Music as a narrative drama is an intriguing idea, which has captured explicit music theoretical attention since the nineteenth century. Investigations into narrative characters or personae has evolved into a sub-field-musical agency. In this book, Palfy contends that music has the potential to engage us in social processes and that those processes can be experienced as a social interaction with a musical agent. She explores the overlap between the psychological processes in which we participate in order to understand and engage with people, and those we engage in when we listen to music. Thinking of musical agency as a form of social process is quite different from existing theoretical frameworks for agency. It implies that we come to musical analysis by way of intuition-that our ideas are already partially formed based on our experience of the piece (and what it makes us feel or how it makes us sense it as any other) when we choose to analyze and interpret it. Palfy's focus on social processes is a very effective way to pinpoint when and why it is that our attention is captured and engaged by musical agents.

For decades now, scholars of music theory have firmly established the supranational importance of the pedagogical tradition that flourished in the Neapolitan conservatories from the 17th to the 19th century. Beyond its potential in today's teaching practice, many questions remain open about the didactic tools peculiar to this tradition. As is well known, Neapolitan maestri did not produce theoretical treatises, but drafted short exercises such as partimenti and solfeggi to be realized extempore, which were at the core of their composition teaching. But what about the mechanisms of creation and transmission of these tools? And to what extent were Neapolitan methods imitated or adapted across Europe? This volume brings together contributions from an international conference (Milan - Bern, 2017) addressing these issues.

This collection situates the North-East within a developing nationwide account of British musical culture. Music in North-East England provides a wide-ranging exploration of musical life in the North-East of England during the early modern period. It contributes to a growing number of studies concerned with developing a nationwide account of British musical culture. By defining the North-East in its widest sense, the collection illuminates localised differences, distinct musical cultures in urban centres and rural locations, as well as region-wide networks, and situates regional musical life in broader national and international contexts. Music in North-East England affords new insights into aspects of musical life that have been the focus of previous studies of British musical life - such as public concerts - but also draws attention to aspects that have attracted less scholarly attention in histories of early modern British musical culture: the musical activities and tastes of non-elite consumers; interactions between art music and cheap print and popular song; music education beyond London and its satellite environs; the recovery of northern urban soundscapes; and the careers of professional musicians who have not previously been the focus of major published musicological studies.

Opera in Performance elucidates the performative dimension of contemporary opera productions. What are the most striking and decisive moments in a performance? Why do we respond so strongly to stagings that transform familiar scenes, to performers' bodily presence, and to virtuosic voices as well as ill-disposed ones? Drawing on phenomenology and performance theory, Clemens Risi explains how these moments arise out of a dialogue between performers and the audience, representation and presence, the familiar and the new. He then applies these insights in critical descriptions of his own experiences of various singers, stagings, and performances at opera houses and festivals from across the German-speaking world over the last twenty years. As the first book to focus on what happens in performance as such, this study shifts our attention to moments that have eluded articulation and provides tools for describing our own experiences when we go to the opera. This book will particularly interest scholars and students in theater and performance studies, musicology, and the humanities, and may also appeal to operagoers and theater professionals.

The University of Louisville's annual Grawemeyer Award for Music Composition is the largest monetary award offered in its field. The international prize is offered for outstanding achievement by a living composer in a large musical genre, such as choral, orchestral, chamber, electronic, song-cycle, dance, opera, musical theater, or extended solo work. Since the award was first offered in 1985, the Dwight Anderson Memorial Music Library-one of the largest new music collections in North America-has housed the competition submissions. In order to keep an accurate listing detailing the holdings of this collection, this catalog was developed. Grawemeyer Award for Music Composition: The First Twenty Years catalogs every submission for this prestigious award, offering complete information on all the competition submissions, including title, composer, format, length, instrumentation, and information on where to find or purchase the composition. The bulk of the catalog is listed alphabetically by composer, so that users can learn whose works were submitted over the 20 years covered by the award. The additional appendixes provide the opposite perspective: a year-by-year glance at the award and those who submitted works each year. Concluding with an index, this catalog increases awareness of this collection and acknowledges the work of these important composers and their consequence to recent music history.

Heitor Villa-Lobos's Bachianas Brasileiras demonstrates how the composer achieved his own Brazilian neoclassical style in a group of works, nine suites in total, that is arguably one of the best examples of homage to J.S. Bach's music in the twentieth century. In this book, the corpus of Bachianas Brasileiras is contextualised and critically examined according to its structure and intertextual aspects, as well as its relationship to Bach's music, Brazilian popular music, and other works by contemporaries of Villa Lobos. A range of musical examples illustrate instances of the selected topics in the works, encompassing urban Brazilian popular music such as the choro, Brazilian northeast and afro rhythms, and citation of folkloric melodies. Dudeque's comprehensive examination of the Bachianas Brasileiras will be invaluable for scholars and researchers of music theory and analysis.

This handbook offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes.
Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema and television migrated across media. However, the traversal, or "remediation," from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of "cyberspace," audiovisual expression has changed dramatically.
The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and non-academic writers (both mainstream and independent)- open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today's sound and image. All consider the aural dimension, and what Michel Chion calls "audio-vision: " the sensory and semiotic result of sound placed with vision, an encounter greater than their sum.

Generally speaking, the philosophy of music hitherto can be said to approach music, as it were, from above or from outside. Music, thus envisaged, can be "absolute" or "sounding forms in motion". It can be expression, have a linguistic meaning, tell a story, be a manifestation of "the world as will and conceptualization", and mirror society's inward contradictions. Music is seen as an activity, sometimes as interactivity, not least through an anthropological approach in which prominence is given to its origins. This work is an attempt to reverse the argument, by taking the phenomenon of tone as the starting point to work the way up to an understanding of the phenomenon of music, to make a philosophy of tone the foundation of a philosophy of music. Such thoughts were already present in the author's previous works, but, being available only in Swedish, will be enlarged here.

A new and groundbreaking approach to the history of grand opera, Grand Illusion: Phantasmagoria in Nineteenth-Century Opera explores the illusion and illumination behind the form's rise to cultural eminence. Renowned opera scholar Gabriela Cruz argues that grand opera worked to awaken memory and feeling in a way never before experienced in the opera house, asserting that the concept of "spectacle" was the defining cultural apparatus of the art form after the 1820s. Parisian audiences at the Academie Royale de Musique were struck by the novelty and power of grand opera upon the introduction of gaslight illumination, a technological innovation that quickly influenced productions across the Western operatic world. With this innovation, grand opera transformed into an audio-visual spectacle, delivering dream-like images and evoking the ghosts of its audiences' past. Through case studies of operas by Giacomo Meyerbeer, Richard Wagner, and Giuseppe Verdi, Cruz demonstrates how these works became an increasingly sophisticated medium by which audiences could conjure up the past and be transported away from the breakdown of modern life. A historically informed narrative that traverses far and wide, from dingy popular theatres in post-revolutionary Paris, to nautical shows in London, and finally to Egyptian mummies, Grand Illusion provides a fresh departure from previous scholarship, highlighting the often-neglected visual side of grand opera.

Ever hear of a butt splice? A cover? An iron mother? A biscuit? These were terms used in the heyday of vinyl records, from 1949 to the mid-1980s. This colorful and almost forgotten language was once used by record producers, label owners, disc jockeys, jukebox operators, record distributors, and others in the music industry. Their language is collected in this dictionary. Each entry offers both an explanation of a term's meaning as well as its context and use in the history of the record business.

Digital Scenography in Opera in the Twenty-First Century is the first definitive study of the use of digital scenography in Western opera production. The book begins by exploring digital scenography's dramaturgical possibilities and establishes a critical framework for identifying and comparing the use of digital scenography across different digitally enhanced opera productions. The book then investigates the impacts and potential disruptions of digital scenography on opera's longstanding production conventions, both on and off the stage. Drawing on interviews with major industry practitioners, including Paul Barritt, Mark Grimmer, Donald Holder, Elaine J. McCarthy, Luke Halls, Wendall K. Harrington, Finn Ross, S. Katy Tucker, and Victoria 'Vita' Tzykun, author Caitlin Vincent identifies key correlations between the use of digital scenography in practice and subsequent impacts on creative hierarchies, production design processes, and organisational management. The book features detailed case studies of digitally enhanced productions premiered by Dutch National Opera, Komische Oper Berlin, Opera de Lyon, The Royal Opera, Covent Garden, San Francisco Opera, Santa Fe Opera, Theatre Royal de la Monnaie, The Metropolitan Opera, Victorian Opera, and Washington National Opera.

Film music often tells us how to feel, but it also guides us how to hear. Hollywood Harmony explores the inner workings of film music, bringing together tools from music theory, musicology, and music psychology. Harmony, and especially chromaticism, is emblematic of what we commonly recognize as film music sound and it is often used to evoke wonder, that most cinematic of feelings. To help parse this familiar but complex musical style, Hollywood Harmony offers a first-of-its kind introduction to neo-Riemannian theory, a recently developed and versatile method of understanding music as a dynamic and transformational process, rather than a series of inert notes on a page. This application of neo-Riemannian theory to film music is perfect way in for curious newcomers, while also constituting significant scholarly contribution to the larger discipline of music theory. Author Frank Lehman draws from his extensive knowledge of cinematic history with case-studies that range from classics of Golden Age Hollywood to massive contemporary franchises to obscure cult-films. Special emphasis is placed on scores for major blockbusters such as Lord of the Rings, Star Wars, and Inception. With over a hundred meticulously transcribed music examples and more than two hundred individual movies discussed, Hollywood Harmony will fascinate any fan of film and music.

With many incarnations, The Fall (1976-2018) were one of the most influential bands to emerge in the British Post-Punk Scene. Their unique sound and distinct iconography have had a lasting impact on music fans and performers alike. This book disassembles The Fall's significant contribution to music. Based on up-to-date original research, the book separates fact from fiction and offers a thorough investigation into The Fall and their founder/leader Mark E Smith, in particular. Given The Fall's complexities (their wide range of influences; multiple line-ups and 'anti-music' stance), the book draws upon a wide range of academic disciplines, including ethnomusicology, sociology, literary theory, linguistics, journalism, cultural studies, and film and media studies, in order to unpack the group's influence and legacy.

Rising out of the American art music movement of the late 1950s and 1960s, minimalism shook the foundations of the traditional constructs of classical music, becoming one of the most important and influential trends of the twentieth century. The emergence of minimalism sparked an active writing culture around the controversies, philosophies, and forms represented in the music’s style and performance, and its defenders faced a relentless struggle within the music establishment and beyond. Focusing on how facts about music are constructed, negotiated, and continually remodeled, We Have Always Been Minimalist retraces the story of these battles that—from pure fiction to proven truth—led to the triumph of minimalism. Christophe Levaux’s critical analysis of literature surrounding the origins and transformations of the stylistic movement offers radical insights and a unique new history.

The Music of the Spheres in the Western Imagination describes various systematic musical ecologies of the cosmos by examining attempts over time to define Western theoretical musical systems, whether practical, human, nonhuman, or celestial. This book focuses on the theoretical, theological, philosophical, physical, and mathematical concepts of a cosmic musical order and how these concepts have changed in order to fit different worldviews through the imaginations of theologians, theorists, and authors of fiction, as well as the practical performance of music. Special attention is given to music theory treatises between the ninth and sixteenth centuries, English-language hymnody from the eighteenth century to the present, polemical works on music and worship from the last hundred years, the Divine Comedy of Dante, nineteenth- and twentieth-century English-language fiction, the fictional works of C.S. Lewis, and the legendarium of J.R.R. Tolkien.

Professor Michael Edgeworth McIntyre is an eminent scientist who has also had a part-time career as a musician. From a lifetime's thinking, he offers this extraordinary synthesis exposing the deepest connections between science, music, and mathematics, while avoiding equations and technical jargon. He begins with perception psychology and the dichotomization instinct and then takes us through biological evolution, human language, and acausality illusions all the way to the climate crisis and the weaponization of the social media, and beyond that into the deepest parts of theoretical physics - demonstrating our unconscious mathematical abilities.He also has an important message of hope for the future. Contrary to popular belief, biological evolution has given us not only the nastiest, but also the most compassionate and cooperative parts of human nature. This insight comes from recognizing that biological evolution is more than a simple competition between selfish genes. Rather, he suggests, in some ways it is more like turbulent fluid flow, a complex process spanning a vast range of timescales.Professor McIntyre is a Fellow of the Royal Society of London (FRS) and has worked on problems as diverse as the Sun's magnetic interior, the Antarctic ozone hole, jet streams in the atmosphere, and the psychophysics of violin sound. He has long been interested in how different branches of science can better communicate with each other and with the public, harnessing aspects of neuroscience and psychology that point toward the deep 'lucidity principles' that underlie skilful communication.

Professor Michael Edgeworth McIntyre is an eminent scientist who has also had a part-time career as a musician. From a lifetime's thinking, he offers this extraordinary synthesis exposing the deepest connections between science, music, and mathematics, while avoiding equations and technical jargon. He begins with perception psychology and the dichotomization instinct and then takes us through biological evolution, human language, and acausality illusions all the way to the climate crisis and the weaponization of the social media, and beyond that into the deepest parts of theoretical physics - demonstrating our unconscious mathematical abilities.He also has an important message of hope for the future. Contrary to popular belief, biological evolution has given us not only the nastiest, but also the most compassionate and cooperative parts of human nature. This insight comes from recognizing that biological evolution is more than a simple competition between selfish genes. Rather, he suggests, in some ways it is more like turbulent fluid flow, a complex process spanning a vast range of timescales.Professor McIntyre is a Fellow of the Royal Society of London (FRS) and has worked on problems as diverse as the Sun's magnetic interior, the Antarctic ozone hole, jet streams in the atmosphere, and the psychophysics of violin sound. He has long been interested in how different branches of science can better communicate with each other and with the public, harnessing aspects of neuroscience and psychology that point toward the deep 'lucidity principles' that underlie skilful communication.

Presents current analytic views by established scholars of the traditional tonal repertoire, with essays on works by Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms. Bach to Brahms presents current analytic views on the traditional tonal repertoire, with essays on works by Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms. The fifteen essays, written by well-established scholars of this repertoire, are divided into three groups, two of which focus primarily on elements of musical design (formal, metric, and tonal organization) and voice leading at multiple levels of structure. The third groupof essays focuses on musical motives from different perspectives. The result is a volume of integrated studies on the music of the common-practice period, a body of music that remains at the core of modern concert and classroom repertoire. Contributors: Eytan Agmon, David Beach, Charles Burkhart, L. Poundie Burstein, Yosef Goldenberg, Timothy L. Jackson, William Kinderman, Joel Lester, Boyd Pomeroy, John Rink, Frank Samarotto, Lauri Suurpaa, Naphtali Wagner, Eric Wen, Channan Willner. David Beach is professor emeritus and former dean of the Faculty of Music, University of Toronto. Yosef Goldenberg teaches at the Hebrew University of Jerusalem and at the Jerusalem Academy of Music and Dance, where he also serves as head librarian.

Singing in Signs: New Semiotic Explorations of Opera offers a bold and refreshing assessment of the state of opera study as seen through the lens of semiotics. At its core, the volume responds to Carolyn Abbate and Roger Parker's Analyzing Opera, utilizing a semiotic framework to embrace opera on its own terms and engage all of its constituent elements in interpretation. Chapters in this collection resurrect the larger sense of serious operatic study as a multi-faceted, interpretive discipline, no longer in isolation. Contributors pay particular attention to the musical, dramatic, cultural, and performative in opera and how these modes can create an intertext that informs interpretation. Combining traditional and emerging methodologies, Singing in Signs engages composer-constructed and work-specific music-semiotic systems, broader socio-cultural music codes, and narrative strategies, with implications for performance and staging practices today.

Compositional Process in Elliott Carter's String Quartets is an interdisciplinary study examining the evolution and compositional process in Elliott Carter's five string quartets. Offering a systematic and logical way of unpacking concepts and processes in these quartets that would otherwise remain opaque, the book's narrative reveals new aspects of understanding these works and draws novel conclusions on their collective meaning and Carter's place as the leading American modernist. Each of Carter's five string quartets is driven by a new idea that Carter was exploring during a particular period, which allows for each quartet to be examined under a unique lens and a deeper understanding of his oeuvre at large. Drawing on key ideas from a variety of subjects including performance studies, philosophy, music cognition, musical meaning and semantics, literary criticism, and critical theory, this is an informative volume for scholars and researchers in the areas of music theory and musicology. Analyses are supplemented with sketch study, correspondence, text manuscripts, and other archival sources from the Paul Sacher Stiftung, the Library of Congress, and the New York Public Library.

In the wake of World War II, the arts and culture of Europe became a site where the devastating events of the 20th century were remembered and understood. Exploring one of the most integral elements of the cinematic experience-music-the essays in this volume consider the numerous ways in which post-war European cinema dealt with memory, trauma and nostalgia, showing how the music of these films shaped the representation of the past. The contributors consider films from the United Kingdom, Poland, the Soviet Union, France, Italy, Germany, Sweden, Austria, and the Netherlands, providing a diverse and well-rounded understanding of film music in the context of historical memory. Memory is often underrepresented within scholarly musical studies, with most of these applications found in the disciplines of ethnomusicology, popular music studies, music cognition, and psychology and music therapy. Likewise, trauma has mainly been studied in relation to music in only a few historical contexts, while nostalgia has attracted even less academic attention. In three parts, this volume addresses each area of study as it relates to the music of European cinema from 1945 to 1989, applying an interdisciplinary approach to investigate how films use music to negotiate the precarious relationships we maintain with the past. Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War offers compelling arguments as to what makes music such a powerful medium for memory, trauma and nostalgia.

The Creative Electronic Music Producer examines the creative processes of electronic music production, from idea discovery and perception to the power of improvising, editing, effects processing, and sound design. Featuring case studies from across the globe on musical systems and workflows used in the production process, this book highlights how to pursue creative breakthroughs through exploration, trial and error tinkering, recombination, and transformation. The Creative Electronic Music Producer maps production's enchanting pathways in a way that will fascinate and inspire students of electronic music production, professionals already working in the industry, and hobbyists.

Christians and Christianity have been central to Hip Hop since its inception. This book explores the intersection of Christians and Hip Hop and the multiple outcomes of this intersection. It lays out the ways in which Christians and Hip Hop overlap and diverge. The intersection of Christians and Hip Hop brings together African diasporic cultures, lives, memories and worldviews. Moving beyond the focus on rappers and so-called "Christian Hip Hop," each chapter explores three major themes of the book: identifying Hip Hop, irreconcilable Christianity, and boundaries.There is a self-identified Christian Hip Hop (CHH) community that has received some scholarly attention. At the same time, scholars have analyzed Christianity and Hip Hop without focusing on the self-identified community. This book brings these various conversations together and show, through these three themes, the complexities of the intersection of Christians and Hip Hop. Hip Hop is more than rap music, it is an African diasporic phenomenon. These three themes elucidate the many characteristics of the intersection between Christians and Hip Hop and our reasoning for going beyond "Christian Hip Hop." This collection is a multi-faceted view of how religious belief plays a role in Hip Hoppas' lives and community. It will, therefore, be of great interest to scholars of Religion and Hip Hop, Hip Hop, African Diasporas, Religion and the Arts, Religion and Race and Black Theology as well as Religious Studies more generally.

This volume brings together the work of social scientists and music scholars examining the role of migrant and migrant descended communities in the production and consumption of popular music in Europe and North America. The contributions to the collection include studies of language and local identity in hip hop in Liege and Montreal; the politics of Mexican folk music in Los Angeles; the remaking of ethnic boundaries in Naples; the changing meanings of Tango in the Argentine diaspora and of Alevi music among Turks in Germany; the history of Soca in Brooklyn; and the recreation of 'American' culture by the children of immigrants on the Broadway stage. Taken together, these works demonstrate how music affords us a window onto local culture, social relations and community politics in the diverse cities of immigrant receiving societies. Music is often one of the first arenas in which populations encounter newcomers, a place where ideas about identity can be reformulated and reimagined, and a field in which innovation and hybridity are often highly valued. This book highlights why it is a subject worthy of more attention from students of racial and ethnic relations in diverse societies. It was originally published as a special issue of Ethnic and Racial Studies.