Although David Bowie has famously characterized himself as a "leper messiah," a more appropriate moniker might be "rock god" someone whose influence has crossed numerous sub-genres of popular and classical music and can at times seem ubiquitous. By looking at key moments in his career (1972, 1977-79, 1980-83, and 1995-97) through several lenses--theories of sub-culture, gender/sexuality studies, theories of sound, post-colonial theory, and performance studies Waldrep will examine Bowie's work in terms not only of his auditory output but his many reinterpretations of it via music videos, concert tours, television appearances, and occasional movie roles. Future Nostalgia will look at all aspects of Bowie's career--musical recordings, live concerts, music videos, film performances, and television appearance--in an attempt to trace Bowie's contribution to the performative paradigms that constitute contemporary rock music.

During the early medieval Islamicate period (800-1400 CE), discourses concerned with music and musicians were wide-ranging and contentious, and expressed in works on music theory and philosophy as well as literature and poetry. But in spite of attempts by influential scholars and political leaders to limit or control musical expression, music and sound permeated all layers of the social structure. Lisa Nielson here presents a rich social history of music, musicianship and the role of musicians in the early Islamicate era. Focusing primarily on Damascus, Baghdad and Jerusalem, Lisa Nielson draws on a wide variety of textual sources written for and about musicians and their professional/private environments - including chronicles, literary sources, memoirs and musical treatises - as well as the disciplinary approaches of musicology to offer insights into musical performances and the lives of musicians. In the process, the book sheds light onto the dynamics of medieval Islamicate courts, as well as how slavery, gender, status and religion intersected with music in courtly life. It will appeal to scholars of the Islamicate world and historical musicologists.

In Arthur Upham Pope and A New Survey of Persian Art, fourteen scholars explore the legacy of Arthur Upham Pope (1881-1969) by tracing the formation of Persian art scholarship and connoisseurship during the twentieth century. Widely considered as a self-made scholar, curator, and entrepreneur, Pope was credited for establishing the basis of what we now categorize broadly as Persian art. His unrivalled professional achievement, together with his personal charisma, influenced the way in which many scholars and collectors worldwide came to understand the art, architecture and material culture of the Persian world. This ultimately resulted in the establishment of the aesthetic criteria for assessing the importance of cultural remains from modern-day Iran. With contributions by Lindsay Allen, Sheila S. Blair, Jonathan M. Bloom, Talinn Grigor, Robert Hillenbrand, Yuka Kadoi, Sumru Belger Krody, Judith A. Lerner, Kimberly Masteller, Cornelia Montgomery, Bernard O'Kane, Keelan Overton, Laura Weinstein, and Donald Whitcomb.

Using cine-ethnomusicology as a focus, Cineworlding introduces readers to ways of thinking eco-cinematically. Screens are omnipresent, we carry digital cinema production equipment in our pockets, but this screen-based technological revolution has barely impacted social science scholarship. Mixing existential phenomenological fiction about social science digital cinema research practice followed by theoretical reflection and discussion of methods, this book has emerged from a decade-long inquiry into cineworlding and a desire to help others produce digital media to engage creatively with the digital networks that surround us.

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.

During the formative years of jazz (1890-1917), the Creoles of Color-as they were then called-played a significant role in the development of jazz as teachers, bandleaders, instrumentalists, singers, and composers. Indeed, music penetrated all aspects of the life of this tight-knit community, proud of its French heritage and language. They played and/or sang classical, military, and dance music, as well as popular songs and cantiques that incorporated African, European, and Caribbean elements decades before early jazz appeared. In Jazz a la Creole: French Creole Music and the Birth of Jazz, author Caroline Vezina describes the music played by the Afro-Creole community since the arrival of enslaved Africans in La Louisiane, then a French colony, at the beginning of the eighteenth century, emphasizing the many cultural exchanges that led to the development of jazz. Vezina has compiled and analyzed a broad scope of primary sources found in diverse locations from New Orleans to Quebec City, Washington, DC, New York City, and Chicago. Two previously unpublished interviews add valuable insider knowledge about the music on French plantations and the danses Creoles held in Congo Square after the Civil War. Musical and textual analyses of cantiques provide new information about the process of their appropriation by the Creole Catholics as the French counterpart of the Negro spirituals. Finally, a closer look at their musical practices indicates that the Creoles sang and improvised music and/or lyrics of Creole songs, and that some were part of their professional repertoire. As such, they belong to the Black American and the Franco-American folk music traditions that reflect the rich cultural heritage of Louisiana.

Exploring the nexus of music and religious education involves fundamental questions regarding music itself, its nature, its interpretation, and its importance in relation to both education and the religious practices into which it is integrated. This cross-disciplinary volume of essays offers the first comprehensive set of studies to examine the role of music in educational and religious reform and the underlying notions of music in early modern Europe. It elucidates the context and manner in which music served as a means of religious teaching and learning during that time, thereby identifying the religio-cultural and intellectual foundations of early modern European musical phenomena and their significance for exploring the interplay of music and religious education today.

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.

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.

The Oxford Handbook of the British Musical provides a comprehensive academic survey of British musical theatre offering both a historical account of the musical's development from 1728 and a range of in-depth critical analyses of the unique forms and features of British musicals, which explore the aesthetic values and sociocultural meanings of a tradition that initially gave rise to the American musical and later challenged its modern pre-eminence. After a consideration of how John Gay's The Beggar's Opera (1728) created a prototype for eighteenth-century ballad opera, the book focuses on the use of song in early nineteenth century theatre, followed by a sociocultural analysis of the comic operas of Gilbert and Sullivan; it then examines Edwardian and interwar musical comedies and revues as well as the impact of Rodgers and Hammerstein on the West End, before analysing the new forms of the postwar British musical from The Boy Friend (1953) to Oliver! (1960). One section of the book examines the contributions of key twentieth century figures including Noel Coward, Ivor Novello, Tim Rice, Andrew Lloyd Webber, director Joan Littlewood and producer Cameron Macintosh, while a number of essays discuss both mainstream and alternative musicals of the 1960s and 1970s and the influence of the pop industry on the creation of concept recordings such as Jesus Christ Superstar (1970) and Les Miserables (1980). There is a consideration of "jukebox" musicals such as Mamma Mia! (1999), while essays on overtly political shows such as Billy Elliot (2005) are complemented by those on experimental musicals like Jerry Springer: the Opera (2003) and London Road (2011) and on the burgeoning of Black and Asian British musicals in both the West End and subsidized venues. The Oxford Handbook of the British Musical demonstrates not only the unique qualities of British musical theatre but also the vitality and variety of British musicals today.

In Eleanor Smith's Hull House Songs: The Music of Protest and Hope in Jane Addams's Chicago, the authors republish Hull House Songs (1916), together with critical commentary. Hull-House Songs contains five politically engaged compositions written by the Hull-House music educator, Eleanor Smith. The commentary that accompanies the folio includes an examination of Smith's poetic sources and musical influences; a study of Jane Addams's aesthetic theories; and a complete history of the arts at Hull-House. Through this focus upon aesthetic and cultural programs at Hull-House, the authors identify the external, and internalized, forces of domination (class position, racial identity, patriarchal disenfranchisement) that limited the work of the Hull-House women, while also recovering the sometimes hidden emancipatory possibilities of their legacy. With an afterword by Jocelyn Zelasko.

Breaking is the first and most widely practiced hip-hop dance in the world today, with an estimated one million participants taking part in this dynamic, multifaceted artform. Yet, despite its global reach and over 40 years of existence, historical treatments of the dance have largely neglected the African Americans who founded it. Dancer and scholar Serouj "Midus" Aprahamian offers, for the first time, a detailed look into the African American beginnings of breaking in the Bronx, New York, during the 1970s. Given the pivotal impact the dance had on hip-hop's formation, this book also challenges numerous myths and misconceptions that have permeated studies of hip-hop culture's emergence. Aprahamian draws on untapped archival material, primary interviews, and detailed descriptions of early breaking to bring this buried history to life, with a particular focus on the early aesthetic development of the dance, the institutional settings in which hip-hop was conceived, and the movement's impact on sociocultural conditions in New York throughout the 1970s. By featuring the overlooked first-hand accounts of over 50 founding b-boys and b-girls, this book also shows how indebted breaking is to African American culture and interrogates the disturbing factors behind its historical erasure.

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 2 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 is a pioneering study of the phenomenon of vibration and its history and reception through culture. The study of the senses has become a rich topic in recent years. "Senses of Vibration" explores a wide range of sensory experience and makes a decisive new contribution to this growing field by focussing not simply on the senses as such, but on the material experience - vibration - that underpins them. This is the first book to take the theme of vibration as central, offering an interdisciplinary history of the phenomenon and its reverberations in the cultural imaginary. It tracks vibration through the work of a wide range of writers, including physiologists (who thought vibrations in the nerves delivered sensations to the brain), physicists (who claimed that light, heat, electricity and other forms of energy were vibratory), spiritualists (who figured that spiritual energies also existed in vibratory form), and poets and novelists from Coleridge to Dickens and Wells. "Senses of Vibration" is a work of scholarship that cuts through a range of disciplines and will reverberate for many years to come.

Brings together in one volume the full text of some 450 letters in first-time English translation, organized into sections each prefaced by an introduction. All the letters are fully annotated and they yield information about Viennese society, culture and politics of the time. The work of Heinrich Schenker (1868-1935), widely regarded as the most important music theorist of the twentieth century, has shaped the teaching of music theory in the United States profoundly and influenced theorists there, in Europe, and throughout the world. Living and working in Vienna, Schenker maintained a vigorous correspondence with a large circle of professional musicians, writers, music critics, institutions, administrators, patrons, friends, and pupils. A large part of his correspondence was preserved after his death: some 7,000 letters, postcards, telegrams, etc., to and from 400 correspondents. His diaries record the fabric of his personal life and his activities asa private music teacher and writer; they also provide a detailed commentary on historical and political events and offer a window on to the conditions of life in Vienna. Taken together, these documents contribute vividly to the picture of cultural life in Vienna, and elsewhere, from the perspective of a Jewish intellectual and his circle of musical and artistic friends. Heinrich Schenker: Selected Correspondence represents a concise edition ofsome of the theorist's most important and revelatory letters and diary entries. It offers the full text of some 450 letters in English translation, organized into sections devoted to various aspects of his professional life: teaching, writing, administration, and maintaining contact with an ever widening circle including Ferruccio Busoni, Julius Roentgen, Otto Erich Deutsch, Alphons von Rothschild, Paul von Klenau, Wilhelm Furtwangler, Paul Hindemith, MorizViolin, John Petrie Dunn, and Hans Weisse. Extracts from the diaries provide a summary of important parts of the correspondence that do not survive. The volume includes a detailed exposition of the editorial method, biographicalnotes on correspondents, and a substantial general introduction. Each of the sections is prefaced by an introduction which provides essential historical context, and the letters and diary entries are fully annotated. IAN BENT is Emeritus Professor of Music at Columbia University in New York, and lives in the United Kingdom. DAVID BRETHERTON is Lecturer in Music at the University of Southampton. WILLIAM DRABKIN is Professorof Music at the University of Southampton. CONTRIBUTORS: Marko Deisinger, Martin Eybl, Christoph Hust, Kevin C. Karnes, John Koslovsky, Lee Rothfarb, John Rothgeb, Hedi Siegel, Arnold Whittall

By the end of the Second World War, Germany was in ruins and its Jewish population so gravely diminished that a rich cultural life seemed unthinkable. And yet, as surviving Jews returned from hiding, the camps, and their exiles abroad, so did their music. Transcending Dystopia tells the story of the remarkable revival of Jewish musical activity that developed in postwar Germany against all odds. Author Tina Fruhauf provides a kaleidoscopic panorama of musical practices in worship and social life across the country to illuminate how music contributed to transitions and transformations within and beyond Jewish communities in the aftermath of the Holocaust. Drawing on newly unearthed sources from archives and private collections, this book covers a wide spectrum of musical activity-from its role in commemorations and community events to synagogue concerts and its presence on the radio-across the divided Germany until the Fall of the Wall in 1989. Fruhauf's use of mobility as a conceptual framework reveals the myriad ways in which the reemergence of Jewish music in Germany was shaped by cultural transfer and exchange that often relied on the circulation of musicians, their ideas, and practices within and between communities. By illuminating the centrality of mobility to Jewish experiences and highlighting how postwar Jewish musical practices in Germany were defined by politics that reached across national borders to the United States and Israel, this pioneering study makes a major contribution to our understanding of Jewish life and culture in a transnational context.