This is a long-awaited reissue of Jerrold Levinson's 1990 book Music, Art, and Metaphysics, which gathers together the writings that made him a leading figure in contemporary aesthetics. Most of the essays are distinguished by a concern with metaphysical questions about artworks and their properties, but other essays address the problem of art's definition, the psychology of aesthetic response, and the logic of interpreting and evaluating works of art. The focus of about half of the essays is the art of music, the art of greatest interest to Levinson throughout his career. Many of the essays have been very influential, being among the most cited in contemporary aesthetics and having become essential references in debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

Ten songs, from ""Bill Bailey, Won't You Please Come Home"" (1902) to ""You Made Me Love You"" (1913), ignited the development of the classic pop ballad. In this exploration of how the style of the Great American Songbook evolved, Michael G. Garber unveils the complicated, often-hidden origins of these enduring, pioneering works. He riffs on colorful stories that amplify the rising of an American folk art composed by innovators both famous and obscure. Songwriters, and also the publishers, arrangers, and performers, achieved together a collective genius that moved hearts worldwide to song. These classic ballads originated all over the nation-Louisiana, Colorado, Illinois, Michigan-and then the Tin Pan Alley industry, centered in New York, made the tunes unforgettable sensations. From ragtime to bop, cabaret to radio, new styles of music and modes for its dissemination invented and reinvented the intimate, personal American love ballad, creating something both swinging and tender. Rendered by Frank Sinatra, Ella Fitzgerald, and a host of others, recordings and movies carried these songs across the globe. Using previously underexamined sources, Garber demonstrates how these songs shaped the music industry and the lives of ordinary Americans. Besides covering famous composers like Irving Berlin, this history also introduces such little-known figures as Maybelle Watson, who had to sue to get credit and royalties for creating the central content of the lyric for ""My Melancholy Baby."" African American Frank Williams contributed to the seminal ""Some of These Days"" but was forgotten for decades. The ten ballads explored here permanently transformed American popular song.

In the late 1920s, Reverend A. W. Nix (1880-1949), an African American Baptist minister born in Texas, made fifty-four commercial recordings of his sermons on phonographs in Chicago. On these recordings, Nix presented vocal traditions and styles long associated with the southern, rural Black church as he preached about self-help, racial uplift, thrift, and Christian values. As southerners like Nix fled into cities in the North to escape the rampant racism in the South, they contested whether or not African American vocal styles of singing and preaching that had emerged during the slavery era were appropriate for uplifting the race. Specific vocal characteristics, like those on Nix's recordings, were linked to the image of the "Old Negro" by many African American leaders who favored adopting Europeanized vocal characteristics and musical repertoires into African American churches in order to uplift the modern "New Negro" citizen. Through interviews with family members, musical analyses of the sounds on Nix's recordings, and examination of historical documents and relevant scholarship, Terri Brinegar argues that the development of the phonograph in the 1920s afforded preachers like Nix the opportunity to present traditional Black vocal styles of the southern Black church as modern Black voices. These vocal styles also influenced musical styles. The "moaning voice" used by Nix and other ministers was a direct connection to the "blues moan" employed by many blues singers including Blind Willie, Blind Lemon, and Ma Rainey. Both Reverend A. W. Nix and his brother, W. M. Nix, were an influence on the "Father of Gospel Music," Thomas A. Dorsey. The success of Nix's recorded sermons demonstrates the enduring values African Americans placed on traditional vocal practices.

This book is about thinking in music. Music listeners who understand what they hear are thinking in music. Music readers who understand and visualize what they read are thinking in music. This book investigates the various ways musicians acquire those skills through an examination of the latest research in music perception and cognition, music theory, along with centuries of insight from music theorists, composers, and performers. Aural skills are the focus; the author also works with common works with common problems in both skills teaching and skills acquisition.

Presenting detailed bibliographic information on all aspects of harmony in music, with the broadest possible historical and stylistic palette, this work includes over 2,600 total citations. The sources range from treatises, dissertations, and textbooks to journal articles and book reviews, and are cross-referenced and indexed. This is the most complete bibliographic reference guide of its kind on harmony. Including harmony-related materials from the Baroque period through the present day, the work contains chapters devoted to book-length treatises and their related citations, a general bibliography comprised mostly of journal articles, and an index. Of interest to music theory instructors, undergraduate and graduate students of music theory, and researchers, this is the second in a series of music theory reference books; the first, "Orchestration Theory: A Bibliography," was published by Greenwood Press in 1996.

This work contains chapters devoted to book-length treatises and their related citations, a general bibliography containing mostly journal articles, and an index, and includes harmony-related materials from the Baroque period through the present day.

Poetic Song Verse: Blues-Based Popular Music and Poetry invokes and critiques the relationship between blues-based popular music and poetry in the twentieth and twenty-first centuries. The volume is anchored in music from the 1960s, when a concentration of artists transformed modes of popular music from entertainment to art-that-entertains. Musician Mike Mattison and literary historian Ernest Suarez synthesize a wide range of writing about blues and rock-biographies, histories, articles in popular magazines, personal reminiscences, and a selective smattering of academic studies-to examine the development of a relatively new literary genre dubbed by the authors as "poetic song verse." They argue that poetic song verse was nurtured in the fifties and early sixties by the blues and in Beat coffee houses, and matured in the mid-to-late sixties in the art of Bob Dylan, the Beatles, the Rolling Stones, the Doors, Jimi Hendrix, Joni Mitchell, Leonard Cohen, Gil Scott-Heron, Van Morrison, and others who used voice, instrumentation, arrangement, and production to foreground semantically textured, often allusive, and evocative lyrics that resembled and engaged poetry. Among the questions asked in Poetic Song Verse are: What, exactly, is this new genre? What were its origins? And how has it developed? How do we study and assess it? To answer these questions, Mattison and Suarez engage in an extended discussion of the roots of the relationship between blues-based music and poetry and address how it developed into a distinct literary genre. Unlocking the combination of richly textured lyrics wedded to recorded music reveals a dynamism at the core of poetic song verse that can often go unrealized in what often has been considered merely popular entertainment. This volume balances historical details and analysis of particular songs with accessibility to create a lively, intelligent, and cohesive narrative that provides scholars, teachers, students, music influencers, and devoted fans with an overarching perspective on the poetic power and blues roots of this new literary genre.

What is experimental music today? This book offers an up to date survey of this field for anyone with an interest, from seasoned practitioners to curious readers. This book takes the stance that experimental music is not a limited historical event, but is a proliferation of approaches to sound that reveals much about present-day experience. An experimental work is not identifiable by its sound alone, but by the nature of the questions it poses and its openness to the sounding event. Experimentation is a way of working. It pushes past that which is known to discover what lies beyond it, finding new knowledge, forms, and relationships, or accepting a state of uncertainty. For each of these composers and sound artists, craft is developed and transformed in response to the questions they bring to their work. Scientific, perceptual, or social phenomena become catalysts in the operation of the work. These practices are not presented according to a chronology, a set of techniques, or social groupings. Instead, they are organized according to the content areas that are their subjects, including resonance, harmony, objects, shapes, perception, language, interaction, sites, and histories. Musical materials may be subject, among other treatments, to systemization, observation, examination, magnification, fragmentation, translation, or destabilization. These restless and exploratory modes of engagement have continued to develop over recent decades, expanding the scope of both musical practice and listening.

This book examines formal organization in Haydn's symphonies. The structure of individual movements as well as the relationships between them are analysed in detail. All common instrumental forms of the Classical era (sonata, rondo, variations, and so forth) are discussed. The author reconstructs Haydn's principles of formal thought and explains how these principles governed his compositional choices.

Brings new insights to the music of well-known European composers by telling a fascinating, little-known story about French music publishing, specifically through the lens of Jacques Durand's Édition Classique. French composers, performers and musicologists acted as editors of eighteenth- and nineteenth-century European 'classics', primarily for piano. Among these editors were Fauré, Saint-Saëns, Debussy, Ravel and Dukas; the objects of their enquiries included core works by Rameau, Bach, Mozart, Beethoven, Mendelssohn, Schumann and Chopin. Presenting six composer-editor case studies, the volume shows that the French 'accent', both musical and cultural, upon this predominantly Austro-German music was highly varied. Editorial responses range from scholarly approaches to those directed by performance or compositional agendas, and from pan-European to strongly patriotic stances. Intriguing intersections are revealed between old and new, and between French and cross-European canons. Beyond editing, the book explores the Édition's role in pedagogy and performance, including by pianists Robert Casadesus and Yvonne Loriod, and in the reassertion of contemporary French composition, especially regarding innovation around neoclassicism. It will interest a wide readership, including musicologists, performers and concert-goers, cultural historians and other humanities scholars.

The discovery and application of abstract musical properties has had a prominent role in compositional and theoretical literature during the past 40 years, and an accumulation of source material has been produced that makes a single cross-referenced source essential for standard working procedures. Abstract musical properties, most often associated with analytical or compositional systems, are presented here in an unbiased context that allows the reader freedom of association and interpretation. This type of reference is an important tool for anyone who uses set-class analysis in coursework, or independent thesis research. This book is intended to help verify musical intuition and has an immediate practical application for composers and theorists curious about intervallic properties and transformational potentials of any pitch-class set. It can provide supplemental material for coursework involving theory, analysis, and stylistic awareness of compositional or analytical styles, and also for learning and confirming economical presentations characteristic of recent music-theoretical literature. Organized in two parts, the first is a profile of all set-classes in charts allowing quick comparisons among them, including set-class reference tables, set-classes arranged by ascending interval-class vectors, and a summary of transformational invariances. The second part focuses on individual set-classes, listing its contents, subsets, and significant references to the collection in musical or theoretical literature. Internal segmentations of each set-class that are more structurally informative and memorizable than prime-forms are offered. Three appendices, an extensive bibliography, an index of selected analytical viewpoint and styles, and an index of terms are also included.

This book is about how music "in a key" is composed. Further, it is about how such music was composed when it was no longer compulsory to do so, starting a few years before the First World War. In an eclectic journey through the history of compositional technique, Daniel Harrison contends that the tonal system did not simply die out with the dawn of twentieth century, but continued to supplement newer techniques as a compelling means of musical organization, even into current times. Well-known art music composers such as Bartok, Hindemith, Prokofiev, and Messiaen are represented alongside composers whose work moves outside the standard boundaries of art music: Leonard Bernstein, Murice Durufle, Frank Martin, Xiaoyong Chen. Along the way, the book attends to military bugle calls, a trailer before a movie feature, a recomposition of a famous piece by Arnold Schoenberg, and the music of Neil Diamond, David Shire, and Brian Wilson. A celebration of the awesome variety of musical expressions encompassed in what is called tonal music, Pieces of Tradition is a book for composers seeking ideas and effects, music theorists interested in its innovations, and all those who practice the analysis of composition in all its modern and traditional variations.

Beginning in the 1930s, men and a handful of women came from India's many communities-Marathi, Parsi, Goan, North Indian, and many others--to Mumbai to work in an industry that constituted in the words of some, "the original fusion music." They worked as composers, arrangers, assistants, and studio performers in one of the most distinctive popular music and popular film cultures on the planet. Today, the songs played by Mumbai's studio musicians are known throughout India and the Indian diaspora under the popular name "Bollywood," but the musicians themselves remain, in their own words, "behind the curtain"--the anonymous and unseen performers of one of the world's most celebrated popular music genres.
Now, Gregory D. Booth offers a compelling account of the Bollywood film music industry from the perspective of the musicians who both experienced and shaped its history. In a rare insider's look at the process of musical production from the late 1940s to the mid 1990s, before the advent of digital recording technologies, Booth explains who these unknown musicians were and how they came to join the film music industry. On the basis of a fascinating set of first-hand accounts from the musicians themselves, he reveals how the day-to-day circumstances of technology and finance shaped both the songs and the careers of their creator and performers. Booth also unfolds the technological, cultural, and industrial developments that led to the enormous studio orchestras of the 1960s-90s as well as the factors which ultimately led to their demise in contemporary India.
Featuring an extensive companion website with video interviews with the musicians themselves, Behind the Curtain is apowerful, ground-level view of this globally important music industry.

The Oxford Handbook of Music and World Christianities investigates music's role in everyday practice and social history across the diversity of Christian religions and practices around the globe. The volume explores Christian communities in the Americas, Europe, Africa, Asia, and Australia as sites of transmission, transformation, and creation of deeply diverse musical traditions. The book's contributors, while mostly rooted in ethnomusicology, examine Christianities and their musics in methodologically diverse ways, engaging with musical sound and structure, musical and social history, and ethnography of music and musical performance. These broad materials explore five themes: music and missions, music and religious utopias (and other oppositional religious communities), music and conflict, music and transnational flows, and music and everyday life. The volume as a whole, then, approaches Christian groups and their musics as diverse and powerful windows into the way in which music, religious ideas, capital, and power circulate (and change) between places, now and historically. It also tries to take account of the religious self-understandings of these groups, presenting Christian musical practice and exchange as encompassing and negotiating deeply felt and deeply rooted moral and cultural values. Given that the centerpiece of the volume is Christian religious musical practice, the volume reveals the active role music plays in maintaining and changing religious, moral, and cultural values in a long history of intercultural and transnational encounters.

Since advent of autism as a diagnosed condition in the 1940s, the importance of music in the lives of autistic people has been widely observed and studied. Articles on musical savants, extraordinary feats of musical memory, unusually high rates of absolute or "perfect" pitch, and the effectiveness of music-based therapies abound in the autism literature. Meanwhile, music scholars and historians have posited autism-centered explanatory models to account for the unique musical artistry of everyone from Bela Bartok and Glenn Gould to "Blind Tom" Wiggins. Given the great deal of attention paid to music and autism, it is surprising to discover that autistic people have rarely been asked to account for how they themselves make and experience music or why it matters to them that they do. In Speaking for Ourselves, renowned ethnomusicologist Michael Bakan does just that, engaging in deep conversations - some spanning the course of years - with ten fascinating and very different individuals who share two basic things in common: an autism spectrum diagnosis and a life in which music plays a central part. These conversations offer profound insights into the intricacies and intersections of music, autism, neurodiversity, and life in general, not from an autistic point of view, but rather from many different autistic points of view. They invite readers to partake of a rich tapestry of words, ideas, images, and musical sounds (on the companion website) that speak to both the diversity of autistic experience and the common humanity we all share.

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.

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.

Mozart's emergence as a mature artist coincides with the rise to prominence of the piano, an instrument that came alive under his fingers and served as medium for many of his finest compositions. In Mozart's Piano Music, William Kinderman reconsiders common assumptions about Mozart's life and art while offering comprehensive and incisive commentary on the solo music and concertos. After placing Mozart's pianistic legacy in its larger biographical and cultural context, Kinderman addresses the lively gestural and structural aspects of Mozart's musical language and explores the nature of his creative process. Incorporating the most recent research throughout this encompassing study, Kinderman expertly surveys each of the major genres of the keyboard music, including the four-hand and two-piano works. Beyond examining issues such as Mozart's earliest childhood compositions, his musical rhetoric and expression, the social context of his Viennese concertos, and affinities between his piano works and operas, Kinderman's main emphasis falls on detailed discussion of selected individual compositions.

Schubert's Workshop offers a fresh study of the composer's compositional technique and its development, rooted in the author's experience of realising performing versions of Franz Schubert's unfinished works. Through close examination of Schubert's use of technical and structural devices, Brian Newbould demonstrates that Schubert was much more technically innovative than has been supposed, and argues that the composer's technical discoveries constitute a rich legacy of specific influences on later composers. Providing rich new insights into the creative practice of one of the major figures of classical music, this two-volume study reframes our understanding of Schubert as an innovator who constantly pushed at the frontiers of style and expression.

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.

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