Many people know the tale: In 1814 Francis Scott Key witnessed the British bombardment of Fort McHenry and the heroism of America's defenders; seeing the American flag still flying at first light inspired him to pen his famous lyric. What people don't know, however, is how a topical broadside ballad rose to become the nation's anthem and today's magnet for controversy. In O Say Can You Hear? Mark Clague brilliantly weaves together the stories of the song and nation it represents. The book examines the origins of both words and music, alternate lyrics and translations and the song's use in sports, at times of war and for political protest. It shows how the song's meaning reflects-and is reflected by-the United States' quest to become a more perfect union. From victory song to hymn of sacrifice and object of protest, the story of Key's song is the story of America itself.

For over 150 years the concept of "sonata form" lay at the heart of European instrumental music. Now, in Elements of Sonata Theory, musicologist James Hepokoski and music theorist Warren Darcy rethink its basic principles. Considering not only sonatas but also chamber music, symphonies, overtures, and concertos, their study outlines a new, updated paradigm for understanding the compositional choices present in the instrumental works of Haydn, Mozart, Beethoven, and their contemporaries. It also lays down an indispensable foundation for those working with later adaptations and deformations of these musical structures in the nineteenth and early twentieth centuries.
Combining insightful research and analysis, contemporary genre theory, and provocative hermeneutic turns, these original perspectives provide a creative approach to the exploration of meaning within a familiar repertory. The authors map out the background terrain of historical norms at work in this music and provide a flexible mode of analysis for perceiving and assessing what happens--or what does not happen--in any given piece. They guide readers through the formatting possibilities within each compositional space in sonata form, while also introducing new ideas for understanding the ordering of musical modules over an entire movement and, more broadly, over an entire multimovement composition.
The product of over a dozen years of research, Elements of Sonata Theory is the most thorough study of the sonata ever undertaken. It serves as a challenge both to students and to experienced musicologists and music theorists to rethink how sonata form is best understood.

SamulNori is a percussion quartet which has given rise to a genre, of the same name, that is arguably Korea's most successful 'traditional' music of recent times. Today, there are dozens of amateur and professional samulnori groups. There is a canon of samulnori pieces, closely associated with the first founding quartet but played by all, and many creative evolutions on the basic themes, made by the rapidly growing number of virtuosic percussionists. And the genre is the focus of an abundance of workshops, festivals and contests. Samulnori is taught in primary and middle schools; it is part of Korea's national education curriculum. It has dedicated institutes, and there are a number of workbooks devoted to helping wannabe 'samulnorians'. It is a familiar part of Korean performance culture, at home and abroad, in concerts but also in films and theatre productions. SamulNori uses four instruments: kkwaenggwari and ching small and large gongs, and changgo and puk drums. These are the instruments of local percussion bands and itinerant troupes that trace back many centuries, but samulnori is a recent development of these older traditions: it was first performed in February 1978. This volume explores this vibrant percussion genre, charting its origins and development, the formation of the canon of pieces, teaching and learning strategies, new evolutions and current questions relating to maintaining, developing, and sustaining samulnori in the future.

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

This book explores the artistic principles of Arturo Benedetti Michelangeli, his concert activities, his art of piano playing, as well as his pedagogy and his attitude towards his students. The author presents the biographical data of the artist as well as the list of his recordings and introduces this extraordinary artist to a wider audience, especially to admirers of beautiful music and its performers. The book aims at encouraging in particular the young to follow the high artistic principles required in such a refined and unique art.

Short, clear chapters each focus on a single topic, presenting necessary information thoroughly and clearly, in a manner that's easy for students to grasp Large number of musical examples allows students to better understand techniques by seeing them in multiple contexts Companion website provides video demonstrations that help students understand techniques in action

In the last third of the 19th century Brahms and Bruckner were regarded as antipodes. Is this perception really true to the historical reality or had their contemporaries overestimated the "dimension of their distance", as argued later? Both wrote autonomously conceived music, both held on to traditional forms, and both rejected program music. To find an answer to this question, part I tries to elucidate Brahms' relation to Bruckner in its biographic, historical, artistic and art-theoretical aspects. At the center of the second part, whose subject is Brahms' early work, is the question whether Brahms was indeed an autonomously working composer. The topic of the third part is a taboo of Bruckner research: Bruckner's relation to program music. "The second and third part of the study achieve new insights. With a consistent analysis of biographic data and, simultaneously, a careful scrutiny of musical facts (increased experience in assessing the music of the 19th century), Floros gains convincing interpretations." (Friedrich Heller about the German edition of the book) "The book is the result of Floros's intensive study of Mahler, during which he found hitherto undiscovered clues to the interpretation of Brahms's and Bruckner's work. Most of the borrowings discussed confirm differences between the two composers in both ideologies and musical heritage. Long thought to be 'absolute' music, Bruckner's compositions carry significant semantic meaning when the composer desired." (Musical Borrowing)

During the past fifty years Schenkerian theory has been adopted as the main method for analysing tonal music. This book questions the value of Schenker's "tonal analysis" for musical description and interpretation, and discusses its relations to "generative" theory and "implicational" analysis - taking into account its links with linguistic syntax and the perception of tonal closure. It is observed how auxiliary theoretical concepts transform the music so as to pave the way for preordained tonal structures. Alternative readings of the music examples are provided.

Following the development of the German Lied after the nineteenth century - when it was widely known as the setting of Romantic poetry to music - this book explores the changing artistic scene in the early twentieth century, as rapid social, economic and environmental changes affected German cultural production. The Lied then faced not only a crisis of identity, but also a threat to its survival. This book considers the literary and musical ideas that both challenged and complemented each other as new directions in songwriting were developed across the modern period. The composers selected for their relevance in Lieder composition during this time illustrate not only the diversity of their musical thought but also a changing approach to the relationship between the poetic text and its musical counterpart. Hans Pfitzner represents the determination to maintain established tradition; subsequently, a chronological progression through the individuality of Paul Hindemith and social integrity of Hanns Eisler leads to the point where transformation of the genre can be said to have begun, with Arnold Schoenberg. With the Lieder of Alban Berg and Anton Webern, the genre arrived at a point of convergence with the ideals of German modernism. This study offers new insights into the cultural significance of German songwriting in the first part of the twentieth century.

The Principles and Practice of Tonal Counterpoint is a comprehensive textbook that combines practical, "how-to" guidance in 18th-century techniques with extensive historical examination of contrapuntal works and genres. Beginning with an introductory grounding in species counterpoint, tonal harmony, and figured bass, students progress through the study of chorale preludes, invertible counterpoint, and canonic and fugal writing. This textbook thoroughly joins principle with practice, providing a truly immersive experience in the study of tonal counterpoint and familiarizing students with contrapuntal styles from the Baroque period to the 21st century. Also available is a companion volume, The Principles and Practice of Modal Counterpoint, which focuses on 16th-century techniques and covers modal music from Gregorian chant through the 17th century.

The sounds of music and the German language have played a significant role in the developing symbolism of the German nation. In light of the historical division of Germany into many disparate political entities and regional groups, German artists and intellectuals of the 19th and early 20th centuries conceived of musical and linguistic dispositions as the nation's most palpable common ground. According to this view, the peculiar sounds of German music and of the German language provided a direct conduit to national identity, to the deepest recesses of the German soul. So strong is this legacy of sound is still prevalent in modern German culture that philosopher Peter Sloterdijk, in a recent essay, did not even hesitate to describe post-wall Germany as an "acoustical body." This volume gathers the work of scholars from the US, Germany, and the United Kingdom to explore the role of sound in modern and postmodern German cultural production. Working across established disciplines and methodological divides, the essays of Sound Matters investigate the ways in which texts, artists, and performers in all kinds of media have utilized sonic materials in order to enforce or complicate dominant notions of German cultural and national identity. Nora M. Alter is Professor of German, Film and Media Studies at the University of Florida. She is author of Vietnam Protest Theatre: The Television War on Stage (Indiana UP, 1996) and Projecting History: German Non-Fiction Film 1967-2000, (University of Michigan Press, 2002). Lutz Koepnick is Associate Professor of German, Film and Media Studies at Washington University in St. Louis. He is the author of Walter Benjamin and the Aesthetics of Power (The University of Nebraska Press, 1999), for which he received the MLA's Aldo and Jeanne Scaglione Prize for Studies in Germanic Languages and Literatures in 2000.

Featuring a distinguished editorial team who have brought together a group of international and reputable scholars. The collection is interdisciplinary by design, encompassing cultural theory, gender and race studies, musicology, and record production analysis Offering analysis of tracks from the blues, hip-hop, R&B, pop, Motown, funk, disco, rock, metal, and country An ideal companion to William Moylan's previous work, Recording Analysis, which outlines the framework upon which these analyses are developed

- Emphasis on hearing musical forms is pedagogically effective and unique among form textbooks - Offers a complete course package, with workbook pages included in the Textbook, while the accompanying Anthology makes full scores of pieces covered in the book easily available - Offers clear and accessible explanations that are up to date with current scholarship

- Emphasis on hearing musical forms is pedagogically effective and unique among form textbooks - Offers a complete course package, with workbook pages included in the Textbook, while the accompanying Anthology makes full scores of pieces covered in the book easily available - Offers clear and accessible explanations that are up to date with current scholarship For the ANTHOLOGY: - Provides full scores to accompany the examples addressed in the text, creating a convenient package for instructors - This edition has been updated with 8 new pieces, bringing in additional composers

Provides examples that instructors can readily apply in their teaching, enabling deeper inclusion of Black composers in the music theory curriculum on a practical level This book includes discussion of a wide variety of genres, including: jazz and popular music (including R&B, funk, and pop), string quartets, piano pieces, concertos, symphonies, and art songs Addresses Black composers and musicians working in a wide range of musical styles, including classical and popular works

The study of music within multimedia contexts has become an increasingly active area of scholarly research. However, the application of such studies to musical genres outside the 'classical' film canon, or in television and other media remains largely unexplored in any detail. Tristian Evans demonstrates how postminimal music interacts with other media forms, focusing on the film music by Philip Glass, but also taking into account works by other composers such as Steve Reich, Terry Riley, John Adams and others inspired by minimalist and postminimal practices. Additionally, Evans develops innovative ways of analysing this music, based on an interdisciplinary approach, and draws on research from areas that include philosophy, linguistics and film theory. The book offers one of the first in-depth studies of Philip Glass's music for film, considering The Hours and Dracula, Naqoyqatsi, Notes on a Scandal and Watchmen, while examining re-applications of the music in new cinematic and televisual contexts. The book will appeal to musicologists but also to those working in the fields of film music, cultural studies, media studies and multimedia.

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

First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Authenticity in the Music of Video Games explores the many facets of gamers' relationship to the concept of authenticity. From historical games to hyperrealism to retro gaming, authenticity proves to be a sticky, ever-shifting term. What do gamers believe authenticity to be? How are their expectations structured and manipulated by the soundtrack? Are they conscious of music's impact on their gameplay? And how do their actions as gamers impact the overall interaction of sound with game world and narrative? Stephanie Lind explores three facets of authenticity-accuracy, expectation, and emotion-through the lens of music analysis. Ranging from harmonic analysis, mappings of musical form, to more multimedia approaches to the overall soundtrack and game world, the book takes a theoretical approach as well as links analysis to the practical experience of gamers. Lind shows how specific processes of musical organization help to structure player experience with a focus on games as true multimedia experiences and that all three components of authenticity are inseparable.

Dark sound carries the dense cultural weight of darkness; it is the undertow of music that embodies melancholy, desire, grief, violence, rage, pain, loss and longing. Compelling and unnerving, dark sound immerses bodies in the darkest moments and delves into the depths of our hidden inner selves. There is a strangely perverse appeal about music that conjures intense affective states and about sound that can move its listeners to the very edge of the sayable. Through a series of case studies that include Moor Mother, Anna Calvi, Bjoerk, Chelsea Wolfe and Diamanda Galas, D Ferrett argues that the extreme limits and transgressions of dark sound not only imply the limits of language, but are moreover tied to a cultural and historical association between darkness and the feminine within music and music discourse. Whilst the oppressive and violent associations between darkness and femininity are acknowledged, the author challenges their value to misogynistic, racist, capitalist and patriarchal power, showing how dark sound is charged with social, creative and political momentum.

In Philosophy of Song and Singing: An Introduction, Jeanette Bicknell explores key aesthetic, ethical, and other philosophical questions that have not yet been thoroughly researched by philosophers, musicologists, or scientists. Issues addressed include: The relationship between the meaning of a song's words and its music The performer's role and the ensuing gender complications, social ontology, and personal identity The performer's ethical obligations to audiences, composers, lyricists, and those for whom the material holds particular significance The metaphysical status of isolated solo performances compared to the continuous singing of opera or the interrupted singing of stage and screen musicals Each chapter focuses on one major musical example and includes several shorter discussions of other selections. All have been chosen for their illustrative power and their accessibility for any interested reader and are readily available.

An in-depth study of the Bulgarian harmonic system is long overdue. More than two decades since the Le Mystere des Voix Bulgares choir was awarded a Grammy (1990), there is no scholarly study of the captivating sounds of Bulgarian vertical sonorities. Kalin Kirilov traces the gradual formation of a unique harmonic system that developed in three styles of Bulgarian music: village music from the 1930s to the 1990s, wedding music from the 1970s to 2000, and choral arrangements (obrabotki) - creations of the socialist period (1944-1989), popularized by Le Mystere des Voix Bulgares. Kirilov classifies the different approaches to harmony and situates them in their historical and cultural contexts, establishing new systems for analysis. In the process, he introduces a new system for the categorization of scales. Kirilov argues that the ready-made concepts that are frequently forced onto Bulgarian music - 'westernization', 'socialist' or 'Middle Eastern influence', are not only outdated but also too vague to be of use in understanding the sophisticated modal and harmonic systems found in Bulgarian music. As an insider who has performed, composed and arranged this music for 30 years, Kirilov is uniquely qualified to interpret it for an international audience.

Looking and Listening: Conversations between Modern Art and Music invites the art and music lover to place these two realms of creative endeavor in an open dialog with one another. While the worlds of music and visual art often seem to take separate path, they are commonly parallel ones. In Looking and Listening, conductor and art connoisseur Brenda Leach takes unique pairings of well-known visual art works and musical compositions from the 20th century to identify the shared sources of inspiration, as well as similarities in theme, style and technique to explore the historical and cultural influences on the great artists and composers in the 20th century. For readers, Looking and Listening asks and answers: What does jazz have in common with paintings by Stuart Davis and Piet Mondrian? How did Gershwin s Rhapsody in Blue impact the work of artist Arthur Dove? How did painter Georgia O Keeffe and composer Aaron Copland capture the spirit of a youthful America entering the 20th century in their works? What did Kandinsky and Schoenberg share in their artistic visions? Leach takes readers on a whirlwind tour of the lives of these artists and others, surveying many of the key movements in the 20th century, from pop art to minimalism, cubism to atonalism, by comparing representative works from modern master of the visual arts and music. Leach s refreshing and innovation approach will interest those passionate over 20th century art and music and is ideal for any student or instructor, museum docent or music programmer seeking to draw the lines of connection between these two art forms."

This book studies recent music in the western classical tradition, offering a critique of current analytical/theoretical approaches and proposing alternatives. The critique addresses the present fringe status of recent music sometimes described as crossover, postmodern, post-classical, post-minimalist, etc. and demonstrates that existing descriptive languages and analytical approaches do not provide adequate tools to address this music in positive and productive terms. Existing tools and concepts were developed primarily in the mid-20th century in tandem with the high modernist compositional aesthetic, and they have changed little since then. The aesthetics of music composition, on the other hand, have been in constant transformation. Lochhead proposes new ways to conceive musical works, their structurings of musical experience and time, and the procedures and goals of analytic close reading. These tools define investigative procedures that engage the multiple perspectives of composers, performers, and listeners, and that generate conceptual modes unique to each work. In action, they rebuild a conceptual, methodological, and experiential place for recent music. These new approaches are demonstrated in analyses of four pieces: Kaija Saariaho's Lonh (1996), Sofia Gubaidulina's Second String Quartet (1987), Stacy Garrop's String Quartet no.2, Demons and Angels (2004-05), and Anna Clyne's "Choke" (2004). This book defies the prediction of classical music's death, and will be of interest to scholars and musicians of classical music, and those interested in music theory, musicology, and aural culture.