The composer Erik Satie (1866-1925) came of age in the bohemian sub-culture of Montmartre, with its artists' cabarets and cafés-concerts. These colourful milieux decisively shaped his aesthetic priorities and compositional strategies, from the esoteric Gymnopédies of the 1880s to the avant-garde ballets of the 1920s. This radical transvaluation of received artistic values makes far better sense once placed in this fascinating context.

This is a fresh, bold study of the emerging field of Sound Art, informed by the ideas of Adorno, Merleau Ponty and others. "Listening to Noise and Silence" engages with the emerging practice of sound art and the concurrent development of a discourse and theory of sound. In this original and challenging work, Salome Voegelin immerses the reader in concepts of listening to sound artwork and the everyday acoustic environment, establishing an aesthetics and philosophy of sound and promoting the notion of a sonic sensibility. A multitude of sound works are discussed, by lesser known contemporary artists and composers (for example Curgenven, Gasson and Federer), historical figures in the field (Artaud, Feldman and Cage), and that of contemporary canonic artists such as Janet Cardiff, Bill Fontana, Bernard Parmegiani, and Merzbow. Informed by the ideas of Adorno, Merleau-Ponty and others, the book aims to come to a critique of sound art from its soundings rather than in relation to abstracted themes and pre-existing categories. "Listening to Noise and Silence" broadens the discussion surrounding sound art and opens up the field for others to follow.

In Thresholds Marcel Cobussen rethinks the relationship between music and spirituality. The point of departure is the current movement within contemporary classical music known as New Spiritual Music, with as its main representatives Arvo PArt, John Tavener, and Giya Kancheli. In almost all respects, the musical principles of the new spiritual music seem to be diametrically opposed to those of modernism: repetition and rest versus development and progress, tradition and familiarity versus innovation and experiment, communication versus individualism and conceptualism, tonality versus atonality, and so on. As such, this movement is often considered as part of the much larger complex called postmodernism. Joining in with ideas on spirituality as presented by Michel de Certeau and Mark C. Taylor, Cobussen deconstructs the classification of the 'spiritual dimensions' of music as described above. Thresholds presents an idea of spirituality in and through music that counters strategies of exclusion and mastering of alterity and connects it to wandering, erring, and roving. Using the philosophy of Martin Heidegger, Georges Bataille, Jean-FranAois Lyotard, Jacques Derrida and others, and analysing the music of John Coltrane, the mythical Sirens, Arvo PArt, and The Eagles (to mention a few), Cobussen regards spirituality as a (non)concept that escapes categorization, classification, and linguistic descriptions. Spirituality is a-topological, non-discursive and a manifestation of 'otherness'. And it is precisely music (or better: listening to music) that induces these thoughts: by carefully encountering, analysing, and evaluating certain examples from classical, jazz, pop and world music it is possible to detach spirituality from concepts of otherworldliness and transcendentalism. Thresholds opens a space in which spirituality can be connected to music that is not commonly considered in this light, thereby enriching the ways of approaching and discussing music. In order to achieve this, it is necessary to show that spirituality is not an attribute of music, not a simple adjective providing extra information or used to categorize certain types of music. Instead, the spiritual can happen through listening to music, in a more or less personalized relationship with it. This relationship might be characterized as susceptible instead of controlling, open instead of excluding, groping instead of rigid.

"A Compendium of Essays" is a unique collection presenting new and intriguing philosophical analysis on several renowned composers and their work from the Baroque period to contemporary times. E.A. Bucchianeri discusses familiar topics that include Purcell's opera "Dido and Aeneas," William Hogarth's painting "The Rake's Leve" featuring Handel, a selection of Beethoven's symphonies, Liszt's "Faust Symphony" and the conception of the symphonic poem genre, Orientalism and Debussy's progressive style, and Andrew Lloyd Webber's musical "The Phantom of the Opera" as an example of the 'Musical Theatre Renaissance'. In Many instances, the author offers different theories that are original, informative and will appeal to all music lovers, professionals and amateurs, or those who wish to explore music philosophy in general. Admirers of Hogarth and his artwork will also find "A Compendium of Essays" interesting due to a novel interpretation of "The Rake's Leve" from a musical perspective. Illustration and musical examples are included in several of the essays, enriching the author's analytical theories and philosophical observations. "A Compendium of Essays" will prove an additional treasure to any library.

Features the following essays:

"Purcell's Dido and Aeneas: A Musical Exemplum for Young Gentlewomen"

"Hogarth, Handel, and 'The Leve' from 'The Rakes Progress': A Satirical Portrait Worth a Thousand Words"

"The Symphonies of Beethoven: Historical and Philosophical Reflections through Music"

"Liszt, Goethe, the 'Faust Symphony', and the Symphonic Poem: 'The Word Must Become the Deed' "

"Orientalism, Music and Debussy: West Meets East"

"Andrew Lloyd Webber's 'Phantom of the Opera': An Example of the 'Musical Theatre Renaissance' "

..". In the 'Symphonies of Beethoven: Historical and Philosophical Reflections Through Music', Bucchianeri posits that Beethoven's symphonies reflect the composer's perception of his own world and his attitudes toward society and culture. That this perception changed over time is revealed by the stylistic progression of the works. Beethoven's earliest works in the genre contain the element of the 'sublime', an aesthetic concept earmarked by grand concepts, powerful emotions, imagery, dignity, and elevation. Drawing on the philosophy of Edmund Burke, the author describes the sublime as 'large and unfathomable, rough and rugged, terrifying and painful, without actually experiencing this intangible state.' The opening movements of the first two symphonies show elements of the noble concept of the 'sublime'. In the Third and and Fifth Symphonies Beethoven expanded on the sublime style to epic proportions; in the Sixth he integrated the concept that 'all things sublime are both ancient and new, as in nature.' By the Ninth, Beethoven turned to the concept of the sublime as unfathomable as the heavens. Here the author offers an interpretation of the Ninth in relation to Beethoven's character and philosophies. The book includes a select bibliography and index for all the essays." - Patricia Stroh, the "Beethoven Journal," San Jose University

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.

Set against a volatile political landscape, Irish republican culture has struggled to maintain continuity with the past, affirm legitimacy in the present, and generate a sense of community for the future. Lullabies and Battle Cries explores the relationship between music, emotion, memory, and identity in republican parading bands, with a focus on how this music continues to be utilized in a post-conflict climate. As author Jaime Rollins shows, rebel parade music provides a foundational idiom of national and republican expression, acting as a critical medium for shaping new political identities within continually shifting dynamics of republican culture.

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.

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.

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.

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.

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.

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."

Designed to coordinate page-by-page with Lesson Book 1B. Contains enjoyable games and quizzes that reinforce the principles presented in the Lesson Book. Students can increase their musical understanding while they are away from the keyboard.

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.

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