Ethnomusicology is an academic discipline with a very broad mandate: to understand why and how human beings are musical through the study of music in all its geographical and historical diversity. Ethnomusicological scholarship, however, has been remiss in articulating such goals, methods, and theories. A renowned figure in the field, Timothy Rice is one of the few scholars to regularly address this problem. In this volume, he offers a compilation of essays drawn from across his career that finds implicit and yet largely unrecognized patterns unifying ethnomusicology over its recent history. Modeling Ethnomusicology summarizes thirty years of thinking about the field of ethnomusicology as Rice frames and reframes the content of eight of his most important essays from their original context in relation to the environment of today's ethnomusicology. Rice proposes a variety of models meant to guide students and researchers in their study of ethnomusicology. Some of these models pull together disparate strands of the field, while others propose heuristic models that generate questions for researchers as they plan and conduct their research. A new introduction to these essays reviews the history of his writing about ethnomusicology and proposes an innovative model for theorizing in ethnomusicology by ethnomusicologists. This book will be an enduring, essential text in undergraduate and graduate ethnomusicology classrooms, as well as a must-buy for established scholars in the field.

The newly emerged interdisciplinary field of Disability Studies offers a sociopolitical analysis of disability, focusing on its social construction, and shifting attention from biology to culture. In the past fifteen years, disability-related scholarly work has been undertaken in a variety of disciplines, and disability now occupies a central place in cultural analysis, along with well-established categories like race/ethnicity, gender, sexuality, and class. The Oxford Handbook of Disability Studies represents a comprehensive "state of current research" for the field of Disability Studies and Music. The forty-two chapters in the book span a wide chronological and geographical range, from the biblical, the medieval, and the Elizabethan, through the canonical classics of the eighteenth and nineteenth centuries, up to modernist styles and contemporary musical theater and popular genres, with stops along the way in post-Civil War America, Ghana and the South Pacific, and many other interesting times and places. Disability is a broad, heterogeneous, and porous identity, and that diversity is reflected in the variety of bodily conditions under discussion here, including autism and intellectual disability, deafness, blindness, and mobility impairment often coupled with bodily deformity. Cultural Disability Studies has, from its inception, been oriented toward physical and sensory disabilities, and has generally been less effective in dealing with cognitive and intellectual impairments and with the sorts of emotions and behaviors that in our era are often medicalized as "mental illness." In that context, it is notable that so many of these essays are centrally concerned with madness, that broad and ever-shifting cultural category. There is also in impressive diversity of subject matter including YouTube videos, Ghanaian drumming, Cirque du Soleil, piano competitions, castrati, medieval smoking songs, and popular musicals. Amid this diversity of time, place, style, medium, and topic, the chapters share two core commitments. First, they are united in their theoretical and methodological connection to Disability Studies, especially its central idea that disability is a social and cultural construction. Disability both shapes and is shaped by culture, including musical culture. Second, these essays individually and collectively make the case that disability is not something at the periphery of culture and music, but something central to our art and to our humanity.

The Musicality of Narrative Film is the first book to examine in depth the film/music analogy. Using comparative analysis, Kulezic-Wilson explores film's musical potential, arguing that film's musicality can be achieved through various cinematic devices, with or without music.

Increasingly, guitar study is offered alongside band, orchestra, and chorus in school music programs. This development has drawn a new population of students into those programs but has left music educators scrambling to developing meaningful, sequential courses of study that both meet the needs of these new students and align with state, county, and national curricula. Few available guitar methods are designed with the classroom in mind, and fewer still take a holistic approach to teaching and learning the instrument. In short, teachers are left to navigate a vast array of method books that cover a variety of styles and approaches, often without the confidence and experience necessary to know 'what to teach when.' The Guitar Workbook: A Fresh Approach to Exploration and Mastery addresses the needs of these educators. Throughout the book's 20 lessons, students are encouraged to explore the ways various guitar styles and notation systems differ, as well as the ways they support and complement each other. Lessons cover myriad topics including pick-style playing, basic open position chords, finger-style technique, and power chords. Suggested 'Mastery Activities' at the end of each lesson support higher-order thinking, contextualize the skills and concepts studied, and provide a jumping off point for further exploration. Additionally, suggestions for further study point teachers and students to resources for extra practice.

This is a facsimile of the first edition, printed for the Author, in Edinburgh in 1721.

Perfect Harmony and Melting Strains assembles interdisciplinary essays investigating concepts of harmony during a transitional period, in which the Pythagorean notion of a harmoniously ordered cosmos competed with and was transformed by new theories about sound - and new ways of conceptualizing the world. From the perspectives of philosophy, literary scholarship, and musicology, the contributions consider music's ambivalent position between mathematical abstraction and sensibility, between the metaphysics of harmony and the physics of sound. Essays examine the late medieval and early modern history of ideas concerning the nature of music and cosmic harmony, and trace their transformations in early modern musico-literary discourses. Within this framework, essays further offer original readings of important philosophical, literary, and musicological works. This interdisciplinary volume brings into focus the transformation of a predominant Renaissance worldview and of music's scientific, theological, literary, as well as cultural conceptions and functions in the early modern period, and will be of interest to scholars of the classics, philosophy, musicology, as well as literary and cultural studies.

This book bridges the existing gap between film sound and film music studies by bringing together scholars from both disciplines who challenge the constraints of their subject areas by thinking about integrated approaches to the soundtrack. As the boundaries between scoring and sound design in contemporary cinema have become increasingly blurred, both film music and film sound studies have responded by expanding their range of topics and the scope of their analysis beyond those traditionally addressed. The running theme of the book is the disintegration of boundaries, which permeates discussions about industry, labour, technology, aesthetics and audiovisual spectatorship. The collaborative nature of screen media is addressed not only in scholarly chapters but also through interviews with key practitioners that include sound recordists, sound designers, composers, orchestrators and music supervisors who honed their skills on films, TV programmes, video games, commercials and music videos.

U2's significant career far exceeds that of most average successful rock bands, with a prolific output of thirteen well-received studio albums and a sometimes relentless touring schedule. The band is famous for uniquely drawing together music, art, faith, and activism, all within a lucrative career that has given each of these elements an unusual degree of social and cultural resonance. Broad-minded musically and intellectually, U2'soutput is thematically rich, addressing a slew of topics, from questions of faith to anxieties about commercialism to outright political statements. With one of the largest fan bases in the history of rock music, U2 and their work require contextualization and exploration. In U2: Rock 'n' Roll to Change the World, Timothy D. Neufeld takes up this challenge. Neufeld explores U2's move from the youthful idealism of a band barely able to play instruments through its many phases of artistic expression and cultural engagement to its employment of faith and activism as a foundation for its success. This book outlines how U2 reshaped the very musical and even political culture that had originally shaped it, demonstrating through close readings of its musical work the dynamic interplay of artistic expression and social engagement.

If writing about music is like dancing about architecture, you'd do best to hone your chops and avoid cliches (like the one that begins this sentence) by learning from the prime movers." How to Write About Music" offers a selection of the best writers on what is perhaps our most universally beloved art form. Selections from the critically-acclaimed 33 1/3 series appear alongside new interviews and insights from authors like Jonathan Lethem, Carl Wilson and Kim Cooper." How to Write About Music "includes primary sources of inspiration from a variety of go-to genres such as: the album review, the personal essay, the blog post and the interview along with tips, writing prompts, and advice from the writers themselves. An extensive further reader section accompanies each chapter for a complete picture of contemporary music writing.Music critics of the past and the present offer inspiration through their work on artists like Neutral Milk Hotel, J.Dilla, The Rolling Stones, Joy Division, Lana Del Rey, Nirvana, Nas, Radiohead and countless others." How to Write About Music" is an invaluable tool for anyone who has ever dreamed of getting their music writing published and a pleasure for anyone who loves to read about music.

Sound is an integral part of contemporary art. Once understood to be a marginal practice, increasingly we encounter sound in art exhibitions through an array of sound making works in various art forms, at times played to very high audio levels. However, works of art are far from the only thing one might hear: music performances, floor talks, exhibition openings and the noisy background sounds that emanate from the gallery cafe fill contemporary exhibition environments. Far from being hallowed spaces of quiet reflection, what this means is that galleries have swiftly become very noisy places. As such, a straightforward consideration of artworks alone can then no longer account for our experiences of art galleries and museums. To date there has been minimal scholarship directed towards the intricacies of our experiences of sound that occur within the bounds of this purportedly 'visual' art space. Kelly addresses this gap in knowledge through the examination of historical and contemporary sound in gallery environments, broadening our understanding of artists who work with sound, the institutions that exhibit these works, and the audiences that visit them. Gallery Sound argues for the importance of all of the sounds to be heard within the walls of art spaces, and in doing so listens not only to the deliberate inclusion of sound within the art gallery in the form of artworks, performances, and music, but also to its incidental sounds, such as their ambient sounds and the noise generated by audiences. More than this, however, Gallery Sound turns its attention to the ways in which the acoustic characteristics specific to gallery spaces have been mined by artists for creative outputs, ushering in entirely new art forms.

Traditionally, Wagnerian scholarship has always treated the Ring and Parsifal as two separate works. The Redeemer Reborn: Parsifal as the Fifth Opera of Wagner's Ring shows how Parsifal is in fact actually the fifth opera of the Ring. Schofield explains in detail how these five musical dramas portray a single, unbroken story which begins at the start of Das Rheingold when Wotan breaks a branch from the World Ash-tree and Alberich steals the gold of the Rhine, thus separating Spear and Grail, and ends with the reunion of the Spear and Grail in the temple of Monsalvat at the end of Parsifal. Schofield explains how and why the four main characters of the Ring are reborn in the opera Parsifal, needing to complete in Parsifal the spiritual journey begun in the Ring. He also shows how the redemption that is not attained in the process of the Ring is finally realized in the events of Parsifal.

This book uncovers how music experience-live and recorded-is changing along with the use of digital technology in the 2000s. Focussing on the Nordic region, this volume utilizes the theory of mentalization: the capacity to perceive and interpret what others are thinking and feeling, and applies it to the analysis of mediated forms of agency in popular music. The rise of new media in music production has enabled sound recording and processing to occur more rapidly and in more places, including the live concert stage. Digital technology has also introduced new distribution and consumption technologies that allow record listening to be more closely linked to the live music experience. The use of digital technology has therefore facilitated an expanding range of activities and experiences with music. Here, Yngvar Kjus addresses a topic that has a truly global reach that is of interest to scholars of musicology, media studies and technology studies.

Geistliche Lieder und Psalmen, 1567, was compiled and published by Johann Leisentrit, a Roman Catholic priest who from 1559 to the time of his death in 1586, was Dean at the Cathedral of St. Peter's in Bautzen, a town in southeastern Germany. His hymnbook appeared in three complete editions (1567, 1573, 1584), and in abridged editions in 1575, 1576, and 1589. By adapting the vernacular hymn, a genre created by Protestant reformers, Leisentrit hoped to bring back to the "true church" (wahrglaubiger Christlicher Kirchen) those who had defected to Lutheranism. This was a formidable ambition because his diocese was located adjacent to the Moravian-Bohemian regions where the Protestant movement was born and remained vital. Containing approximately 260 texts set to 175 notated melodies, many borrowed from Protestant sources and adapted to serve Roman Catholic objectives, Leisentrit's book was the second Catholic hymnbook to be published in the sixteenth century. It surpassed its Protestant and Catholic precursors in scope and provided a model for the profusion of hymnbooks of numerous confessions that appeared in Germany in the seventeenth and eighteenth centuries . Wetzel and Heitmeyer present their study in two parts: The first comprises six contextual chapters that survey earlier German achievements in hymnody, provide analyses of the texts and music in Leisentrit's book, and assess his achievement within the volatile environment of the Counter Reformation. The second gives the melodies in modern notation along with the first stanzas of the texts; provides detailed concordances and references to sources that identify textual and musical provenances; and concludes with six appendixes to facilitate scholarly cross-references. Fourteen of the seventy wood engravings from Leisentrit's book, many of which are visual representations of the prevailing confessional conflicts, are given in enlarged reproductions. The authors provide the only comprehensive study in English of a unique religious figure and his efforts to achieve confessional reconciliation in the decades following the Council of Trent. They add to a more accurate interpretation of the relationship between Lutherans and Catholics in the sixteenth century and support the hypothesis that some Lutherans remained more liturgically formal than their Catholic contemporaries.

Designed to coordinate page-by-page with the Lesson Books. Contains enjoyable games and quizzes that reinforce the principles presented in the Lesson Books. Students can increase their musical understanding while they are away from the keyboard.

This book examines the post-1960s era of popular music in the Anglo-Black Atlantic through the prism of historical theory and methods. By using a series of case studies, this book mobilizes historical theory and methods to underline different expressions of alternative music functioning within a mainstream musical industry. Each chapter highlights a particular theory or method while simultaneously weaving it through a genre of music expressing a notion of alternativity-an explicit positioning of one's expression outside and counter to the mainstream. Historical Theory and Methods through Popular Music seeks to fill a gap in current scholarship by offering a collection written specifically for the pedagogical and theoretical needs of those interested in the topic.

This book explains the state of the art in the use of the discrete Fourier transform (DFT) of musical structures such as rhythms or scales. In particular the author explains the DFT of pitch-class distributions, homometry and the phase retrieval problem, nil Fourier coefficients and tilings, saliency, extrapolation to the continuous Fourier transform and continuous spaces, and the meaning of the phases of Fourier coefficients. This is the first textbook dedicated to this subject, and with supporting examples and exercises this is suitable for researchers and advanced undergraduate and graduate students of music, computer science and engineering. The author has made online supplementary material available, and the book is also suitable for practitioners who want to learn about techniques for understanding musical notions and who want to gain musical insights into mathematical problems.

This book is designed to support K-5 classroom teachers as they integrate music throughout the elementary curriculum. It contains detailed, practical ideas and examples, including full lesson plans and over 100 teaching ideas and strategies for integrating music with visual art, language arts, social studies, science, and mathematics. Following an overview of the interdisciplinary approach, the remaining chapters explore connections between music and other areas of the elementary curriculum. Each chapter also includes a section addressing national standards with tables showing the specific standards that are included in each lesson and activity. This text utilizes the most recent National Core Arts Standards (2015) as well as the most recent standards in mathematics, science, social studies, and language arts. All the lessons in this book are designed to be fully taught by classroom teachers; the content is accessible to those who lack formal music training, yet is solidly rooted in research and best practices. While classroom teachers can teach these lessons on their own, this book may facilitate partnerships and collaboration between classroom teachers and music specialists. All the lessons and activities included in this text have been reviewed by practicing teachers and most have been field tested in elementary classrooms. Throughout the book, there is an emphasis on interdisciplinary lessons that demonstrate valid connections between disciplines while maintaining the integrity of each discipline involved, including a teacher-tested model that allows teachers to successfully create their own interdisciplinary lessons.

Breaking new ground in the field of Sound Studies, this book provides an in-depth study of the culture and physicality of dancehall reggae music. The reggae sound system has exerted a major influence on music and popular culture. Every night, on the streets of inner city Kingston, Jamaica, Dancehall sessions stage a visceral, immersive and immensely pleasurable experience of sonic dominance for the participating crowd. "Sonic Bodies" concentrates on the skilled performance of the crewmembers responsible for this signature of Jamaican music: the audio engineers designing, building and fine-tuning the hugely powerful "set" of equipment; the selectors choosing the music tracks played; and, MCs (DJs) on the mic hyping up the crowd. Julian Henriques proposes that these dancehall "vibes" are taken literally as the periodic movement of vibrations, and offers an analysis of how a sound system operates - not only at auditory, but also at corporeal and sociocultural frequencies. "Sonic Bodies" formulates a fascinating auditory critique of visual dominance and the dualities inherent in ideas of image, text or discourse. This innovative book questions the assumptions that reason resides only in the mind, that communication is an exchange of information and that meaning is only ever representation.

Song & Social Change in Latin America offers seven essays from a diverse group of scholars on the topic of music as a reflection of the many social-political upheavals throughout Latin America from the 20th century to the present. Topics covered include: the Tropicalia movement in Brazil, the Nueva Cancion in Central America, Rock in Mexico, Argentina, Chile and Peru, the Vallenato in Colombia, Trova in Cuba, and urban music of Puerto Rico in the mid-20th century. The collection also includes five interviews from prominent and up-and-coming musicians -Ruben Blades, Roy Brown, Habana Abierta, Ana Tijoux, and Mare- representing a variety of musical genres and political issues in Central America, the Caribbean, South America, and Mexico.

This is a facsimile reprint of the 1773 edition. Originally in two volumes but now bound as one. There is a small bibliography provided by the publisher.

Facsimile reprint of "The Seventh edition, Corrected and Elarged. Printed by W. Godbid, for J. Playford at his Shop in the Temple near the Church. 1674."

The groundbreaking Audio Culture: Readings in Modern Music (Continuum; September 2004; paperback original) maps the aural and discursive terrain of vanguard music today. Rather than offering a history of contemporary music, Audio Culture traces the genealogy of current musical practices and theoretical concerns, drawing lines of connection between recent musical production and earlier moments of sonic experimentation. It aims to foreground the various rewirings of musical composition and performance that have taken place in the past few decades and to provide a critical and theoretical language for this new audio culture. This new and expanded edition of the Audio Culture contains twenty-five additional essays, including four newly-commissioned pieces. Taken as a whole, the book explores the interconnections among such forms as minimalism, indeterminacy, musique concrete, free improvisation, experimental music, avant-rock, dub reggae, ambient music, hip hop, and techno via writings by philosophers, cultural theorists, and composers. Instead of focusing on some "crossover" between "high art" and "popular culture," Audio Culture takes all these musics as experimental practices on par with, and linked to, one another. While cultural studies has tended to look at music (primarily popular music) from a sociological perspective, the concern here is philosophical, musical, and historical. Audio Culture includes writing by some of the most important musical thinkers of the past half-century, among them John Cage, Brian Eno, Ornette Coleman, Pauline Oliveros, Maryanne Amacher, Glenn Gould, Umberto Eco, Jacques Attali, Simon Reynolds, Eliane Radigue, David Toop, John Zorn, Karlheinz Stockhausen, and many others. Each essay has its own short introduction, helping the reader to place the essay within musical, historical, and conceptual contexts, and the volume concludes with a glossary, a timeline, and an extensive discography.