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

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

The state of contemporary music is dizzyingly diverse in terms of style, media, traditions, and techniques. How have trends in music developed over the past decades? Music Composition in the 21st Century is a guide for composers and students that helps them navigate the often daunting complexity and abundance of resources and influences that confront them as they work to achieve a personal expression. From pop to classical, the book speaks to the creative ways that new composers mix and synthesize music, creating a music that exists along a more continuous spectrum rather than in a series of siloed practices. It pays special attention to a series of critical issues that have surfaced in recent years, including harmony, the influence of minimalism, the impact of technology, strategies of "openness," sound art, collaboration, and improvisation. Robert Carl identifies an emerging common practice that allows creators to make more informed aesthetic and technical decisions and also fosters an inherently positive approach to new methods.

As the turbulent 60's began to fade into the calmer 70's, a coterie of young singers, songwriters, musicians, artists, and poets began to congregate, musically on the stage of The New Bijou Theater - the Springfield, Missouri nightclub that would become the loose-knit group's home. What started as an informal weekly gathering, quickly morphed into a formal band. Dubbed the Family Tree, they became a favorite of the local counter-culture, as well as a continuation of the tradition-rich, Springfield music scene - which, until recently, included the Ozark Jubilee (the nation's first televised country music show). Though unprofitable at the time, they stuck to their guns and their original songs. When a rough tape of an early Bijou gig caught the ear of music mogul, John Hammond, it culminated in a 26-song studio demo, which caught the ear of A&M executive, David Anderle. The group signed with the label, changed their name to its present moniker, and whisked off to London to record their debut album under the tutelage of Glyn Johns. The album contained "If You Want to Get to Heaven." Their subsequent album, recorded in rural Missouri, contained "Jackie Blue." Both songs remain staples on 'classic rock' radio. By the early 80's, the Ozark Mountain Daredevils found themselves right where the Family Tree had stood a decade before - in Springfield with no record deal. They did, though, find themselves with legions of loyal fans around the world. Amidst personnel changes, personal turmoils and a cornucopia of tales from the rock-n-roll highway, the next twenty years were spent 'on the road'. Though continuing to write, they could garner little interest among the rapidly modernizing music industry - a situation many long-haired, long-named hippie bands of the 70's find themselves in. Their music, though, lives in the hearts of their fans.

Translating for Singing discusses the art and craft of translating singable lyrics, a topic of interest in a wide range of fields, including translation, music, creative writing, cultural studies, performance studies, and semiotics. Previously, such translation has most often been discussed by music critics, many of whom had neither training nor experience in this area. Written by two internationally-known translators, the book focusses mainly on practical techniques for creating translations meant to be sung to pre-existing music, with suggested solutions to such linguistic problems as those associated with rhythm, syllable count, vocal burden, rhyme, repetition and sound. Translation theory and translations of lyrics for other purposes, such as surtitles, are also covered. The book can serve as a primary text in courses on translating lyrics and as a reference and supplementary text for other courses and for professionals in the fields mentioned. Beyond academia, the book is of interest to professional translators and to librettists, singers, conductors, stage directors, and audience members.

Discovering Music Theory is a suite of workbooks and corresponding answer books that offers all-round preparation for the updated ABRSM Music Theory exams from 2020, including the new online papers. This full-colour workbook will equip students of all ages with the skills, knowledge and understanding required for the ABRSM Grade 3 Music Theory exam. Written to make theory engaging and relevant to developing musicians of all ages, it offers: - straightforward explanations of all new concepts - progressive exercises to build skills and understanding, step by step - challenge questions to extend learning and develop music-writing skills - helpful tips for how to approach specific exercises - ideas for linking theory to music listening, performing and instrumental/singing lessons - clear signposting and progress reviews throughout - a sample practice exam paper showing you what to expect in the new style of exams from 2020 As well as fully supporting the ABRSM theory syllabus, Discovering Music Theory provides an excellent resource for anyone wishing to develop their music literacy skills, including GCSE and A-Level candidates, and adult learners.

This book forms a basis and a starting point for a closer dialogue between musicologists, anthropologists and psychologists to achieve a better understanding of the cultural psychology of musical experience. This is done by arranging a meeting point or an arena in which different aspects of psychology and musicology touch and encounters each other due to how the two fields might be defined today. In line with this the book consists of a group of scholars that have their feet solidly grounded in psychology, social science or musicology, but at the same time have a certain interest in uniting them. On this basis it is divided into five parts, which investigates musical sensations, musical experiences, musical transformations, musical fundamentals and the notion of a cultural psychology of music. Thus another aim of this book is to prepare the basis for a further growth of a cultural psychology that is able to include the experiences of music as a basis for understanding the ordinary human life. Thus this book should be of interest for those who want to investigate the mysterious intersection between music and psychology.

Ludic Dreaming uses (sometimes fictional) dreams as a method for examining sound and contemporary technoculture's esoteric exchanges, refusing both the strictures of visually dominated logic and the celebratory tone that so often characterizes the "sonic turn." Instead, through a series of eight quasi-analytical essays on the condition of listening, the book forwards a robust engagement with sounds (human and nonhuman alike) that leverages particularity in its full, radical singularity: what is a dream, after all, if not an incipient physics that isn't held to the scientific demand for repeatability? Thus, these studies declare their challenge to the conventions of argumentation and situate themselves at a threshold between theory and fiction, one that encourages reader and writer alike to make lateral connections between otherwise wildly incongruent subjects and states of affairs. Put differently, Ludic Dreaming is a how-to book for listening away from the seeming fatality of contemporary technologies, which is to say, away from the seeming inevitability of late capitalistic nihilism.

At the dawn of the 1990s, as the United States celebrated its victory in the Cold War and sole superpower status by waging war on Iraq and proclaiming democratic capitalism as the best possible society, the 1990s underground punk renaissance transformed the punk scene into a site of radical opposition to American empire. Nazi skinheads were ejected from the punk scene; apathetic attitudes were challenged; women, Latino, and LGBTQ participants asserted their identities and perspectives within punk; the scene debated the virtues of maintaining DIY purity versus venturing into the musical mainstream; and punks participated in protest movements from animal rights to stopping the execution of Mumia Abu-Jamal to shutting down the 1999 WTO meeting. Punk lyrics offered strident critiques of American empire, from its exploitation of the Third World to its warped social relations. Numerous subgenres of punk proliferated to deliver this critique, such as the blazing hardcore punk of bands like Los Crudos, propagandistic crust-punk/dis-core, grindcore and power violence with tempos over 800 beats per minute, and So-Cal punk with its combination of melody and hardcore. Musical analysis of each of these styles and the expressive efficacy of numerous bands reveals that punk is not merely simplistic three-chord rock music, but a genre that is constantly revolutionizing itself in which nuances of guitar riffs, vocal timbres, drum beats, and song structures are deeply meaningful to its audience, as corroborated by the robust discourse in punk zines.

Blackstar Theory takes a close look at David Bowie's ambitious last works: his surprise 'comeback' project The Next Day (2013), the off-Broadway musical Lazarus (2015) and the album that preceded the artist's death in 2016 by two days, Blackstar. The book explores the swirl of themes that orbit and entangle these projects from a starting point in musical analysis and features new interviews with key collaborators from the period: producer Tony Visconti, graphic designer Jonathan Barnbrook, musical director Henry Hey, saxophonist Donny McCaslin and assistant sound engineer Erin Tonkon. These works tackle the biggest of ideas: identity, creativity, chaos, transience and immortality. They enact a process of individuation for the Bowie meta-persona and invite us to consider what happens when a star dies. In our universe, dying stars do not disappear - they transform into new stellar objects, remnants and gravitational forces. The radical potential of the Blackstar is demonstrated in the rock star supernova that creates a singularity resulting in cultural iconicity. It is how a man approaching his own death can create art that illuminates the immortal potential of all matter in the known universe.

CLASSICAL COOKS: A GASTROHISTORY OF WESTERN MUSIC by Ira Braus The expression, "Classical music is an acquired taste" takes on new meaning in Ira Braus's Classical Cooks: A Gastrohistory of Western Music. Unlike most classical music guides, Classical Cooks links music and food synaesthetically. Synaesthesia means experiencing one sense modality by stimulating another, such as "hearing" colors. Music and food, as my book shows, are close enough aesthetically, so that we can enjoy them synaesthetically. The book correlates the respective musical and culinary talents of composers living between 1350 and 2000; it also suggests ways for listeners to distinguish composers' styles by way of gastro-musical association. Classical Cooks complements a recent line of books dealing with food and culture, e.g., The Toulouse Lautrec Cookbook, Keats's Porridge, and Jazz Cooks. To be sure, American orchestras, like the Boston Symphony and New York Philharmonic, have published recipes contributed by their players. But no substantial anthology of composer recipes has thus far appeared. Classical Cooks has Three Courses, plus Dessert. Course 1, "Why Musicians Love to Talk Shop in the Kitchen," matches food categories with musical ones. Take fat. Musicians associate fat with lush, full-bodied orchestration as we hear in, say, Hollywood scores of the 1950s. These composers learned their craft from lipid composers like Puccini and Debussy. Puccini's "fat," mellifluous as it is, may be compared to olive oil - clear, fruity, digestible, while Debussy's is voluptuous, like butter - filmy, artery-clogging, and delectable. Course 2, "A Gastrohistory of Music in Documents" offers accounts of composers as gastro-nomes. Beethoven's culinary disasters are juxtaposed with Rossini's haute cuisine, so haute in fact, that one of his recipes ("Tournedos Rossini") appears in Larousse Gastronomique. One also reads stories of Liszt's food-fights with his pupils and of his chiding the American pianist, Amy Fay, for "making an omelette" when playing wrist-bending passages in his piano music. Course 3, "You Eat What you Compose, or, Will the Real Mozart Please Stand Up?" addresses riddles of music history: how knowledge of Mozart's favorite foods -- liver dumplings and sauerkraut -- might revise his popular image as a composer of "sweet" music, e.g. Eine kleine Nachtmusik; how a gastronomic kinship between J.S. Bach and Brahms -- their love of herring -- might reflect their dense musical expression, as well as Brahms's composing minuets and sarabandes during the mid-1800s; and how knowing Ravel's preference for "hot" food helps us to distinguish the sound of his music from the more understated style of Debussy. Dessert comprises "The Well-Tempered Cuisinier: Twenty-four Pastries and Foods from the Classical Cooks." Readers will find here a combination of recipes and menus suitable for diverse musical occasions (concert receptions, composer birthdays, opera caf entres).

Humming is a ubiquitous and mundane act many of us perform. The fact that we often hum to ourselves, to family members, or to close friends suggests that humming is a personal, intimate act. It can also be a powerful way in which people open up to others and share collective memories. In religious settings such as Tibetan chanting, humming offers a mesmerising sonic experience. Then there are hums that resound regardless of human activity, such as the hums of impersonal objects and man-made or natural phenomena. The first sound studies book to explores the topic of humming, Humming offers a unique examination of the polarising categories of hums, from hums that are performed only to oneself, that are exercised in religious practice, that claim healing, and that resonate with our bodies, to hums that can drive people to madness, that emanate from cities and towns, and that resound in the universe. By acknowledging the quirkiness of hums within the established discourse in sound studies, Humming takes a truly interdisciplinary view on this familiar yet less-trodden sonic concept in sound studies.

This book discusses the relationship between Greek Orthodox ecclesiastical music and laiko (popular) song in Greece. Laiko music was long considered a lesser form of music in Greece, with rural folk music considered serious enough to carry the weight of the ideologies founded within the establishment of the contemporary Greek state. During the 1940s and 1950s, a selective exoneration of urban popular music took place, one of its most popular cases being the originating relationships between two extremely popular musical pieces: Vasilis Tsitsanis’s “Synnefiasmeni Kyriaki” (Cloudy Sunday) and its descent from the hymn “Ti Ypermacho” (The Akathist Hymn). During this period the connection of these two pieces was forged in the Modern Greek conscience, led by certain key figures in the authority system of the scholarly world. Through analysis of these pieces and the surrounding contexts, Ordoulidis explores the changing role and perception of popular music in Greece.