delius (1862-1934). Born in Yorkshire, Delius resided in the United States, Germany, and Scandinavia before settling in France, where he spent the majority of his professional career. This book examines the role of place in selected works, including 'On Hearing the First Cuckoo in Spring', Appalachia, and The Song of the High Hills, reading place as a creative and historically mediated category in his music. Drawing on archival sources, contemporary art, and literature, and more recent writing in cultural geography and the philosophy of place, this is a new interpretation of Delius' work, and he emerges as one of the most original and compelling voices in early twentieth-century music. As the popularity of his music grows, this book challenges the idea of Delius as a large-scale rhapsodic composer, and reveals a richer and more productive relationship between place and music.

This thematic examination of Britten's operas focuses on the way that ideology is presented on stage. To watch or listen is to engage with a vivid artistic testament to the ideological world of mid-twentieth-century Britain. But it is more than that, too, because in many ways Britten's operas continue to proffer a diagnosis of certain unresolved problems in our own time. Only rarely, as in Peter Grimes, which shows the violence inherent in all forms of social and psychological identification, does Britten unmistakably call into question fundamental precepts of his contemporary ideology. This has not, however, prevented some writers from romanticizing Britten as a quiet revolutionary. This book argues, in contrast, that his operas, and some interpretations of them, have obscured a greater social and philosophical complicity that it is timely - if at the same time uncomfortable - for his early twenty-first-century audiences to address.

Sounding Out the State of Indonesian Music showcases the breadth and complexity of the music of Indonesia. By bringing together chapters on the merging of Batak musical preferences and popular music aesthetics; the vernacular cosmopolitanism of a Balinese rock band; the burgeoning underground noise scene; the growing interest in kroncong in the United States; and what is included and excluded on Indonesian media, editors Andrew McGraw and Christopher J. Miller expand the scope of Indonesian music studies. Essays analyzing the perception of decline among gamelan musicians in Central Java; changes in performing arts patronage in Bali; how gamelan communities form between Bali and North America; and reflecting on the "refusion" of American mathcore and Balinese gamelan offer new perspectives on more familiar topics. Sounding Out the State of Indonesian Music calls for a new paradigm in popular music studies, grapples with the imperative to decolonialize, and recognizes the field's grounding in diverse forms of practice.

This book discusses the myriad ways in which Beethoven begins his works and the structural, rhetorical, and emotional implications of these beginnings for listeners. Examining the opening moments of nearly 200 compositions, it offers a new method of analysis of Beethoven's music. At the same time, it sets Beethoven's work in context through a close study of beginnings in the compositions of the Classical Era.

Inventors in the age of the Enlightenment created lifelike androids capable of playing music on real instruments. Music and the Forms of Life examines the link between such simulated life and music, which began in the era's scientific literature and extended into a series of famous musical works by Haydn, Mozart, and Beethoven. Music invented auditory metaphors for the scientific elements of life (drive, pulse, sensibility, irritability, even metabolism), investigated the affinities and antagonisms between life and mechanism, and explored questions of whether and how mechanisms can come to life. The resulting changes in the conceptions of both life and music had wide cultural resonance at the time, and those concepts continued to evolve long after. A critical part of that evolution was a nineteenth-century shift in focus from moving androids to the projection of life in motion, culminating in the invention of cinema. Weaving together cultural and musical practices, Lawrence Kramer traces these developments through a collection of case studies ranging from classical symphonies to modernist projections of waltzing specters by Mahler and Ravel to a novel linking Bach's Goldberg Variations to the genetic code. The publisher gratefully acknowledges the generous support of the AMS 75 PAYS Fund of the American Musicological Society, supported in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

This book shows how information theory, probability, statistics, mathematics and personal computers can be applied to the exploration of numbers and proportions in music. It brings the methods of scientific and quantitative thinking to questions like: What are the ways of encoding a message in music and how can we be sure of the correct decoding? How do claims of names hidden in the notes of a score stand up to scientific analysis? How many ways are there of obtaining proportions and are they due to chance? After thoroughly exploring the ways of encoding information in music, the ambiguities of numerical alphabets and the words to be found "hidden" in a score, the book presents a novel way of exploring the proportions in a composition with a purpose-built computer program and gives example results from the application of the techniques. These include information theory, combinatorics, probability, hypothesis testing, Monte Carlo simulation and Bayesian networks, presented in an easily understandable form including their development from ancient history through the life and times of J. S. Bach, making connections between science, philosophy, art, architecture, particle physics, calculating machines and artificial intelligence. For the practitioner the book points out the pitfalls of various psychological fallacies and biases and includes succinct points of guidance for anyone involved in this type of research. This book will be useful to anyone who intends to use a scientific approach to the humanities, particularly music, and will appeal to anyone who is interested in the intersection between the arts and science.With a foreword by Ruth Tatlow (Uppsala University), award winning author of Bach's Numbers: Compositional Proportion and Significance and Bach and the Riddle of the Number Alphabet."With this study Alan Shepherd opens a much-needed examination of the wide range of mathematical claims that have been made about J. S. Bach's music, offering both tools and methodological cautions with the potential to help clarify old problems." Daniel R. Melamed, Professor of Music in Musicology, Indiana University

ABRSM's official Music Theory Practice Papers 2021 are essential resources for candidates preparing for our online Music Theory exams. They provide authentic practice material and are a reliable guide as to what to expect in the exam. - Essential practice material for ABRSM Grade 1 Theory exams - Model answers also available

Specifically designed to teach jazz basics to students with 1 or 2 years playing experience, but with no prior experience playing jazz. Great for individual or classroom use. Teaches the basics of swing style in a step-by-step approach using well-known songs. Improvisation is made easy starting with simple 2-measure phrases. Scales and basic theory are introduced in a simple and easy to understand approach. 2 CD's are included with recordings of all exercises and arrangements. Other features: 7 full band arrangements, sample solos, jazz history and people.

Taken together, these comprehensive volumes offer an authoritative account of the music of Africa. One of the most prominent experts on the subject, Gerhard Kubik draws on his extensive travels and three decades of study in many parts of the continent to compare and contrast a wealth of musical traditions from a range of cultures.

In the first volume, Kubik describes and examines xylophone playing in southern Uganda and harp music from the Central African Republic; compares multi-part singing from across the continent; and explores movement and sound in eastern Angola. And in the second volume, he turns to the cognitive study of African rhythm, Yoruba chantefables, the musical Kachamba family of Malaŵi, and African conceptions of space and time.
Each volume features an extensive number of photographs and is accompanied by a compact disc of Kubik's own recordings. Erudite and exhaustive, "Theory of African Music" will be an invaluable reference for years to come.

In recent years, a psychological perspective has gained increasing acceptance in the education provided to musicians: teachers, performers, and "creatives" alike. Research in music psychology has revealed how musicians acquire the ability to convey emotional intentions as sounded music, how listeners perceive it as feelings and moods, and how this powerful process relates to social and cultural dynamics. Of course, people who identify as musicians have special interest in these matters. A well-cited volume ever since its initial publication in 2007, Psychology for Musicians is now brought up-to-date in a second edition, particularly in expanding outside the exclusive context of Western formal/academic settings. This new edition draws on insights from recent research in music psychology, combining academic rigor with accessibility to offer readers research-supported ideas that they can readily apply in their musical activities.

Now 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.

First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.