Applied studies scholarship has triggered a not-so-quiet revolution in the discipline of ethnomusicology. The current generation of applied ethnomusicologists has moved toward participatory action research, involving themselves in musical communities and working directly on their behalf. The essays in The Oxford Handbook of Applied Ethnomusicology, edited by Svanibor Pettan and Jeff Todd Titon, theorize applied ethnomusicology, offer histories, and detail practical examples with the goal of stimulating further development in the field. The essays in the book, all newly commissioned for the volume, reflect scholarship and data gleaned from eleven countries by over twenty contributors. Themes and locations of the research discussed encompass all world continents. The authors present case studies encompassing multiple places; other that discuss circumstances within a geopolitical unit, either near or far. Many of the authors consider marginalized peoples and communities; others argue for participatory action research. All are united in their interest in overarching themes such as conflict, education, archives, and the status of indigenous peoples and immigrants. A volume that at once defines its field, advances it, and even acts as a large-scale applied ethnomusicology project in the way it connects ideas and methodology, The Oxford Handbook of Applied Ethnomusicology is a seminal contribution to the study of ethnomusicology, theoretical and applied.

The preponderance of early Black composers wrote choral music and even the most outstanding among them did not compose works for woodwinds. However, the later half of the twentieth century has witnessed a rise in compositions for woodwinds, both for solo and chamber ensembles by relatively unknown Black composers. This pioneering volume will become the standard source of information on nineteenth and twentieth century Black composers from three continents as well as their woodwind compositions. It contains the most current and complete biographical data on 90 African composers, Afro-American composers, Afro-Latin composers, and Afro-European composers, including their education and professional experience and information on their continuing musical influence. A distinctive feature is the separate, easy-to-use woodwind music index of both published and unpublished works for solo and chamber ensembles that groups the music by medium and numbers into 27 categories that contain some 430 works. Exact instrumentation, dedication or commission, premiere performance, and publisher are also found here. A list of abbreviations, key to publishers, collections, and manuscripts, and a discography of 38 recordings of woodwind works by 26 of the included composers complete the volume.

This first bibliography of woodwind music by Black composers is an excellent reference work for Black composers, for the woodwind repertoire, and for American music in general. It will be highly useful in college-level courses such as "Survey of Afro-American Music and Woodwind Literature" as well as to woodwind players, ensemble directors, and scholars.

The past decade has overflowed in a raging stream of contradictions. Old certainties have yielded to relentless insecurity over a time when much of the human experience got immeasurably better even as many things only ever seemed to get worse. As Paul du Quenoy's globetrotting criticism reveals, the arts were in a ferment that matched profound and yet totally unpredicted social and political transformations. Balanced, sometimes precariously, against the demands of an absurd and increasingly superfluous academic career, du Quenoy spent the 2010s seeking enlightenment, inspiration, and, above all, diversion, in total works of art all over the world, ranging from the traditional cultural capitals to humbler and more remote surroundings. Peering through the prism of performance, Through the Years With Prince Charming offers a unique bird's eye view of art and life in a changing world.

Musical references, allusions to music, and music stage directions abound in Shakespeare, ranging from simple trumpet flourishes to sophisticated, philosophical allegory. Music in Shakespeare: A Dictionary - the first of its kind - identifies all musical terms found in the Shakespeare canon. An A-Z of over 300 entries includes a definition of each musical term in its historical and theoretical context, and explores the extent of Shakespeare's use of musical imagery across the full range of his dramatic and poetic work. Music in Shakespeare: A Dictionary also analyses the usage of musical instruments and sound effects on the Shakespearean stage, providing descriptions of the instruments employed in the Elizabethan and Jacobean theatres. This is a comprehensive reference guide for scholars and students with interests ranging from the thematic and allegorical relevance of music in Shakespeare's works to the history of performance. It is also aimed at the growing number of directors and actors concerned with recovering the staging conditions of the early modern theatre. guides to the principal subject-areas covered by the plays and poetry of Shakespeare. The entries in the Dictionaries provide readers with a self-contained body of information about the topic under discussion, its occurrence and significance in Shakespeare's works, and its contemporary meanings. Entries range from a few lines in length to mini-essays, upward of 1000 words providing the opportunity to explore important literary of historical concept or idea in depth. Comprehensive bibliographies are also provided.

THE INSPIRATION FOR THE MAJOR MOTION PICTURE A COMPLETE UNKNOWN. One of the music world’s pre-eminent critics takes a fresh and much-needed look at the day Dylan “went electric” at the Newport Folk Festival.

On the evening of July 25, 1965, Bob Dylan took the stage at Newport Folk Festival, backed by an electric band, and roared into his new rock hit, Like a Rolling Stone. The audience of committed folk purists and political activists who had hailed him as their acoustic prophet reacted with a mix of shock, booing, and scattered cheers. It was the shot heard round the world—Dylan’s declaration of musical independence, the end of the folk revival, and the birth of rock as the voice of a generation—and one of the defining moments in twentieth-century music.

In Dylan Goes Electric!, Elijah Wald explores the cultural, political and historical context of this seminal event that embodies the transformative decade that was the sixties. Wald delves deep into the folk revival, the rise of rock, and the tensions between traditional and groundbreaking music to provide new insights into Dylan’s artistic evolution, his special affinity to blues, his complex relationship to the folk establishment and his sometime mentor Pete Seeger, and the ways he reshaped popular music forever. Breaking new ground on a story we think we know, Dylan Goes Electric! is a thoughtful, sharp appraisal of the controversial event at Newport and a nuanced, provocative, analysis of why it matters.

In this previously unpublished essay Schenker, one of the most influential music theorists of the twentieth century, turned his attention to the performer's role, arguing that the cult of the virtuoso has led to an overemphasis on technical display and discussing specific ways in which performers can better serve the composer's ideas.

Max Steiner's contribution to the formulation of early Hollywood scoring techniques is significant, particularly through his music for "King Kong" (1933) and "The Informer" (1935). The Academy Award winning score for "Now, Voyager "reflects the maturation of the composer's understanding of the dramatic function of music in film. The primary resources incorporated in the analysis include, from the Max Steiner collection at Brigham Young University, Steiner's letters and scrapbooks and his unpublished autobiography "Notes to You." In addition to contributing to the composer's own perspective on the music for this film and on scoring practice in general, these papers contribute to a broader debate about how films are interpreted and the part music plays in these schemes of criticism. This study of the film score occurs within the broader theoretical and historical debates currently characterizing film musicology and explores, from varied perspectives, how the score is meaningful and important to the film.

Devoted to a single score, this study brings together for analysis all the contingent factors in the score's creation, use, and reception and will appeal to film music scholars and to scholars of music and of film. The scope of the analysis will also interest scholars involved in music in multi-disciplinary art forms, feminist musicologists and film scholars, and students of musical theater. Separate chapters discuss Steiner's musical background, his technique of film scoring, historical and critical contexts of the film, the music and its context, and an analysis of the score. Musical examples illustrate the text and an appendix of selected film scores by Steiner is included along with a selected bibliography.

This book is the first full-length study of the courtly love songs of the trouvere to address the central musical problems of the repertoire as a whole, embracing source studies, interpretation, historiography, and analysis. The argument of the book revolves around three axes, each of which is essential to the appreciation of the others: problems concerning the extant manuscript tradition; the crucial role of orality; and stylistic changes and plurality in the reperotire. For the first time, a full overview of the sources and notation is undertaken. This reveals the idiosyncrasies of individual manuscripts but, more importantly, it identifies two basic phases in the manuscript tradition. The study of melodic variants reveals the performance art that lies at the heart of the courtly grand chant; processes and techniques of variation are examined, bringing us to a closer understanding of the tenets of the melodic art of the early trouveres. A close study of select trouveres from the different generation reveals stylstic change and plurality, particularly in the melodic art which in some respects was less prescribed than the poetic texts. Consequently the courtly songs of the trouveres truly come alive in this book.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

Collected Writings of the Orpheus Institute 6"We have developed a tremendous amount of what might best be referred to as journalistic knowledge concerning the ways that musicians of earlier periods thought about musical structures. Now that we have that knowledge, what might we do with it?" Joel LesterThe often complex connections and intersections between modal and tonal idioms and contrapuntal and harmonic organization during the transition from the Renaissance to the Baroque era are considered from various perspectives in Towards Tonality. Prominent musicians and scholars from a wide range of fields testify here to their personal understanding of this significant time of shifts in musical taste. This collection of essays is based on lectures presented during the conference "Historical Theory, Performance, and Meaning in Baroque Music," organized by the International Orpheus Academy for Music and Theory in Ghent, Belgium."

Examining innovations in audience behaviour, musical ensembles and mass-music movements, this book provides insight into how musical performances contributed to emerging ideas about class and national identity. Offering a fresh reading of bestselling fictional works of the day, Weliver draws upon crowd theory, climate theory, ethnology, science, music reviews and books by professional musicians to demonstrate how these discourses were mutually constitutive. This interdisciplinary undertaking will interest those working in the fields of English literature, musicology, social history and cultural studies.

The only things truly universal in music are those that are based on biological and/or perceptual facts. Tuning Timbre Spectrum Scale focuses on perceptions of consonance and dissonance, which are defined in the Harvard Dictionary of Music: "Consonance is used to describe the agreeable effect produced by certain intervals as against the disagreeable effect produced others. Consonance and dissonance are the very foundation of harmonic music... consonance represents the element of smoothness and repose, while dissonance represents the no less important elements of roughness and irregularity.a Tuning Timbre Spectrum Scale begins by asking (and answering) the question: How can we build a device to measure consonance and dissonance? The remainder of the book describes the impact of such a "dissonance metera on music theory, on synthesizer design, on the construction of musical scales and tunings, on the design of musical instruments, and introduces related compositional techniques and new methods of musicological analyses. This new and greatly revised edition of William Sethares' classic book includes an attached CD-ROM that contains over three hours of sound examples that demonstrate the ideas in action, as well as computer programs that enable readers to conduct their own explorations. A new chapter contains a detailed explanation of how the software works. It incorporates several important simplifications over the full presentation in the current Chapter 7 in order to allow it to function in real time. Another new chapter describes the various ways that the software can be used. New sections throughout the book bring it up to date with the current state of the subject. Tuning TimbreSpectrum Scale offers a unique analysis of the relationship between the structure of sound and the structure of scale and will be useful to musicians and composers who use inharmonic tones and sounds. This includes a large percentage of people composing and performing with modern musical synthesizers. It will be of use to arrangers, musicologists, and others interested in musical analysis. Tuning Timbre Spectrum Scale provides a unique approach to working with environmental sounds, and there are clear applications for the use of inharmonic sounds in film scoring. The book will also be of interest to engineers and others interested in the design of audio devices such as musical synthesizers, special effects devices, and keyboards.

Drawing on a passion for music, a remarkably diverse interdisciplinary toolbox, and a gift for accessible language that speaks equally to scholars and the general public, Jann Pasler invites us to read as she writes "through" music, unveiling the forces that affect our sonic encounters. In an extraordinary collection of historical and critical essays, some appearing for the first time in English, Pasler deconstructs the social, moral, and political preoccupations lurking behind aesthetic taste. Arguing that learning from musical experience is vital to our understanding of past, present, and future, Pasler's work trenchantly reasserts the role of music as a crucial contributor to important public debates about who we can be as individuals, communities, and nations.
The author's wide-ranging and perceptive approaches to musical biography and history challenge us to rethink our assumptions about important cultural and philosophical issues including national identity and postmodern musical hybridity, material culture, the economics of power, and the relationship between classical and popular music. Her work uncovers the self-fashioning of modernists such as Vincent d'Indy, Augusta Holmes, Jean Cocteau, and John Cage, and addresses categories such as race, gender, and class in the early 20th century in ways that resonate with experiences today. She also explores how music uses time and constructs narrative. Pasler's innovative and influential methodological approaches, such as her notion of "question-spaces," open up the complex cultural and political networks in which music participates. This provides us with the reasons and tools to engage with music in fresh and exciting ways.
In these thoughtful essays, music--whether beautiful or cacophonous, reassuring or seemingly incomprehensible--comes alive as a bearer of ideas and practices that offers deep insights into how we negotiate the world. Here, Jann Pasler's Writing through Music brilliantly demonstrates how music can be a critical lens to focus the contemporary critical, cultural, historical, and social issues of our time.

With its 1.5 million words Blur is the biggest electronic corpus of nonstandard English. The present study describes the stages in the design, the compilation, and the editing of Blur and attempts to gauge its linguistic profit. This is done both from a theoretical perspective - blues poetry vs. natural speech, representativeness, validity - and from an analytical perspective in particular qualitative, quantitative, and comparative analyses of morphological, morphosyntactic, and syntactic features. The findings indicate that Blur provides an outstandingly rich and reliable documentation of the vernaculars spoken by African Americans between the Civil War and World War II. The more than 1,000 illustrative examples presented throughout this study attest to the correctness of this statement.

In Ways of Listening, musicologist Eric Clarke explores musical meaning, music's critical function in human lives, and the relationship between listening and musical material. Clarke outlines an "ecological approach" to understanding the perception of music, arguing that the way we hear and understand music is not simply a function of our brain structure or of the musical "codes" given to us by culture, but must be considered within the physical and social contexts of listening.

A few weeks after the reunification of Germany, Leonard Bernstein raised his baton above the ruins of the Berlin Wall and conducted a special arrangement of Beethoven's Ninth Symphony. The central statement of the work, that "all men will be brothers," captured the sentiment of those who saw a brighter future for the newly reunited nation. This now-iconic performance is a palpable example of "musical monumentality" - a significant concept which underlies our cultural and ideological understanding of Western art music since the nineteenth-century. Although the concept was first raised in the earliest years of musicological study in the 1930s, a satisfying exploration of the "monumental" in music has not yet been made. Alexander Rehding, one of the brightest young stars in the field, takes on the task in Music and Monumentality, an elegant, thorough treatment that will serve as a foundation for all future discussion in this area.
Rehding sets his focus on the main players of the period within the Austro-German repertoire -Beethoven, Liszt, Wagner, Brahms, Bruckner and Mahler- as he unpacks a two-fold definition of "musical monumentality." In the conventional sense, monumentality is a stylistic property often described as 'grand, ' 'uplifting, ' and 'sublime' and rife with overpowering brass chorales, sparkling string tremolos, triumphant fanfares, and glorious thematic returns. Yet Rehding sees the monumental in music performing a cultural task as well: it is employed in the service of establishing national identity. Through a clear theoretical lens, Rehding examines how grand sound effects are strategically employed with the view to overwhelming audiences, how supposedly immutable musical halls of fame change over time, how challenging musical works are domesticated, how the highest cultural achievements are presented in immediately consumable form-in a word, how German music emerges as a unified cultural and musical brand.

Jean Sibelius's Violin Concerto is the story of Sibelius as performer and composer, of violin performing traditions, of histories of musical transmission, and of virtuosity itself. It investigates the history and legacy of one of the most recorded concertos in the violin repertoire. Sibelius, a celebrated and influential composer of the late 19th and 20th centuries, was an accomplished violinist, whose enduring interest in the instrument has been paralleled by the broad success of the only concerto in his oeuvre: his violin concerto (premiered in 1904 and revised in 1905). Considering how violinists engage with the work, author Tina K. Ramnarine discusses technology's central role in the concerto's transmission from Jascha Heifetz's seminal 1935 recording to contemporary online performances, gender issues in violin solo careers, and nature-based musical aesthetics that lead to thinking about the ecology of virtuosity in an era of environmental crisis. Beginning with Sibelius's early training as a violinist and his aspirations as a performer, Ramnarine traces the dramatic historical context of the violin concerto. It was composed as Finland underwent a period of heightened self-determination, nationalism, and protest against Russian imperial policies, and it heralded intense political dynamics relating to Europe's East-West border that have extended to the present. This story of the violin concerto points to the notion of Sibelius - and the virtuoso more generally - as a political figure.

Coping with trauma and the losses of World War I was a central concern for French musicians in the interwar period. Almost all of them were deeply affected by the war as they fought in the trenches, worked in military hospitals, or mourned a friend or relative who had been wounded, killed, or taken prisoner. In Resonant Recoveries, author Jillian C. Rogers argues that French modernist composers processed this experience of unprecedented violence by turning their musical activities into locations for managing and performing trauma. Through analyses of archival materials, French medical, philosophical, and literary texts, and the music produced between the wars, Rogers frames World War I as a pivotal moment in the history of music therapy. When musicians and their audiences used music to remember lost loved ones, perform grief, create healing bonds of friendship, and find consolation in soothing sonic vibrations and rhythmic bodily movements, they reconfigured music into an embodied means of consolation-a healer of wounded minds and bodies. This in-depth account of the profound impact that postwar trauma had on French musical life makes a powerful case for the importance of addressing trauma, mourning, and people's emotional lives in music scholarship. This is an open access title available under the terms of a CC BY-NC-ND 4.0 licence. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations.