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.

Beethoven's seventy-two settings of traditional Irish airs constitute his most prolific output in any genre. The arrangements were commissioned in the early nineteenth century by the Scottish editor and publisher, George Thomson, who sent airs, but no texts, to Beethoven. Poetry, mostly by less well-known poets, was attached to the finished settings before publication by Thomson, and perhaps therein lies the reason why the songs never achieved the popularity which they deserve: many of the poems have been judged to be of inferior quality. In this edition, the first in which all Beethoven's Irish folksong settings are published together, the late baritone, broadcaster and musicologist, Tomas O Suilleabhain, selected texts, mostly by Burns and Moore, which he felt were more appropriate to the airs and to Beethoven's settings.

In what ways does listening to music shape everyday perception? Is music particularly effective in promoting shifts in consciousness? Is there any difference perceptually between contemplating one's surroundings and experiencing a work of art? Everyday Music Listening is the first book to focus in depth on the detailed nature of music listening episodes as lived mental experiences. Ruth Herbert uses new empirical data to explore the psychological processes involved in everyday music listening scenarios, charting interactions between music, perceiver and environment in a diverse range of real-world contexts. Findings are integrated with insights from a broad range of literature, including consciousness studies and research into altered states of consciousness, as well as ideas from ethology and evolutionary psychology, suggesting that a psychobiological capacity for trancing is linked to the origins of making and receiving of art. The term 'trance' is not generally associated with music listening outside ethnomusicological studies of strong experiences, yet 'hypnotic-like' involvements in daily life have long been recognized by hypnotherapy researchers. The author argues that multiply distributed attention - prevalent in much contemporary listening- does not necessarily indicate superficial engagement. Music emerges as a particularly effective mediator of experience. Absorption and dissociation, as manifestations of trancing, are self-regulatory processes, often operating at the level of unconscious awareness, that support individuals' perceptions of psychological health. This fascinating study brings together research and theory from a wide range of fields to provide a new framework for understanding the phenomenology of music listening in a way that will appeal to both specialist academic audiences and a broad general readership.

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.

In recent years, scholars and musicians have become increasingly interested in the revival of musical improvisation as it was known in the Renaissance and Baroque periods. This historically informed practice is now supplanting the late Romantic view of improvised music as a rhapsodic endeavour-a musical blossoming out of the capricious genius of the player-that dominated throughout the twentieth century. In the Renaissance and Baroque eras, composing in the mind (alla mente) had an important didactic function. For several categories of musicians, the teaching of counterpoint happened almost entirely through practice on their own instruments. This volume offers the first systematic exploration of the close relationship among improvisation, music theory, and practical musicianship from late Renaissance into the Baroque era. It is not a historical survey per se, but rather aims to re-establish the importance of such a combination as a pedagogical tool for a better understanding of the musical idioms of these periods. The authors are concerned with the transferral of historical practices to the modern classroom, discussing new ways of revitalising the study and appreciation of early music. The relevance and utility of such an improvisation-based approach also changes our understanding of the balance between theoretical and practical sources in the primary literature, as well as the concept of music theory itself. Alongside a word-centred theoretical tradition, in which rules are described in verbiage and enriched by musical examples, we are rediscovering the importance of a music-centred tradition, especially in Spain and Italy, where the music stands alone and the learner must distil the rules by learning and playing the music. Throughout its various sections, the volume explores the path of improvisation from theory to practice and back again.

What does it mean to talk about musical coherence at the end of a century characterised by fragmentation and discontinuity? How can the diverse influences which stand behind the works of many late twentieth-century composers be reconciled with the singular immediacy of the experiences that they can create? How might an awareness of the distinctive ways in which these experiences are generated and controlled affect the way we listen to, reflect upon and write about this music? Mark Hutchinson outlines a novel concept of coherence within Western art music from the 1980s to the turn of the millennium as a means of understanding the work of a number of contemporary composers, including Thomas Ades, Kaija Saariaho, Toru Takemitsu and Gyoergy Kurtag, whose music cannot be fitted easily into a particular compositional school or analytical framework. Coherence is understood as a multi-layered phenomenon experienced, above all, in the act of listening, but reliant upon a variety of other aspects of musical experience, including compositional statements, analysis, and connections of aesthetic, as well as listeners' own, imaginative conceptualisations. Accordingly, the approach taken here is similarly multi-faceted: close analytical readings of a number of specific works are combined with insights drawn from philosophy and aesthetics, music perception, and critical theory, with a particular openness to novel metaphorical presentations of basic musical ideas about form, language and time.

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.

Alfred Schnittke (1934-1998) was arguably the most important Russian composer since Shostakovich, and his music has generated a great deal of academic interest in the years since his death. Schnittke Studies provides a variety of perspectives on the composer and his music. The field is currently diverse and vibrant, and this book demonstrates the range of academic approaches being applied to Schnittke's work and the insights they provide, covering: polystylism, for which Schnittke is best known, the significance of the composer's Christian faith, and detailed formal analyses of key works, with connections drawn between the apparently divergent periods of the composer's career. This book has been prepared as a memorial to Professor Alexander Ivashkin, a leading scholar in the field, who died in 2014, and will be of interest not only to those studying Schnittke's music, but also those with an interest in late Soviet-era music in general.

Since Gyoergy Ligeti's death in 2006, there has been a growing acknowledgement of how central he was to the late twentieth-century cultural landscape. This collection is the first book devoted to exploring the composer's life and music within the context of his East European roots, revealing his dual identities as both Hungarian national and cosmopolitan modernist. Contributors explore the artistic and socio-cultural contexts of Ligeti's early works, including composition and music theory, the influence of East European folk music, notions of home and identity, his ambivalent attitude to his Hungarian past and his references to his homeland in his later music. Many of the valuable insights offered profit from new research undertaken at the Paul Sacher Foundation, Basel, while also drawing on the knowledge of long-time associates such as the composer's assistant, Louise Duchesneau. The contributions as a whole reveal Ligeti's thoroughly cosmopolitan milieu and values, and illuminate why his music continues to inspire new generations of performers, composers and listeners.

German music critic and opera producer Paul Bekker (1882-1937) is a rare example of a critic granted the opportunity to turn his ideas into practice. In this first full-length study of Bekker in English, Nanette Nielsen investigates Bekker's theory and practice in light of ethics and aesthetics, in order to uncover the ways in which these intersect in his work and contributed to the cultural and political landscape of the Weimar Republic. By linking Beethoven's music to issues of freedom and individuality, as he argues for its potential to unify the masses, Bekker had already in 1911 begun to construct the ethical framework for his musical sociology and opera aesthetics. Nielsen discusses some of the complex (and conflicting) layers of modernism and conservatism in Bekker that would have a continued presence in his work and its reception throughout his career. Bekker's demands for a 'practical ethics' led to his criticisms of metaphysically grounded approaches to aesthetics, and his ethical views are put into further relief in a sketch of the development of his music phenomenology in the 1920s. Nielsen unravels the complex intersections between Bekker's ethics and his opera aesthetics in connection with his practice as an Intendant at the Wiesbaden State Theatre (1927-1932), offering a critical reading of an opera staged during his tenure: Hugo Herrmann's Vasantasena (1930). Further works are considered in light of the theoretical framework underpinning the book, inspired by several intersections between ethics and aesthetics encountered in Bekker's work.

Offers unique perspectives on the clarinet's historical role in various styles, genres, and ensembles, from jazz and ethnic traditions to classical chamber music, concertos, opera, and symphony orchestras. With essays written by leading performer-scholars, The Clarinet offers unique perspectives on the clarinet's historical role in various styles, genres, and ensembles. Beginning with a chapter on clarinet iconography, the book continues with an overview of the instrument's early history, chapters on the clarinet in the opera orchestra and the traditional symphony orchestra, and examinations of important genres involving the clarinet (the concerto and the clarinet quintet). Also included are chapters on leading twentieth-century clarinetists, the instrument's use in the historically informed performance (HIP) movement, and an expansive look at the clarinet's use in ethnic traditions and early jazz. The emphasis on topics not covered elsewhere makes this book an important contribution to the clarinet literature. Written in an accessible style, this volume engages a wide range of readers, from professional musicians to clarinet aficionados and music lovers with less specialized knowledge. Contributors to this volume include Jane Ellsworth, Eric Hoeprich, Albert R. Rice, Ingrid Pearson, Julian Rushton, David Schneider, Marie Sumner Lott, Colin Lawson, and S. Frederick Starr.

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.

Exploring American Folk Music: Ethnic, Grassroots, and Regional Traditions in the United States reflects the fascinating diversity of regional and grassroots music in the United States. The book covers the diverse strains of American folk music--Latin, Native American, African, French-Canadian, British, and Cajun--and offers a chronology of the development of folk music in the United States. The book is divided into discrete chapters covering topics as seemingly disparate as sacred harp singing, conjunto music, the folk revival, blues, and ballad singing. It is among the few textbooks in American music that recognizes the importance and contributions of Native Americans as well as those who live, sing, and perform music along our borderlands, from the French speaking citizens in northern Vermont to the extensive Hispanic population living north of the Rio Grande River, recognizing and reflecting the increasing importance of the varied Latino traditions that have informed our folk music since the founding of the United States. Another chapter includes detailed information about the roots of hip hop and this new edition features a new chapter on urban folk music, exploring traditions in our cities, with a case study focusing on Washington, D.C. Exploring American Folk Music also introduces you to such important figures in American music as Bob Wills, Lydia Mendoza, Bob Dylan, and Muddy Waters, who helped shape what America sounds like in the twenty-first century. It also features new sections at the end of each chapter with up-to-date recommendations for ""Suggested Listening,"" ""Suggested Reading,"" and ""Suggested Viewing.""

"Everything But Bach, Beethoven and Brahms," comprises this multicultural repertoire guide for pianists, composers, music teachers and students, world music enthusiasts and scholars. It identifies pieces in the contemporary solo piano literature which show world music influences not traditionally associated with the standard repertoire of Western European art music. The resulting annotated bibliography therefore includes pieces which use or attempt to emulate non-Western scales, modes, folk tunes, rhythmic, percussive or harmonic devices and timbres. Axford highlights the music cultures of the Middle East and North Africa, Sub-Saharan Africa, India, the Far East, Indonesia, Oceania, ethnic North America, Latin America and Spain, and Eastern Europe, Russia, and Scandinavia. Separate bibliographies for each world music region show examples of contemporary solo piano pieces that demonstrate some of the traditional musical influences associated with the region.

Technology has become increasingly integrated into our daily lives, receiving a great deal of attention as an educational tool with the potential to enhance, or even transform, student learning. Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music presents an approach to conceptualizing and utilizing technology as a tool for music learning. Designed for use by pre- and in-service music teachers, it provides the essential understandings required for educators to become adaptive experts with music technology; to be instructional designers capable of creating and implementing lessons, units, and curriculum that take advantage of technological affordances to assist students in developing their musicianship. Most books about music and technology are technocentric, organized around specific technologies. Technological understanding is important and necessary for teachers, but research into educators' use of technology with students indicates that knowledge of the technology alone is insufficient. While some books have described teaching strategies and attempted to align the use of technologies with broader goals (standards), none of them have offered a coherent view of the interconnectedness of musical content, pedagogy, and technology. Grounded in the research and best practice literature, Music Learning Today makes connections among music knowledge and skill outcomes, the research on human cognition and music learning, best practices in music pedagogy, and technology. Its essential premise is that music educators and their students can benefit through use of technology as a tool to support learning in the three musical processes -creating, performing, and responding to music. The philosophical and theoretical rationales, along with the practical information discussed in the book, are applicable to all experience levels. However, the technological applications described are focused at a beginning to intermediate level, relevant to both pre-service and in-service music educators and their students.

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|.

Discordant Democracy: Noise, Affect, Populism, and the Presidential Campaign paints a portrait of the political experience at a pivotal time in American political and social history. The modern political campaign is aestheticized and assimilated into mass culture, divorced from fact and policy, and nakedly tethered to emotional appeal. Through a multi-modal comparative examination of the sonic and emotional cultures of the 2008 and 2016 campaigns, Justin Patch raises critical queries about our affective relationship to modern politics and the impact of emotional campaigning on democracy. Discordant Democracy asks: how do campaign sounds affect us; what role do we the electorate play in creating and sustaining these sounds and affects; and what actions do they generate? Theories from anthropology, cognitive science, sound studies and philosophy are engaged to grapple with these questions and connect bombastic mass-mediated political events, campaign media and individual sonic experience. The analyses complicate notions of top-down campaigning, political spin, and enthusiastic millennial populism by examining our role in producing and animating political sounds through conversation, applause, laughter, media, and music.

When asked to describe what music means to them, most people talk about its power to express or elicit emotions. As a melody can produce a tear, tingle the spine, or energize athletes, music has a deep impact on how we experience and encounter the world. Because of the elusiveness of these musical emotions, however, little has been written about how music creates emotions and how musical emotion has changed its meaning for listeners across the last millennium. In this sweeping landmark study, author Michael Spitzer provides the first history of musical emotion in the Western world, from Gregorian chant to Beyonce. Combining intellectual history, music studies, philosophy, and cognitive psychology, A History of Emotion in Western Music introduces current approaches to the study of emotion and formulates an original theory of how musical emotion works. Diverging from psychological approaches that center listeners' self-reports or artificial experiments, Spitzer argues that musical emotions can be uncovered in the techniques and materials of composers and performers. Together with its extensive chronicle of the historical evolution of musical style and emotion, this book offers a rich union of theory and history.

Anthony Minghella's 1996 film The English Patient won nine Academy Awards_, including one for Best Original Score. Though Gabriel Yared had previously composed scores for several films, including Betty Blue, Camille Claudel, and Vincent & Theo, his work on The English Patient launched him into international public consciousness. His score for this film testifies to the continued appeal of a classical, noncommercial style of scoring, eschewing the use of contemporary pop music for a more 'timeless' sound. In Gabriel Yared's The English Patient: A Film Score Guide, author Heather Laing offers the most in-depth examination to date of the work of the composer. Laing examines Yared's approach to film scoring, his compositional techniques and the impact of his partnership with Minghella before and after The English Patient_through an exploration of such films as The Moon in the Gutter, Betty Blue, Tatie Danielle, IP5, The Lover, City of Angels, and The Talented Mr. Ripley. The integral role of music in The English Patient is contextualized within a detailed analysis of the film's narrative construction, themes, and motifs. The soundtrack is examined as a whole, and the specific 'soundworlds' of each character, location, and relationship are drawn out as the basis for the overall style and construction of the score. Musical themes are viewed in both musical and narrative terms, and musical connections between the themes are identified. A close analysis of the placement and development of musical themes throughout the film reveals the complex musical journey that forms a unique and integral element of the characters.

On the fiftieth anniversary of David Bowie's magical album, Aladdin Sane 50 is the ultimate celebration of a musical masterpiece - and the most famous photograph in pop history. This landmark book contains hundreds of photographs, including dozens of David from the Aladdin Sane session that have never been seen until now, fifty years since they were taken. Aladdin Sane 50 also features essays by renowned experts and authors Paul Morley, Charles Shaar Murray, Nicholas Pegg, Kevin Cann, Jerome Soligny and Geoffrey Marsh on Bowie's remarkable album and the story behind the famous cover. In a breathtaking package designed by long-time Bowie collaborators Barnbrook creative studio, Aladdin Sane 50 pays tribute to a seminal album and an iconic image, one that will live forever more in rock 'n' roll history.

This book draws attention to the reception of Oskar Kolberg's folklorist's work outside of Poland. It also presents the work of other scholars active in Eastern Europe from the nineteenth century to the present day, many of them poorly known, despite their lofty achievements. The contributions by authors from Lithuania, Belarus, Ukraine, Russia, Slovakia and Poland reflect on how Kolberg's work is being continued by scholars today and how the musical repertoire that he recorded is functioning. This book unites the results of the international conference "The Kolbergs of Eastern Europe", organised by the College of Eastern Europe and the Institute of Musicology of the University of Wroclaw.

The Ordo Virtutum, Hildegard von Bingen's twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon. Not only does the Ordo's expansive duration set it apart from its precursors, but also its complex imagery and non-biblical narrative have raised various questions concerning its context and genre. As a poetic meditation on the fall of a soul, the Ordo deploys an array of personified virtues and musical forces over the course of its eighty-seven chants. In this ambitious analysis of the work, Michael C. Gardiner examines how classical Neoplatonic hierarchies are established in the music-drama and considers how they are mediated and subverted through a series of concentric absorptions (absorptions related to medieval Platonism and its various theological developments) which lie at the core of the work's musical design and text. This is achieved primarily through Gardiner's musical network model, which implicates mode into a networked system of nodes, and draws upon parallels with the medieval interpretation of Platonic ontology and Hildegard's correlative realization through sound, song, and voice.

Dancehall: It's simultaneously a source of raucous energy in the streets of Kingston, Jamaica; a way of life for a group of professional artists and music professionals; and a force of stability and tension within the community. Electronically influenced, relevant to urban Jamaicans, and highly danceable, dancehall music and culture forms a core of popular entertainment in the nation. As Anne Galvin reveals in "Sounds of the Citizens," the rhythms of dancehall music reverberate in complicated ways throughout the lives of countless Jamaicans.

Galvin highlights the unique alliance between the dancehall industry and community development efforts. As the central role of the state in supporting communities has diminished, the rise of private efforts such as dancehall becomes all the more crucial. The tension, however, between those involved in the industry and those within the neighborhoods is palpable and often dangerous. Amidst all this, individual Jamaicans interact with the dancehall industry and its culture to find their own paths of employment, social identity, and sexual mores.

As "Sounds of the Citizens" illustrates, the world of entertainment in Jamaica is serious business and uniquely positioned as a powerful force within the community.

An ethnographic study of music, performance, migration, and circulation, Singing Across Divides examines how forms of love and intimacy are linked to changing conceptions of political solidarity and forms of belonging, through the lens of Nepali dohori song. The book describes dohori: improvised, dialogic singing, in which a witty repartee of exchanges is based on poetic couplets with a fixed rhyme scheme, often backed by instrumental music and accompanying dance, performed between men and women, with a primary focus on romantic love. The book tells the story of dohori's relationship with changing ideas of Nepal as a nation-state, and how different nationalist concepts of unity have incorporated marginality, in the intersectional arenas of caste, indigeneity, class, gender, and regional identity. Dohori gets at the heart of tensions around ethnic, caste, and gender difference, as it promotes potentially destabilizing musical and poetic interactions, love, sex, and marriage across these social divides. In the aftermath of Nepal's ten-year civil war, changing political realities, increased migration, and circulation of people, media and practices are redefining concepts of appropriate intimate relationships and their associated systems of exchange. Through multi-sited ethnography of performances, media production, circulation, reception, and the daily lives of performers and fans in Nepal and the UK, Singing Across Divides examines how people use dohori to challenge (and uphold) social categories, while also creating affective solidarities.

An Introduction to Effective Music Teaching: Artistry and Attitude provides the prospective teacher with front-line tested strategies and approaches that are based on current research and the author's three decades of service as a public school music educator, department chairman, and public school district music administrator. Starting with a brief overview of the history of music education in public schools, Alfred Townsend gives the reader a deeper understanding of the importance of music education to all students, gifted or not. Readers then examine artistry (command of content and mastery of methods) and the ABCs of teacher attitude, the critical component that unlocks learning for many students. With an open and accessible writing style, Dr. Townsend reviews the six components of effective teaching, showing that artistry and attitude can be combined to fuel student learning and teacher leadership. Using all of this information, the reader constructs a personal, practical philosophy of music teaching and learning that will form the basis for his or her instruction. Readers will also experience artistry and attitude in action through well written case studies of effective teachers. With increasingly diverse student populations teachers now face, this book provides music teachers with ways to interact effectively with students of all backgrounds, attitudes, and talent.