In the 1950s, Hammer Film Productions, a small British filmmaking company, introduced the world to a new genre of motion picture. Referred to by some as "horror," by others as "fantasy," Hammer films had a unique look and feel that many other studios would later attempt and fail to capture. Hammer films also had a unique sound. For although the studio was small and the budgets limited, those involved in making the Hammer films recognized that the musical score was just as important as the set, the actors, and the script in telling the story. Consequently, Hammer Films Productions recruited the best musical talent to make its films come alive. Those artists and the work they did are chronicled here in careful detail by Randall D. Larson. From the studio's fledging days, through its great successes of the 60s and early 70s, Music from the House of Hammer offers an inside look at how the "Hammer sound" was developed and nurtured.

In studies of gender and sexuality in popular music, the concept of difference is often a crucial analytic used to detect social agency; however, the alternative analytic of ambiguity has never been systematically examined. While difference from heterosexual norms is taken to be the multivalent sign of resistance, oppression, and self-invention, it can lead to inflated claims of the degree and power of difference. This book offers critically-oriented case studies that examine the theory and politics of ambiguity. Ambiguity means that there are both positive and negative implications in any gender and sexuality practices, both sameness and difference from heteronormativity, and unfixed possibility in the diverse nature of discourse and practice (rather than just "difference" among fixed multiplicities). Contributors present a diverse array of approaches through music, sound, psyche, body, dance, performance, race, ethnicity, power, discourse, and history. A wide variety of popular music genres are broached, including gay circuit remixes, punk rock, Goth music, cross-dress performance, billboard 100 songs, global pop, and nineteenth-century minstrelsy. The authors examine the ambiguities of performance and reception, and address the vexed question of whether it is possible for genuinely new forms of gender and sexuality to emerge musically. This book makes a distinctive contribution to studies of gender and sexuality in popular music, and will be of interest to fields including Popular Music Studies, Musicology/Ethnomusicology, Cultural Studies, Queer Studies, and Media Studies.

Audible Empire rethinks the processes and mechanisms of empire and shows how musical practice has been crucial to its spread around the globe. Music is a means of comprehending empire as an audible formation, and the contributors highlight how it has been circulated, consumed, and understood through imperial logics. These fifteen interdisciplinary essays cover large swaths of genre, time, politics, and geography, and include topics such as the affective relationship between jazz and cigarettes in interwar China; the sonic landscape of the U.S.- Mexico border; the critiques of post-9/11 U.S. empire by desi rappers; and the role of tonality in the colonization of Africa. Whether focusing on Argentine tango, theorizing anticolonialist sound, or examining the music industry of postapartheid South Africa, the contributors show how the audible has been a central component in the creation of imperialist notions of reason, modernity, and culture. In doing so, they allow us to hear how empire is both made and challenged. Contributors: Kofi Agawu, Philip V. Bohlman. Michael Denning, Brent Hayes Edwards, Nan Enstad, Andrew Jones, Josh Kun, Morgan Luker, Jairo Moreno, Tejumola Olaniyan, Marc Perry, Ronald Radano, Nitasha Sharma, Micol Seigel, Gavin Steingo, Penny Von Eschen, Amanda Weidman.

Since its inception in the mid-twentieth century, American music theory has been framed and taught almost exclusively by white men. As a result, whiteness and maleness are woven into the fabric of the field, and BIPOC music theorists face enormous hurdles due to their racial identities. In On Music Theory, Philip Ewell brings together autobiography, music theory and history, and theory and history of race in the United States to offer a black perspective on the state of music theory and to confront the field’s white supremacist roots. Over the course of the book, Ewell undertakes a textbook analysis to unpack the mythologies of whiteness and western-ness with respect to music theory, and gives, for the first time, his perspective on the controversy surrounding the publication of volume 12 of the Journal of Schenkerian Studies. He speaks directly about the antiblackness of music theory and the antisemitism of classical music writ large and concludes by offering suggestions about how we move forward. Taking an explicitly antiracist approach to music theory, with this book Ewell begins to create a space in which those who have been marginalized in music theory can thrive.

Sonic Signatures is an interdisciplinary collaboration of scholars and music-makers who come together to explore how music makes cities. More specifically, they argue that the musical encounter, composed of an array of production and consumption practices, takes on particular and essential meaning at night. Thinking about music as an encounter allows one to appreciate the value and power of migration within the act of music-making. The majority of voices amplified in the book come from so-called “migrants,� understood as someone who was born in one country and currently lives and works in another. Yet, these words, migration, migrant and migrancy, are more expansive than that as they indicate a range of movement, politics and place-making. Contributions from Emilie Amrein, André de Quadros, Nick Dunn, Pol Esteve, Jillian Fulton-Melanson, Jacqueline Georgis, Masimba Hwati, Ailbhe Kenny, Seger Kersbergen, Brendan Kibbee, �ine Mangaoang, Derek Pardue, Nick Prior, Austin T. Richie, Willians Santos, Sipho Sithole, Gibran Teixeira Braga, Katie Young. A great, engaging transdisciplinary contribution to nightlife studies, music and the city.

Sonic Signatures is an interdisciplinary collaboration of scholars and music-makers who come together to explore how music makes cities. More specifically, they argue that the musical encounter, composed of an array of production and consumption practices, takes on particular and essential meaning at night. Thinking about music as an encounter allows one to appreciate the value and power of migration within the act of music-making. The majority of voices amplified in the book come from so-called “migrants,� understood as someone who was born in one country and currently lives and works in another. Yet, these words, migration, migrant and migrancy, are more expansive than that as they indicate a range of movement, politics and place-making. Contributions from Emilie Amrein, André de Quadros, Nick Dunn, Pol Esteve, Jillian Fulton-Melanson, Jacqueline Georgis, Masimba Hwati, Ailbhe Kenny, Seger Kersbergen, Brendan Kibbee, �ine Mangaoang, Derek Pardue, Nick Prior, Austin T. Richie, Willians Santos, Sipho Sithole, Gibran Teixeira Braga, Katie Young. A great, engaging transdisciplinary contribution to nightlife studies, music and the city.

This collection uncovers how music criticism contributed to national and transnational preoccupations and agendas. Music Criticism in France examines the aesthetic battles that animated and informed French musical criticism during the interwar period (1918-1939). Drawing upon a rich corpus of critical writings and archival documents, the book uncovers some of the public debates surrounding classical music in the immediate aftermath of the Great War until the eve of World War II. As such, it provides new insights into the priorities, values and challenges that affected the musical milieu of this war-bound generation. This collection of essays brings together scholars from different areas of musicology and related humanities disciplines; it also draws on different anglophone and francophone intellectual traditions. As well as considering the reception of individual works, the contributors examine key individuals, composer-critic pairings, the composer as critic and technician, the role of influential journals, and music criticism as a pedagogical tool for concert-going and radio audiences. Focusing on the themes of authority, advocacy and legacy, it shows the contribution of principal critics such as Vuillermoz, Vallas, Prunieres, Schloezer and Koechlin to shaping our understanding of music in the first half of the twentieth century in France. We see how criticism contributes to national and transnational preoccupations and agendas, which were of considerable importance throughout the interwar period and continue to have relevance today. BARBARA L. KELLY is Director of Research and Professor of Musicology at the Royal Northern College of Music, Manchester. CHRISTOPHER MOORE is Associate Professor of Musicology at the University of Ottawa. Contributors: PHILIPPE CATHE, MICHEL DUCHESNEAU, KIMBERLY FRANCIS, JACINTHE HARBEC, BARBARA L. KELLY, PASCAL LECROART, CHRISTOPHER MOORE, RACHEL MOORE, JANN PASLER, CAROLINE RAE, DANICK TROTTIER, MARIANNE WHEELDON

Through a theoretical and practical exploration of Jungian and post-Jungian concepts surrounding image, this book moves beyond the visual scope of imagery to consider the presence and expression of music and sound, as well as how the psyche encounters expanded images - archetypal, personal or cultural - on both conscious and unconscious levels. By closely examining music in film, Nagari considers music's complementary, enhancing, meaningful, and sometimes disruptive, contribution to expressive images. Chapters present a Jungian approach to music in film, highlighting how 'music-image' functions both independently and in conjunction with the visual image, and suggesting further directions in areas of research including music therapy and autism. Divided into three cumulative parts, Part I explores the Jungian psychological account of the music-image; Part II combines theory with practice in analysing how the auditory image works with the visual to create the 'film as a whole' experience; and Part III implements a specific understanding of three individual film cases of different genres, eras and styles as psychologically scrutinised 'case histories'. Music as Image will be of interest to academics and students in the fields of applied psychoanalysis and Jungian psychology, music, film and cultural studies. With implications for music therapy and other art-based therapies, it will also be relevant for practising psychotherapists.

Many students of renowned composer, conductor, and teacher Ferruccio Busoni had illustrious careers of their own, yet the extent to which their mentor's influence helped shape their success was largely unexplored until now. Through rich archival research including correspondence, essays, and scores, Erinn E. Knyt presents an evocative account of Busoni's idiosyncratic pedagogy-focused on aesthetic ideals rather than methodologies or techniques-and how this teaching style and philosophy can be seen and heard in the Nordic-inspired musical works of Sibelius, the unusual soundscapes of Varese, the polystylistic meldings of music and technology in Louis Gruenberg's radio operas and film scores, the electronic music of Otto Luening, and the experimentalism of Philip Jarnach. Equal parts critical biography and interpretive analysis, Knyt's work compels a reconsideration of Busoni's legacy and puts forth the notion of a "Busoni School" as one that shaped the trajectory of twentieth-century music.

First published in 1990, this book was the first comprehensive study of Balzac's relationship to music, blending past scholarship with new perspectives to formulate an inclusive account. It begins by examining the contacts and experiences that shaped the musical side of Balzac's life. These left valuable and lasting impressions which often found their way into his writings, where he recorded a myriad of critical and musicological opinions - assessed primarily in relation to Gambara and Massimilla Doni. These discussions prepare the way for an analysis of Balzac two major musical persuasions: religious music and Beethoven. This book will be of interest to students of literature and music.

'Leonard Cohen taught us that even in the midst of darkness there is light, in the midst of hatred there is love, with our dying breath we can still sing Hallelujah.' - The late Rabbi Lord Jonathan Sacks 'Among the finest volumes on Cohen's life and lyrics ... An exploration which would have intrigued and engaged Leonard himself.' - John McKenna, writer and friend of Leonard Cohen Harry Freedman uncovers the spiritual traditions that lie behind Leonard Cohen's profound and unmistakable lyrics. The singer and poet Leonard Cohen was deeply learned in Judaism and Christianity, the spiritual traditions that underpinned his self-identity and the way he made sense of the world. In this book Harry Freedman, a leading author of cultural and religious history, explores the mystical and spiritual sources Cohen drew upon, discusses their original context and the stories and ideas behind them. Cohen's music is studded with allusions to Jewish and Christian tradition, to stories and ideas drawn from the Bible, Talmud and Kabbalah. From his 1967 classic 'Suzanne', through masterpieces like 'Hallelujah' and 'Who by Fire', to his final challenge to the divinity, 'You Want It Darker' he drew on spirituality for inspiration and as a tool to create understanding, clarity and beauty. Born into a prominent and scholarly Jewish family in Montreal, Canada, Cohen originally aspired to become a poet, before turning to song writing and eventually recording his own compositions. Later, he became immersed in Zen Buddhism, moving in 1990 to a Zen monastery on Mount Baldy, California where he remained for some years. He died, with immaculate timing, on the day before Donald Trump was elected in 2016, leaving behind him a legacy that will be felt for generations to come. Leonard Cohen: The Mystical Roots of Genius looks deeply into the imagination of one of the greatest singers and lyricists of our time, providing a window on the landscape of his soul. Departing from traditional biographical approaches, Freedman explores song by song how Cohen reworked myths and prayers, legends and allegories with an index of songs at the end of the book for readers to search by their favourites. By the end the reader will be left with a powerful understanding of Cohen's story, together with a far broader insight into the mystical origins of his inimitable work.

This book explores the emerging area of microtonality through an examination of the tuning theories of Erv Wilson. It is the first publication to offer a broad discussion of this influential theorist whose innovations have far-reaching ramifications for microtonal tuning systems. This study addresses the breadth and complexity of Wilson's work by focusing on his microtonal keyboard designs as a means to investigate his tuning concepts and their practical applications. Narushima examines materials ranging from historical and experimental tunings to instrument design, as well as musical applications of mathematical theories and multidimensional geometry. The volume provides an analysis of some of Wilson's most significant theoretical ideas, including the Scale Tree, Moments of Symmetry, Constant Structures, and Combination-Product Sets. These theories offer ways to conceptualize musical scales as patterns with structural integrity and whose shapes can be altered to produce infinitely varying forms. The book shows how these structural properties can be used to map scales onto a microtonal keyboard by providing step-by-step guidelines and clearly illustrated examples. Most importantly, it brings together theoretical and practical methods of tuning to enable composers, performers, and instrument designers to explore previously uncharted areas of microtonality, making a significant contribution to the fields of music theory, composition and music technology.

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.

The study of 'Celtic' culture has been locked within modern nationalist paradigms, shaped by contemporary media, tourism, and labor migration. Celtic Modern collects critical essays on the global circulation of Celtic music, and the place of music in the construction of Celtic 'Imaginaries'. It provides detailed case studies of the global dimensions of Celtic music in Scotland, Wales, Ireland, Brittany, and amongst Diasporas in Canada, the United States and Australia, with specific reference to pipe bands, traditional music education in Edinburgh, the politics of popular/traditional crossover in Ireland, and the Australian bush band phenomenon. Contributors include performer musicians as well as academic writers. Critique necessitates reflexivity, and all of the contributors, active and in many cases professional musicians as well as writers, reflect in their essays on their own contributions to these kind of encounters. Thus, this resource offers an opportunity to reflect critically on some of the insistent 'othering' that has accompanied much cultural production in and on the Celtic World, and that have prohibited serious critical engagement with what are sometimes described as the 'traditional' and 'folk' music of Europe.

In this lively examination of youth and their relationship to music, first published in 1994, contributors cover issues ranging from the place of music in urban subculture and what music tells us about adolescent views on love and sex, to the political status of youth and youth culture.

The approach of this book, first published in 1982, is multi-disciplinary. Popular music, it is argued, is not only a musical but also a social phenomenon; the criteria needed to assess it are different from those used in the appreciation of 'classical' music. The first section of this guide is devoted to setting out just what those criteria should be. A second section puts forward bases for course construction that are detailed and flexible. A final section provides a list of further resources.

This collection of essays, first published in 1987, provides a sociological treatment of many musical forms - rock, jazz, classical - with special emphasis on the perspective of the practising musician. Among the topics covered are the legal structures governing musical production and the question of copyright; recording and production technology; the social character of musical style; and the impact of lyrical content, considered socially and historically.

Considered one of the greatest composers-and music critics-of the Romantic era, Robert Schumann (1810-1856) played an important role in shaping nineteenth-century German ideas about virtuosity. Forging his career in the decades that saw abundant public fascination with the feats and creations of virtuosos (Liszt, Paganini, and Chopin among others), Schumann engaged with instrumental virtuosity through not only his compositions and performances but also his music reviews and writings about his contemporaries. Ultimately, the discourse of virtuosity influenced the culture of Western "art music" well beyond the nineteenth century and into the present day. By examining previously unexplored archival sources, Alexander Stefaniak looks at the diverse approaches to virtuosity Schumann developed over the course of his career, revealing several distinct currents in nineteenth-century German virtuosity and the enduring flexibility of virtuosity discourse.

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.

Covers the entire mixing process – from fundamental concepts to advanced techniques Features new sections on console emulation, the loudness war, LUFS targets, and DIY mastering, as well as updated figures and illustrations throughout Offers a robust companion website featuring over 2,000 audio samples as well as Pro Tools/ Multitrack Audio Sessions

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.

Music, Time, and Its Other explores the relation between the enigmatic character of our temporal experiences and music's affective power. By taking account of competing concepts of time, Savage explains how music refigures dimensions of our experiences through staking out the borderlines between time and eternity. He examines a range of musical expressions that reply to the deficiency born from the difference between time and an order that exceeds or surpasses it and reveals how affective tonalities of works by Bach, Carolan, Debussy, Schoenberg, Messiaen, and Glass augment our understanding of our temporal condition. Reflections on the moods and feelings to which music gives voice counterpoint philosophical investigations into the relation between music's power to affect us and the force that the present has with respect to the initiatives we take. Music, Time, and Its Other thus sets out a new approach to music, aesthetics, politics, and the critical roles of judgment and imagination.

In this book, a leading authority on film music examines scores of the silent film era. The first of three projected volumes investigating music written for films, this thoughtful and pathbreaking study demonstrates the richness of silent film music as it details the way in which scores were often planned from the start as an integral part of the whole cinematic experience.
Following an introductory chapter that outlines several key theoretical questions and surveys eight decades of writing on film music, Martin Miller Marks focuses on those scores created between 1895 and 1924. He begins by considering two early examples, one German (written by persons unknown for Skladanowsky's Bioskop exhibitions in 1895 and 1896) and one French (scored by Camille Saint-Saens for the 1908 film L'Assassinat du Duc de Guise). Subsequent chapters fully discuss Walter Cleveland Simon's music for the American film An Arabian Tragedy (1912) as well as the Joseph Breil accompaniment to D. W. Griffith's Birth of a Nation (1915). As described in this book, Breil's memorable score--though a compilation derived from many sources--was played by an orchestra as Griffith's sweeping images filled the screen, thus contributing significantly to the great film's success while also achieving remarkable power in its own right. Marks then concludes with a look at Erik Satie's witty and innovative music for the French film Entr'acte (1924), which was the first film score of consequence by an avant-garde composer.
Giving unprecedented attention to a vibrant, important, and oft-neglected facet of twentieth-century music, Music and the Silent Film will interest scholars of film theory, film history, modern music, and modern aesthetics."