This book examines the origin, content, and development of the musical thought of Heinrich Schenker and Arnold Schoenberg. One of the premises is that Schenker's and Schoenberg's inner musical lives are inseparable from their inner spiritual lives. Curiously, Schenker and Schoenberg start out in much the same musical-spiritual place, yet musically they split while spiritually they grow closer. The reception of Schenker's and Schoenberg's work has sidestepped this paradox of commonality and conflict, instead choosing to universalize and amplify their conflict. Bringing to light a trove of unpublished material, Arndt argues that Schenker's and Schoenberg's conflict is a reflection of tensions within their musical and spiritual ideas. They share a particular conception of the tone as an ideal sound realized in the spiritual eye of the genius. The tensions inherent in this largely psychological and material notion of the tone and this largely metaphysical notion of the genius shape both their musical divergence on the logical (technical) level in theory and composition, including their advocacy of the Ursatz versus twelvetone composition, and their spiritual convergence, including their embrace of Judaism. These findings shed new light on the musical and philosophical worlds of Schenker and Schoenberg and on the profound artistic and spiritual questions with which they grapple.

Although writers on film music frequently allude to specific parts of scores, comprehensive examinations of entire scores have been rare. In addition, most analyses of scores composed for the screen are discussed outside of their cinematic context. To best understand the role that music plays in the production of a motion picture, however, it benefits the viewer to consider all of the elements that comprise the film experience. In The Synergy of Film and Music: Sight and Sound in Five Hollywood Films, Peter Rothbart examines a handful of motion pictures to convey how a variety of elements work together to create a singular experience. Rothbart considers the aural and visual aspects of five representative films: West Side Story, Psycho, Empire of the Sun, Altered States, and American Beauty. After reviewing the various roles that music can serve in a film as well as an overview of the film scoring process, the book looks at each film, examining them one musical cue at a time, so that the reader can watch the film while reading about each cue in real time.In these analyses, timecode markings from commercial DVDs are provided in the margins alongside the text, which allow the reader to correlate to the second the on-screen drama under discussion in the book. Rothbart explains how the music is used in a specific cue and why the decision was made to use that particular musical idea at that moment. Consequently, film music aficionados-as well as students and composers of film music-can gain real world perspective on how music is used in conjunction with the other elements. In this way, the author raises awareness of music's relationship to virtually every other aspect of cinema-dialogue, sound effects, costuming, set design, and cinematography-to deepen the viewer's experience. Written in a deliberately non-technical way, this book is intended for anyone interested in film to easily follow along. At the same time, the information given can be of great benefit for the professional filmmaker or composer, since they can see with great detail how each cue unfolds along with all of the visual elements of the film.This unique analysis makes The Synergy of Film and Music a fascinating and instructive volume that both casual viewers and students of cinema will appreciate.

In his 1985 book The Idea of Music: Schoenberg and Others, Peter Franklin set out a challenge for musicology: namely, how best to talk and write about the music of modern European culture that fell outside of the modernist mainstream typified by Schoenberg, Berg, and Webern? Thirty years on, this collected volume of essays by Franklin's students and colleagues returns to that challenge and the vibrant intellectual field that has since developed. Moving freely between insights into opera, Volksoper, film, festival, and choral movement, and from the very earliest years of the twentieth century up to the 1980s, its authors listen with a 'critical ear': they site these musical phenomena within a wider web of modern cultural practices - a perspective, in turn, that enables them to exercise a disciplinary self-awareness after Franklin's manner.

There was a small sliver of time between Be-Bop and Hip-Hop, when a new generation of teenagers created rock 'n' roll. Clay Cole was one of those teenagers he was the host of his own Saturday night, pop music television show.

Clay Cole's SH-BOOM! is the pop culture chronicle of that exciting time, 1953-1968, when teenagers created their own music, from swing bands and pop to rhythm and blues, cover records, a cappella, rockabilly, folk-rock, and girl groups; from the British Invasion to the creation of the American Boy Band. He was first to introduce Chubby Checker performing the "Twist;" the first to present the Rolling Stones, Tony Orlando, Dionne Warwick, Neil Diamond, Bobby Vinton, the Rascals, Ronettes, Four Seasons, Dion, and dozens more; the first to introduce music video clips, discotheque, go-go girls and young unknown standup comedians Richard Pryor, George Carlin, and Fannie Flagg to a teenage television audience.

Think Woodstock and the mind turns to the seminal 1969 festival that crowned a seismic decade of sex, drugs, and rock 'n' roll. But the town of Woodstock, New York, the original planned venue of the concert, is located over 60 miles from the site to which the fabled half a million flocked. Long before the landmark music festival usurped the name, Woodstock--the tiny Catskills town where Bob Dylan holed up after his infamous 1966 motorcycle accident--was already a key location in the '60s rock landscape. Drawing on numerous first-hand interviews with the remaining key players in the scene--and on the period when he lived there himself in the 1990s--Hoskyns has produced an East Coast companion to his bestselling L.A. canyon classic Hotel California. This is a richly absorbing study of a vital music scene in a revolutionary time and place.

Eco-Literate Music Pedagogy examines the capacity of musiciking to cultivate ecological literacy, approaching eco-literate music pedagogy through philosophical and autoethnographical lenses. Building on the principle that music contributes uniquely to human ecological thinking, this volume tracks the course of eco-literate music pedagogy while guiding the discussion forward: What does it mean to embrace the impulse to teach music for ecological literacy? What is it like to theorize eco-literate music pedagogy? What is learned through enacting this pedagogy? How do the impulsion, the theorizing, and the enacting relate to one another? Music education for ecological consciousness is experienced in local places, and this study explores the theory underlying eco-literate music pedagogy in juxtaposition with the author's personal experiences. The work arrives at a new philosophy for music education: a spiritual praxis rooted in soil communities, one informed by ecology's intrinsic value for non-human being and musicking. Eco-Literate Music Pedagogy adds to the emerging body of music education literature considering ecological and environmental issues.

Described as the "life and soul of British contemporary music", Jane Manning is an internationally celebrated English concert and opera soprano. In this new follow-up to her highly regarded New Vocal Repertory, Volumes I and II, she provides a seasoned expert's guidance and insight into the vocal genre she calls home. Vocal Repertoire for the Twenty-First Century spans the late middle-20th century through the second decade of the 21st. Manning's comprehensive selection of contemporary art songs ranges from the avant-garde to the more easily accessible, including substantial song cycles, shorter encore pieces, and songs suitable for auditions and competitions. The two-volume guide presents expertly-informed selections tailored to particular voice types. Each of the 160 selections is accompanied by a highly detailed performance guide, music examples, levels of difficulty, and a brief encapsulation of vocal characteristics or challenges contained in the piece. A supplemental companion website provides composer biographies and an up-to-date list of recommended recordings. With a focus on younger composers in addition to prominent figures, Manning encourages singers to refresh and expand their recital repertoire into less familiar territory, and discover the rewards therein. Volume 1 features works written before 2000, including pieces from such renowned composers as John Cage ("The Wonderful Widow of Eighteen Springs", "A Flower"), Andre Previn ("Five Songs"), and Igor Stravinsky ("The Owl and the Pussycat").

The use of technology in music and education can no longer be described as a recent development. Music learners actively engage with technology in their music making, regardless of the opportunities afforded to them in formal settings. This volume draws together critical perspectives in three overarching areas in which technology is used to support music education: music production; game technology; musical creation, experience and understanding. The fourteen chapters reflect the emerging field of the study of technology in music from a pedagogical perspective. Contributions come not only from music pedagogues but also from musicologists, composers and performers working at the forefront of the domain. The authors examine pedagogical practice in the recording studio, how game technology relates to musical creation and expression, the use of technology to create and assess musical compositions, and how technology can foster learning within the field of Special Educational Needs (SEN). In addition, the use of technology in musical performance is examined, with a particular focus on the current trends and the ways it might be reshaped for use within performance practice. This book will be of value to educators, practitioners, musicologists, composers and performers, as well as to scholars with an interest in the critical study of how technology is used effectively in music and music education.

AWARD WINNER OF THE 2018 SOCIETY OF ETHNOMUSICLOGY ELLEN KOSKOFF PRIZE This volume is the first sustained examination of the complex perspectives that comprise ecomusicology-the study of the intersections of music/sound, culture/society, and nature/environment. Twenty-two authors provide a range of theoretical, methodological, and empirical chapters representing disciplines such as anthropology, biology, ecology, environmental studies, ethnomusicology, history, literature, musicology, performance studies, and psychology. They bring their specialized training to bear on interdisciplinary topics, both individually and in collaboration. Emerging from the whole is a view of ecomusicology as a field, a place where many disciplines come together. The topics addressed in this volume-contemporary composers and traditional musics, acoustic ecology and politicized soundscapes, material sustainability and environmental crisis, familiar and unfamiliar sounds, local places and global warming, birds and mice, hearing and listening, biomusic and soundscape ecology, and more-engage with conversations in the various realms of music study as well as in environmental studies and cultural studies. As with any healthy ecosystem, the field of ecomusicology is dynamic, but this edited collection provides a snapshot of it in a formative period. Each chapter is short, designed to be accessible to the nonspecialist, and includes extensive bibliographies; some chapters also provide further materials on a companion website: http://www.ecomusicology.info/cde/. An introduction and interspersed editorial summaries help guide readers through four current directions-ecological, fieldwork, critical, and textual-in the field of ecomusicology.

In recent years an almost overwhelming number of books have appeared on various aspects of American folk music and its history. Before 1970, most comprised collections of songs with a sprinkling of biographical information on noted performers. Over the last decade, however, scholars, journalists, and folk artists themselves have contributed biographies and autobiographies, instructional books and historical surveys, sociological studies and ethnographic analyses of this musical genre. 100 Books Every Folk Music Fan Should Own by performer and historian Dick Weissman finally offers a reliable route through the growing sea of book-length studies, establishing for future scholars a foundation for their research. Beginning with early 20th century collections of folk songs, it brings readers to the present by selecting for exploration modern studies of important events, critical collections of primary sources, the most significant musical instruction guides, and in-depth studies of traditional and contemporary American folk musicians.For each title selected, Weissman provides his own brief summary of its contents and assessment of its significance for the reader-whether fan or scholar. Folk music fans, scholars, and students of the American folk music tradition-indeed, any intelligent reader seeking guidance on the best books in the field-will want a copy of this vital work.

Looking at musical globalization and vocal music, this collection of essays studies the complex relationship between the human voice and cultural identity in 20th- and 21st-century music in both East Asian and Western music. The authors approach musical meaning in specific case studies against the background of general trends of cultural globalization and the construction/deconstruction of identity produced by human (and artificial) voices. The essays proceed from different angles, notably sociocultural and historical contexts, philosophical and literary aesthetics, vocal technique, analysis of vocal microstructures, text/phonetics-music-relationships, historical vocal sources or models for contemporary art and pop music, and areas of conflict between vocalization, "ethnicity," and cultural identity. They pinpoint crucial topical features that have shaped identity-discourses in art and popular musical situations since the1950s, with a special focus on the past two decades. The volume thus offers a unique compilation of texts on the human voice in a period of heightened cultural globalization by utilizing systematic methodological research and firsthand accounts on compositional practice by current Asian and Western authors.

This book provides an in-depth introduction and overview of current research in computational music analysis. Its seventeen chapters, written by leading researchers, collectively represent the diversity as well as the technical and philosophical sophistication of the work being done today in this intensely interdisciplinary field. A broad range of approaches are presented, employing techniques originating in disciplines such as linguistics, information theory, information retrieval, pattern recognition, machine learning, topology, algebra and signal processing. Many of the methods described draw on well-established theories in music theory and analysis, such as Forte's pitch-class set theory, Schenkerian analysis, the methods of semiotic analysis developed by Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative Theory of Tonal Music. The book is divided into six parts, covering methodological issues, harmonic and pitch-class set analysis, form and voice-separation, grammars and hierarchical reduction, motivic analysis and pattern discovery and, finally, classification and the discovery of distinctive patterns. As a detailed and up-to-date picture of current research in computational music analysis, the book provides an invaluable resource for researchers, teachers and students in music theory and analysis, computer science, music information retrieval and related disciplines. It also provides a state-of-the-art reference for practitioners in the music technology industry.

Popular Music Theory and Analysis: A Research and Information Guide uncovers the wealth of scholarly works dealing with the theory and analysis of popular music. This annotated bibliography is an exhaustive catalog of music-theoretical and musicological works that is searchable by subject, genre, and song title. It will support emerging scholarship and inquiry for future research on popular music.

Gabriel Faure's melodies offer an inexhaustible variety of style and expression that have made them the foundation of the French art song repertoire. During the second half of his long career, Faure composed all but a handful of his songs within six carefully integrated cycles. Faure moved systematically through his poetic contemporaries, exhausting Baudelaire's Les fleurs du mal before immersing himself in the Parnassian poets. He would set nine poems by Armand Silvestre in swift succession (1878-84), seventeen by Paul Verlaine (1887-94), and eighteen by Charles Van Lerberghe (1906-14). As an artist deeply engaged with some of the most important cultural issues of the period, Faure reimagined his musical idiom with each new poet and school, and his song cycles show the same sensitivity to the poetic material. Far more than Debussy, Ravel, or Poulenc, he crafted his song cycles as integrated works, reordering poems freely and using narratives, key schemes, and even leitmotifs to unify the individual songs. The Faure Song Cycles explores the peculiar vision behind each synthesis of music and verse, revealing the astonishing imagination and insight of Faure's musical readings. This book offers not only close readings of Faure's musical works but an interdisciplinary study of how he responded to the changing schools and aesthetic currents of French poetry.

Beethoven's piano sonatas are a cornerstone of the piano repertoire and favourites of both the concert hall and recording studio. The sonatas have been the subject of much scholarship, but no single study gives an adequate account of the processes by which these sonatas were composed and published. With source materials such as sketches and correspondence increasingly available, the time is ripe for a close study of the history of these works. Barry Cooper, who in 2007 produced a new edition of all 35 sonatas, including three that are often overlooked, examines each sonata in turn, addressing questions such as: Why were they written? Why did they turn out as they did? How did they come into being and how did they reach their final form? Drawing on the composer's sketches, autograph scores and early printed editions, as well as contextual material such as correspondence, Cooper explores the links between the notes and symbols found in the musical texts of the sonatas, and the environment that brought them about. The result is a biography not of the composer, but of the works themselves.

Maurice Ravel, as composer and scenario writer, collaborated with some of the greatest ballet directors, choreographers, designers and dancers of his time, including Diaghilev, Ida Rubinstein, Benois and Nijinsky. In this book, the first study dedicated to Ravel's ballets, Deborah Mawer explores these relationships and argues that ballet music should not be regarded in isolation from its associated arts. Indeed, Ravel's views on ballet and other stage works privilege a synthesized aesthetic. The first chapter establishes a historical and critical context for Ravel's scores, engaging en route with multimedia theory. Six main ballets from Daphnis et Chloe through to Bolero are considered holistically alongside themes such as childhood fantasy, waltzing and neoclassicism. Each work is examined in terms of its evolution, premiere, critical reception and reinterpretation through to the present; new findings result from primary-source research, undertaken especially in Paris. The final chapter discusses the reasons for Ravel's collaborations and the strengths and weaknesses of his interpersonal relations. Mawer emphasizes the importance of the performative dimension in realizing Ravel's achievement, and proposes that the composer's large-scale oeuvre can, in a sense, be viewed as a balletic undertaking. In so doing, this book adds significantly to current research interest in artistic production and interplay in early twentieth-century Paris.

Music has long been a way in which visually impaired people could gain financial independence, excel at a highly-valued skill, or simply enjoy musical participation. Existing literature on visual impairment and music includes perspectives from the social history of music, ethnomusicology, child development and areas of music psychology, music therapy, special educational needs, and music education, as well as more popular biographical texts on famous musicians. But there has been relatively little sociological research bringing together the views and experiences of visually impaired musicians themselves across the life course. Insights in Sound: Visually Impaired Musicians' Lives and Learning aims to increase knowledge and understanding both within and beyond this multifaceted group. Through an international survey combined with life-history interviews, a vivid picture is drawn of how visually impaired musicians approach and conceive their musical activities, with detailed illustrations of the particular opportunities and challenges faced by a variety of individuals. Baker and Green look beyond affiliation with particular musical styles, genres, instruments or practices. All 'levels' are included: from adult beginners to those who have returned to music-making after a gap; and from 'regular' amateur and professional musicians, to some who are extraordinarily 'elite' or 'successful'. Themes surrounding education, training, and informal learning; notation and ear playing; digital technologies; and issues around disability, identity, opportunity, marginality, discrimination, despair, fulfilment, and joy surfaced, as the authors set out to discover, analyse, and share insights into the worlds of these musicians.

Bernhard Lang: Critical Guides to Contemporary Composers offers a critical guide and introduction to the work of Austrian composer Bernhard Lang (b. 1957). It identifies the phenomenon of repetition as a central concern in Lang's thinking and making. The composer's artistic practice is identified as one of 'loop aesthetics': a creative poetics in which repetition serves not only as methodology, but also as material, language, and subject matter. The book is structured around the four central thematic nodes of philosophy, music, theatre, and politics. After introducing Lang as a composer whose work is thoroughly influenced by philosophical thought, the book develops a typology of musical repetition as it is explored and activated in Lang's oeuvre. Pointing towards the several repetitions within the performance of Lang's works, the book explores the heavily trans-medial nature of the repeat across domains such as literature, dance, and theatre. Finally, the book investigates Lang's use of textual quotation and musical borrowing. Christine Dysers is a musicologist specialising in contemporary music aesthetics. Her research centres around repetition, politics, absence, the liminal, and the uncanny. This is the first full-length study of the works of Bernhard Lang and is a new volume in the Critical Guides to Contemporary Composers series from Intellect.

In Opera as Art: Philosophical Sketches, Paul Thom argues for opera as an art, standing alongside other artforms that employ visual and sonic media to embody the great themes of human life. Thom contends that in great operatic art, the narrative and expressive content collaborate with the work's aesthetic qualities towards achieving this aim. This argument can be extended to modern operatic productions. At their best, these stagings are works of art in themselves, whether they give faithful renditions of the operas they stage and whether their aims go beyond interpretation to commentary and critique. This book is a philosophical introduction to the key practices that comprise the world of opera: the making of the work; its interpretation by directors, critics, and spectators; and the making of an operatic production. Opera has always existed in a context of philosophical ideas, and this book is written for opera-lovers who would like to learn something about that philosophical context.

In The Discourse of Musicology, Giles Hooper considers a number of issues central to recent debates about the nature and direction of contemporary musicology. The first part of the book seeks to situate and critically rethink the alleged 'postmodern' turn in musical scholarship. Then, in attempting to overcome some of the problems typically associated with postmodern theory, Hooper draws on the work of JA1/4rgen Habermas in order to interpret musicology as a form of institutionalized discourse and to propose a normative framework for the kind of knowledge in which it can legitimately issue. The second part of the book focuses on the concepts of 'mediation' and the 'music itself' and engages with the work of influential critical theorist, Theodor Adorno, and the contemporary musicologist, Lawrence Kramer. Finally Hooper compares and contrasts a number of different approaches to Mahler's Ninth Symphony. The author's underlying aim throughout is to question whether, and how, it is possible to develop a mode of musicological enquiry that is both epistemologically robust and at the same time capable of answering the demand that it demonstrate its social, political and ethical relevance.

A century after his death Anton Bruckner still remains one of the most complex and enigmatic creative personalities of the nineteenth century. A leading avant-garde figure of his generation, he was an accomplished performer and teacher in addition to being a great composer; few people in the history of western music can boast his level of achievement in all these areas combined. This book, a collection of essays written by an international group of scholars, offers diverse theoretical and musicological perspectives on Bruckner the composer-teacher-performer. Facets of his formidable theoretical training and his application of it as part of the compositional process are explored. A variety of analytical methodologies is used to examine the Second through to the Ninth Symphonies, the heart of the composer's mature repertoire. Finally, aspects of Bruckner's career as a teacher and performer, his complex personality, his influence and dissemination of his music are considered.

Music and Social Dynamics in Nigeria explores the diverse ways in which music reflects, and is shaped by, historical and social dynamics of life in Nigeria. Contributors to this volume include some of the leading scholars of Nigerian music, such as Joshua Uzoigwe, Laz Ekwueme, Tunji Vidal, Richard C. Okafor, A. K. Achinivu, Ademola Adegbite, Femi Faseun, and Christian Onyeji. Focusing on ancient and new musical traditions, including modern African art music, and drawing on the methods of ethnography and music analysis, the various chapters of the book discuss the role of music in community life, enculturation and education, political institutions, historical processes, belief systems, and social hierarchies. Conceived primarily for students and scholars of African music, this book will also be of immense value to the general reader.

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.

It seems self-evident that music plays more than just an aesthetic role in contemporary society. In addition, music's social, political, emancipatory, and economical functions have been the subject of much recent research. Given this, it is surprising that the subject of ethics has often been neglected in discussions about music. The various forms of engagement between music and ethics are more relevant than ever, and require sustained attention. Music and Ethics examines different ways in which music can 'in itself' - in a uniquely musical way - contribute to theoretical discussions about ethics as well as concrete moral behaviour. We consider music as process, and music-making as interaction. Fundamental to our understanding is music's association with engagement, including contact with music through the act of listening, music as an immanent critical process that possesses profound cultural and historical significance, and as an art form that can be world-disclosive, formative of subjectivity, and contributive to intersubjective relations. Music and Ethics does not offer a general musico-ethical theory, but explores ethics as a practical concept, and demonstrates through concrete examples that the relation between music and ethics has never been absent.

The Art of Emergency charts the maneuvers of art through conflict zones across the African continent. Advancing diverse models for artistic and humanitarian alliance, the volume urges conscientious deliberation on the role of aesthetics in crisis through intellectual engagement, artistic innovation, and administrative policy. Across Africa, artists increasingly turn to NGO sponsorship in pursuit of greater influence and funding, while simultaneously NGOs-both international and local-commission arts projects to buttress their interventions and achieve greater reach and marketability. The key values of artistic expression thus become "healing" and "sensitization," measured in turn by "impact" and "effectiveness." Such rubrics obscure the aesthetic complexities of the artworks and the power dynamics that inform their production. Clashes arise as foreign NGOs import foreign aesthetic models and preconceptions about their efficacy, alongside foreign interpretations of politics, medicine, psychology, trauma, memorialization, and so on. Meanwhile, each community embraces its own aesthetic precedents, often at odds with the intentions of humanitarian agencies. The arts are a sphere in which different worldviews enter into conflict and conversation. To tackle the consequences of aid agency arts deployment, volume editors Samuel Mark Anderson and Cherie Rivers Ndaliko assemble ten case studies from across the African continent employing multiple media including music, sculpture, photography, drama, storytelling, ritual, and protest marches. Organized under three widespread yet under-analyzed objectives for arts in emergency-demonstration, distribution, and remediation-each case offers a different disciplinary and methodological perspective on a common complication in NGO-sponsored creativity. By shifting the discourse on arts activism away from fixations on message and toward diverse investigations of aesthetics and power negotiations, The Art of Emergency brings into focus the conscious and unconscious configurations of humanitarian activism, the social lives it attempts to engage, and the often-fraught interactions between the two.