This book offers an overview of issues related to the regulated, formal organization of sound and speech in verse intended for singing. Particularly, it is concerned with the structural properties and underlying mechanisms involved in the association of lyrics and music. While in spoken verse the underlying metrical scheme is grounded in the prosody of the language in which it is composed, in sung verse the structure is created by the mapping of specific prosodic units of the text (syllables, moras, tones, etc.) onto the rhythmic-melodic structure provided by the tune. Studying how this mapping procedure takes place across different musical genres and styles is valuable for what it can add to our knowledge of language and music in general, and also for what it can teach us about individual languages and poetic traditions. In terms of empirical coverage, the collection includes a wide variety of (Western) languages and metrical/musical forms, ranging from the Latin hexameter to the Norwegian stev, from the French chant courtois to the Sardinian mutetu longu. Readers interested in formal analyses of vocal music, or in metrics and linguistics, will find useful insights here.

The book was published in Polish language in edition of the Foundation for Polish Science (Wrocław University Press, Wrocław 2003) and awarded by the Polish Ministry of National Education (2004). Musical Work Analysis is a holistic approach to the cognitive theory of the musical work. The book develops some of Roman Ingarden's concepts on the epistemology of an actually existing work of music. The author outlines an epistemological theory of the musical work by discussing the role of musical analysis in modern musicology, defining sources and objects of epistemological activity, formulating a systematization of analytical terms, issues and methods, both normative and descriptive, and addressing the relation between analysis and interpretation of a musical work.

What is the place of ethnic minorities in the identity and culture of the majority? What happens when the colonizer appropriates the culture of the colonized? Throughout Russia's nineteenth-century expansion into the Caucasus and Central Asia, Russian intellectuals struggled with these questions that cut to the core of imperial identity. Representing Russia's Orient draws on political, cultural, and social history to tell the story of how Russia's imperial advancements and encounters with its southern and eastern neighbors influenced the development of Russian musical identity. While Russia's ethnic minorities, or inorodtsy, were located at the geographical and cultural periphery, they loomed large in composers' musical imagination and became central to the definition of Russianness itself. Drawing from previously untapped archival and published materials, including music scores, visual art, and ethnographies, author Adalyat Issiyeva offers an in-depth study of Russian musical engagement with oriental subjects. Within a complex matrix of politics, competing ideological currents, and social and cultural transformations, some Russian composers and writers developed multidimensional representations of oriental "others" and sometimes even embraced elements of Asian musical identity. Mapping the vast repertoire of bylinas, military and children songs, music ethnographies, rare collections of Asian folk songs, art songs inspired by Decembrist literature, and the art music of famous composers from the Mighty Five and their followers - all set against the development of oriental studies in Russia - the book sheds new light on how and why Russians sometimes rejected, sometimes absorbed and transformed elements of Asian history and culture in forging their own national identity.

Signifying Rappers is a fun and quirky discovery for any fan of David Foster Wallace or Hip-hop. Signifying Rappers is an old-school classic from David Foster Wallace and his friend and room-mate Mark Costello, first published in 1990, long out of print, and previously unavailable outside the USA. A paean to the golden age of Hip-Hop and the first book to consider seriously its position as a vital force in American culture, Signifying Rappers is a must-read for fans of both Wallace and hip-hop. Set against the legendary 1980s scene, it maps the bipolarities of rap and pop, rebellion and acceptance, glitz and gangsterdom, with an energy and exuberance which is as fresh today as when it was written. 'Costello and Wallace's pioneering study is a dazzling performance: informative, provocative, funny, brilliantly written . . . great wit, insight and in-your-face energy' Review of Contemporary Fiction 'Both a cogent explication of rap and a cutting, revealing parody of overinflated, pseudointellectual rap criticism' Seattle Weekly David Foster Wallace, who died in 2008, was the author of the acclaimed novels Infinite Jest and The Broom of the System. His final novel, The Pale King, was published posthumously in 2011. He is also the author of the short-story collections Oblivion, Brief Interviews with Hideous Men and Girl with Curious Hair. His non-fiction includes several essay collections, including Both Flesh and Not, which was published in 2012, and the the full-length work Everything and More. Mark Costello is the author of two novels, including the National Book Award Finalist Big If. He lives in New York City.

As one of the salient forces in the ritual life of those who worship the pre-Christian and Muslim deities called orishas, the Yoruba god of drumming, known as Ayan in Africa and Ana in Cuba, is variously described as the orisha of drumming, the spirit of the wood, or the more obscure Yoruba praise name AsoroIgi (Wood That Talks). With the growing global importance of orisha religion and music, the consequence of this deity's power for devotees continually reveals itself in new constellations of meaning as a sacred drum of Nigeria and Cuba finds new diasporas. Despite the growing volume of literature about the orishas, surprisingly little has been published about the ubiquitous Yoruba music spirit. Yet wherever one hears drumming for the orishas, Ayan or Ana is nearby. This groundbreaking collection addresses the gap in the research with contributions from a cross-section of prestigious musicians, scholars, and priests from Nigeria, the Americas, and Europe who have dedicated themselves to studying Yoruba sacred drums and the god sealed within. As well as offering multidisciplinary scholarly insights from transatlantic researchers, the volume includes compelling first-hand accounts from drummer-priests who were themselves history-makers in Nigerian and Cuban diasporas in the United States, Venezuela, and Brazil. This collaboration between diverse scholars and practitioners constitutes an innovative approach, where differing registers of knowledge converge to portray the many faces and voices of a single god.

James McNeill Whistler and France: A Dialogue in Paint, Poetry, and Music is the first full-length and in-depth study to position this painter within the overall trajectory of French modernism during the second half of the nineteenth century and to view the artist as integral to the aesthetic projects of its most original contributors. Suzanne M. Singletary maintains that Whistler was in a unique situation as an insider within the emerging French avant-garde, thereby in an enviable position to both absorb and transform the innovations of others - and that until now, his widespread influence as a catalyst among his colleagues has been neither investigated nor appreciated. Singletary contends that Whistler's importance rivals that of Manet, whose multi-layered (and often unexpected) interconnections with Whistler are the focus of one chapter. In addition, Whistler's pivotal role in linking the legacies of Baudelaire, Delacroix, Gautier, Wagner, and other mid-century innovators to the later French Symbolists has previously been largely ignored. Courbet, Degas, Monet, and Seurat complete the roster of French artists whose dialogue with Whistler is highlighted.

Metal, Rap, and Electro in Tunisia is a trip into the music scenes of Tunisia after the Arab Springs. Based on extensive field research, the book explores the social life of heavy metal, rap, and electronic music in a North African country whose mass revolution of 2010/2011 led the way to a troubled and yet unique democracy. What is it like to be part of a music scene in a place affected by poverty and inequality? How do the many conflicted souls of Tunisian Islam shape local metal, rap, and electro? What are the social and cultural stakes for music in a nation constantly represented as a bridge between Europe and the Middle East? How do music scenes articulate the complex political scenario that followed the Tunisian revolution of 2011? Barone answers these questions by offering new theoretical reflections on youth cultures and popular music in a global perspective, and thus pushing the debate on "post-subcultures" and scenes forward. At the same time, the book offers a dense sociological analysis of youth and music in reality - the Tunisian one - whose society, culture, religion, and politics are at stake in a historical transformation.

George Harrison was one of the most prolific popular music composers of the late 20th century. During his tenure with the Beatles, he caught the wave of 1960s pop culture and began channeling its pervasive influence through his music. Often described as "The Invisible Singer," his solo recordings reveal him to be an elusive, yet essential, element in the Beatles' sound. The discussion of George Harrison's Beatle tracks featured in the text employs a Songscape approach that blends accessible music analysis with an exploration of the virtual space created on the sound recording. This approach is then used to explore Harrison's extensive catalog of solo works, which, due to their varied cultural sources, seem increasingly like early examples of Global Pop. In that sense, the music of George Harrison may ultimately be viewed as an important locus for pan-cultural influence in the 20th century, making this book essential reading for those interested in the history of songwriting and recording as well as the cultural study of popular music.

Digital technology is transforming the musical score as a broad array of innovative score systems have become available to musicians. From attempts to mimic the print score, to animated and graphical scores, to artificial intelligence-based options, digital scoring affects the musical process by opening up new possibilities for dynamic interaction between the performer and the music, changing how we understand the boundaries between composition, score, improvisation and performance. The Digital Score: Musicianship, Creativity and Innovation offers a guide into this new landscape, reflecting on what these changes mean for music-making from both theoretical and applied perspectives. Drawing on findings from over a decade's worth of practice-based experimentation in the field, author Craig Vear builds a framework for understanding how digital scores create meaning. He considers the interactions between affect, embodiment and digital scores, offering the first comprehensive and critical consideration of an exciting field with no agreed-upon borders. Featuring insights from interviews with over fifty musicians and composers from across four continents, this book is a valuable resource for music researchers and practitioners alike.

Boy Bands and the Performance of Pop Masculinity provides a history of the boy band from the Beatles to One Direction, placing the modern male pop group within the wider context of twentieth- and twenty-first-century popular music and culture. Offering the first extended look at pop masculinity as exhibited by boy bands, this volume links the evolving expressions of gender and sexuality in the boy band to wider economic and social changes that have resulted in new ways of representing what it is to be a man. The popularity of boy bands is unquestionable, and their contributions to popular music are significant, yet they have attracted relatively little study. This book fills that gap with chapters exploring the challenges of defining the boy band phenomenon, its origins and history from the 1940s to the present, the role of management and marketing, the performance of gender and sexuality, and the nature of fandom and fan agency. Throughout, the author illuminates the ways in which identity politics influence the production and consumption of pop music and shows how the mainstream pop of boy bands can both reinforce and subvert gender and class hierarchies.

This Life of Sounds portrays an important and previously unexplored corner of the history of new music in America: the Center of the Creative and Performing Arts in the State University of New York at Buffalo. Composers Lukas Foss (the Center's founder), Lejaren Hiller, and Morton Feldman were the music directors over the life of "the Buffalo group," during the years 1964-1980. Based on Foss's plan, the Rockefeller Foundation provided annual fellowships for young composers and virtuoso instrumentalists to live in Buffalo for up to two years, thus creating a cadre of like-minded musicians who would spend their time studying, creating, and performing difficult - often controversial - new work. The now legendary group of musicians (some would say "musical outlaws") who participated in the Buffalo group included Pulitzer Prize winner George Crumb, Terry Riley, Cornelius Cardew, Maryanne Amacher, Frederic Rzewski, David Tudor, Julius Eastman, and many more. Composers John Cage, Jim Tenney, Iannis Xenakis and others all figure in the story as well. The book provides valuable accounts of the Center's influential concert series, Evenings for New Music, performed in Buffalo, New York and throughout Europe; its famous recording of Terry Riley's In C; the political activism of the time; and the intersection of academic, private, and institutional funding for the arts. Life magazine declared in an article about the 1965 Festival of the Arts Today titled, "Can This Be Buffalo?," "Buffalo exploded last month in a two-week avant garde festival that was bigger and hipper than anything ever held in Paris or New York..." The concerts, the festivals, and the adventurous musical climate attracted filmmakers and young visual artists resulting in what one person called "one of those kinds of places the way people talk about Vienna in 1900-1910."

WInner of the Best First Book from the Native American and Indigenous Studies Association Winner of the Labriola Center American Indian National Book Award Winner of the Ann Saddlemyer Award from the Canadian Association for Theatre Research Reimagining how we understand and write about the Indigenous listening experience​ Hungry Listening is the first book to consider listening from both Indigenous and settler colonial perspectives. A critical response to what has been called the “whiteness of sound studies,� Dylan Robinson evaluates how decolonial practices of listening emerge from increasing awareness of our listening positionality. This, he argues, involves identifying habits of settler colonial perception and contending with settler colonialism’s “tin ear� that renders silent the epistemic foundations of Indigenous song as history, law, and medicine.  With case studies on Indigenous participation in classical music, musicals, and popular music, Hungry Listening examines structures of inclusion that reinforce Western musical values. Alongside this inquiry on the unmarked terms of inclusion in performing arts organizations and compositional practice, Hungry Listening offers examples of “doing sovereignty� in Indigenous performance art, museum exhibition, and gatherings that support an Indigenous listening resurgence. Throughout the book, Robinson shows how decolonial and resurgent forms of listening might be affirmed by writing otherwise about musical experience. Through event scores, dialogic improvisation, and forms of poetic response and refusal, he demands a reorientation toward the act of reading as a way of listening. Indigenous relationships to the life of song are here sustained in writing that finds resonance in the intersubjective experience between listener, sound, and space. 

This volume provides a transnational study of the impact of musical cultures in the Eastern Baltics-Lithuania, Latvia, Poland, and Russia-at the end of the Cold War and in the early post-Communist period. Throughout the book, the contributors explore and conceptualize transnational musical collaboration and the diffusion of information, people, and ideas focusing on musical activity which shaped the moral and artistic outlook of several generations. The volume sheds light on the transformative power of politically and socially engaged music and offers a deeper understanding of the artistic potential of societies and its impact on social and political change.

An innovative contribution to Scriabin studies, covering aspects of Scriabin's life, personality, beliefs, training, creative output, and interaction with contemporary Russian culture. This book is an innovative contribution to Alexander Scriabin (1872-1915) studies, covering aspects of Scriabin's life, personality, beliefs, training, creative output, as well as his interaction with contemporary Russian culture. It offers new and original research from leading and upcoming Russian music scholars. Key Scriabin topics such as mysticism, philosophy, music theory, contemporary aesthetics, and composition processes are covered. Musical coverage spans the composer's early, middle and late period. All main repertoire is being discussed: the piano miniatures and sonatas as well as the symphonies. In more detail, chapters consider: Scriabin's part in early twentieth-century Russia's cultural climate; how Scriabin moved from early pastiche to a style much more original; the influence of music theory on Scriabin's idiosyncratic style; the changing contexts of Scriabin performances; new aspects of reception studies. Further chapters offer: a critical understanding of how Scriabin's writings sit within the traditions of Mysticism as well as French and Russian Symbolism; a new investigation into his creative compositional process; miniaturism and its wider context; a new reading of the composer's mysticism and synaesthesia. Analytical chapters reach out of the score to offer an interpretative framework; accepting new approaches from disability studies; investigating the complex interaction of rhythm and metre and modal interactions, the latent diatonic 'tonal function' of Scriabin's late works, as well as self-regulating structures in the composer's music.

This study examines relativistic aspects of Arnold Schoenberg's harmonic and aesthetic theories in the light of a framework of ideas presented in the early writings of Ludwig Wittgenstein, the logician, philosopher of language, and Schoenberg's contemporary and Austrian compatriot. The author has identified correspondences between the writings of Schoenberg, the early Wittgenstein (the Tractatus Logico-Philosophicus, in particular), and the Vienna Circle of philosophers, on a wide range of topics and themes. Issues discussed include the nature and limits of language, musical universals, theoretical conventionalsim, word-to-world correspondence in language, the need for a fact- and comparison-based approach to art criticism, and the nature of music-theoretical formalism and mathematical modeling. Schoenberg and Wittgenstein are shown to have shared a vision that is remarkable for its uniformity and balance, one that points toward the reconciliation of the positivist/relativist dualism that has dominated recent discourse in music theory. Contrary to earlier accounts of Schoenberg's harmonic and aesthetic relativism, this study identifies a solid epistemological core underlying his thought, a view that waw very much in step with Wittgenstein and the Vienna Circle, and thereby with the most vigorous and pivotal developments in early twentith century intellectual history.

Postmodernism is a term that has been used extensively to describe general trends and specific works in many different cultural contexts, including literature, cinema, architecture and the visual arts. This introduction clarifies the term and explores its relevance for music through discussion of specific musical examples from the 1950s to the present day, providing an engagement between theory and practice. Overall, this book equips students with a thorough understanding of this complex but important topic in music studies. It: * outlines and addresses the problems of defining what we mean by postmodernism * explores when postmodernism begins * engages with a broad range of literature and reference sources, inviting wider reading and thinking * uses specific musical examples to present ways of interpreting music that can be defined as postmodernist

Thomas Ades (b. 1971) is an established international figure, both as composer and performer, with popular and critical acclaim and admiration from around the world. Edward Venn examines in depth one of Ades's most significant works so far, his orchestral Asyla (1997). Its blend of virtuosic orchestral writing, allusions to various idioms, including rave music, and a musical rhetoric encompassing both high modernism and lush romanticism is always compelling and utterly representative of Ades's distinctive compositional voice. The reception of Asyla since its premiere in 1997 by Sir Simon Rattle and the City of Birmingham Symphony Orchestra (CBSO) has been staggering. Instantly hailed as a classic, Asyla won the 1997 Royal Philharmonic Society Award for Large-Scale Composition. An internationally acclaimed recording made of the work was nominated for the 1999 Mercury Music Prize, and in 2000, Ades became the youngest composer (and only the third British composer) to win the Grawemeyer prize, for Asyla. Asyla is fast becoming a repertory item, rapidly gaining over one hundred performances: a rare distinction for a contemporary work.

For the many poor and working-class Northeastern Brazilians who have been displaced from their home region for economic reasons, the music of forro is a redemptive attempt at establishing an immanent relationship to history and community in the diaspora. The redemption explored in this book is multifaceted, including a desire to return home as part of a larger workforce in a sustainable economy, the desire to see the region's rich culture celebrated throughout Brazil, and to ensure that its traditional legacies are both preserved and further enriched through respectful innovation. The acute perceptiveness of forro musicians in portraying the diasporic experience of Northeastern Brazilians is elaborated in various chapters, including: one chapter focused on lyrical, musical, and collective representations or manifestations of diasporic nostalgia (saudade), another chapter analyzing the lyrico-musical representation of rural workers' alienation from - and resistance to - life in the urban centers, and a third chapter which contextualizes forro's descriptions of the experiences of Brazil's internal migrants, utilizing an array of testimonials and academic studies on the subject of interregional migration to reveal both the wisdom of forro lyricists and some of their blind spots. The study also includes a historical analysis of this Northeastern genre's transformation from a rhythm called baiao that symbolically represented the Northeast as a simple, coherent entity, to forro, a more allegorical representation with a greater appreciation for the class, gender, racial, and generational complexity of the region. The development of the genre, as well as the circulation of theory related to cultural production and identity, are contextualized in a global economy.

This book looks at the rich means of text interpretation in seventeenth and eighteenth century Polish music, a relatively unknown phenomenon. The works of old Polish masters exhibit many ingenious and beautiful solutions in musical oration, which will appeal to wide circles of lovers and experts of old music. One of the fundamental components of baroque musical poetics was music-rhetorical figures, which were the main means of shaping expression - the base and quintessence of musical rhetoric. It was by means of figures that composers built the musical interpretation of a verbal text, developing pictorial, emphatic, onomatopoeic, symbolic, and allegorical structures that rendered emotions and meanings carried by the verbal level of a musical piece.

A fascinating aspect of the study of music in medieval Islamic and Judaic writings is the broad and interdisciplinary nature of the works and treatises in which it is covered. In addition, such works verbalize an art that was transmitted orally and took shape spontaneously, typically with improvisation during performance. As a result of this outlook the musical concept (or science) is often intertwined with practice (or history). This second collection by Amnon Shiloah brings together twenty-two studies exemplifying such multi-faceted viewpoints on the world of sounds and its virtue. The first studies concern the origin and originators of music and to how its essential constituents came into being; included here is the art of dance along with the controversial attitudes towards it. Next comes the symbolic, philosophical and metaphorical interpretation of music; one of the major ideas epitomizing this approach claimed that the pursuit of knowledge is the path to human perfection and happiness. There follow studies on the transmission of knowledge, along with some annotated key works dealing with therapeutic effects. The last articles focus on cultural traditions elaborated on European soil developing a particular style and musical practice, centred on the Iberian Peninsula, which was the scene of one of the most fascinating examples of cultural interchange.

John Birchensha (c.1605-?1681) is chiefly remembered for the impression that his theories about music made on the mathematicians, natural philosophers and virtuosi of the Royal Society in the 1660s and 1670s, and for inventing a system that he claimed would enable even those without practical experience of music to learn to compose in a short time by means of 'a few easy, certain, and perfect Rules'-his most famous composition pupil being Samuel Pepys in 1662. His great aim was to publish a treatise on music in its philosophical, mathematical and practical aspects (which would have included a definitive summary of his rules of composition), entitled Syntagma musicA|. Subscriptions for this book were invited in 1672-3, and it was due to be published by March 1675; but it never appeared, and no final manuscript of it survives. Consequently knowledge about his work has hitherto remained extremely sketchy. Recent research, however, has brought to light a number of manuscripts which allow us at last to form a more complete view of Birchensha's ideas. Almost none of this material has been previously published. The new items include an autograph treatise of c.1664 ('A Compendious Discourse of the Principles of the Practicall & Mathematicall Partes of Musick') which Birchensha presented to the natural philosopher Robert Boyle, and which covers concisely much of the ground that he intended to cover in Syntagma musicA|; a detailed synopsis for Syntagma musicA| which he prepared for a meeting of the Royal Society in February 1676; and an autograph notebook (now in Brussels) containing his six rules of composition with music examples, presumably written for a pupil. Bringing all this material together in a single volume will allow scholars to see how Birchensha's rules and theories developed over a period of fifteen years, and to gain at least a flavour of the lost Syntagma musicA|.

For students learning the principles of music theory, it can often seem as though the tradition of tonal harmony is governed by immutable rules that define which chords, tones, and intervals can be used where. Yet even within the classical canon, there are innumerable examples of composers diverging from these foundational "rules." Drawing on examples from composers including J.S. Bach, Mozart, Beethoven, Schubert, Mendelssohn, Chopin, Brahms, and more, Bending the Rules of Music Theory seeks to take readers beyond the basics of music theory and help them to understand the inherent flexibility in the system of tonal music. Chapters explore the use of different rule-breaking elements in practice and why they work, introducing students to a more nuanced understanding of music theory.

An Anthology of Australian Albums offers an overview of Australian popular music through the lens of significant, yet sometimes overlooked, Australian albums. Chapters explore the unique qualities of each album within a broader history of Australian popular music. Artists covered range from the older and non-mainstream yet influential, such as the Missing Links, Wendy Saddington and the Coloured Balls, to those who have achieved very recent success (Courtney Barnett, Dami Im and Flume) and whose work contributes to international pop music (Sia), to the more exploratory or experimental (Curse ov Dialect and A.B. Original). Collectively the albums and artists covered contribute to a view of Australian popular music through the non-canonical, emphasizing albums by women, non-white artists and Indigenous artists, and expanding the focus to include genres outside of rock including hip hop, black metal and country.

The flourishing of religious or spiritually-inspired music in the late twentieth and early twenty-first centuries remains largely unexplored. The engagement and tensions between modernism and tradition, and institutionalized religion and spirituality are inherent issues for many composers who have sought to invoke spirituality and Otherness through contemporary music. Contemporary Music and Spirituality provides a detailed exploration of the recent and current state of contemporary spiritual music in its religious, musical, cultural and conceptual-philosophical aspects. At the heart of the book are issues that consider the role of secularization, the claims of modernity concerning the status of art, and subjective responses such as faith and experience. The contributors provide a new critical lens through which it is possible to see the music and thought of Cage, Ligeti, Messiaen, Stockhausen as spiritual music. The book surrounds these composers with studies of and by other composers directly associated with the idea of spiritual music (Harvey, Gubaidulina, MacMillan, Part, Pott, and Tavener), and others (Adams, Birtwistle, Ton de Leeuw, Ferneyhough, Ustvolskaya, and Vivier) who have created original engagements with the idea of spirituality. Contemporary Music and Spirituality is essential reading for humanities scholars and students working in the areas of musicology, music theory, theology, religious studies, philosophy of culture, and the history of twentieth-century culture.