One of the momentous events in twentieth century music was the advent of atonality and serialism, and the consequent proliferation of such avant-garde genres as total serialism, electronic music, and aleatory music. This book examines serialism and its progeny, formulates criteria that are applicable both to serialism and to the traditional harmony from which it developed, and focuses on the failure of serialism to solve the problem of coherent harmonic progression. Rather than seeking to denounce serialism, the work attempts to restore a balance by questioning whether its esteem is justified.

In this work, Schoffman applies the criterion of the degree of indeterminacy of the chords to both traditional functional harmony and to serial and avant-garde music. Consequently, serialism and avant-garde music are placed in a historical perspective and evaluated in terms of their chordal behavior. The study is divided into four separate sections, examining the indeterminacy of progression, the indeterminacy of members of chords, chords in serial music, and destructive aspects of indeterminacy. Also included is an extensive list of musical examples, a guide to references, and a comprehensive index. With its correlations to literature, painting, and history, this volume will be an important addition to academic and public libraries, university music departments, and academies of music, as well as a valuable resource for courses in music theory and analysis, esthetics of music, and music history.

The ethnically and geographically heterogeneous countries that comprise Latin America have each produced music in unique styles and genres - but how and why have these disparate musical streams come to fall under the single category of "Latin American music"? Reconstructing how this category came to be, author Pablo Palomino tells the dynamic history of the modernization of musical practices in Latin America. He focuses on the intellectual, commercial, musicological, and diplomatic actors that spurred these changes in the region between the 1920s and the 1960s, offering a transnational story based on primary sources from countries in and outside of Latin America. The Invention of Latin American Music portrays music as the field where, for the first time, the cultural idea of Latin America disseminated through and beyond the region, connecting the culture and music of the region to the wider, global culture, promoting the now-established notion of Latin America as a single musical market. Palomino explores multiple interconnected narratives throughout, pairing popular and specialist traveling musicians, commercial investments and repertoires, unionization and musicology, and music pedagogy and Pan American diplomacy. Uncovering remarkable transnational networks far from a Western cultural center, The Invention of Latin American Music firmly asserts that the democratic legitimacy and massive reach of Latin American identity and modernization explain the spread and success of Latin American music.

Relocating Popular Music uses the lens of colonialism and tourism to analyse types of music movements, such as transporting music from one place or historical period to another, hybridising it with a different style and furnishing it with new meaning. It discusses music in relation to music video, film, graphic arts, fashion and architecture.

Where the Dark and the Light Folks Meet tackles a controversial question: Is jazz the product of an insulated African-American environment, shut off from the rest of society by strictures of segregation and discrimination, or is it more properly understood as the juncture of a wide variety of influences under the broader umbrella of American culture? This book does not question that jazz was created and largely driven by African Americans, but rather posits that black culture has been more open to outside influences than most commentators are likely to admit. The majority of jazz writers, past and present, have embraced an exclusionary viewpoint. Where the Dark and the Light Folks Meet begins by looking at many of these writers, from the birth of jazz history up to the present day, to see how and why their views have strayed from the historical record. This book challenges many widely held beliefs regarding the history and nature of jazz in an attempt to free jazz of the socio-political baggage that has so encumbered it. The result is a truer appreciation of the music and a greater understanding of the positive influence racial interaction and jazz music have had on each other.

Situates the controversial narrative of 'The English Musical Renaissance' within its wider historical context. Throughout the nineteenth century a fierce debate about the future of English music was raging in Britain. Just as English music was appearing to advance in quality, the impact of Richard Wagner altered the course of the debate. Alarmed at the Wagnerian influence on English composers, critics expressed relief when that influence appeared to abate, and then presented English music as the antidote to Wagnerian decadence. However, the optimism that England was in a position to lead the musical world was short-lived and a new generation of critics found English composition - with the exception of Elgar - severely lacking. The book identifies themes such as materialism and nationalism that emerged during the debate. It also places the narrative of 'The English Musical Renaissance' within its rightful wider historical context.

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition.

This edited volume of case studies presents a selective history of French music and culture, but one with a dynamic difference. Eschewing a traditional chronological account, the book explores the nature of relationships between one main period, broadly the 'long' modernist era between 1860-1960, and its own historical 'others', referencing topics from the Romantic, classical, baroque, renaissance and medieval periods. It probes the emergent interplay, intertextualities and scope for reinterpretation across time and place. Notions of cultural meaning are paramount, especially those pertaining to French identity, national and individual. While founded on historical musicology, the approach benefits from interdisciplinary association with philosophy, political history, literature, fine art, film studies and criticism. Attention is paid to French composers' celebrations and remakings of their predecessors. Editions of and writings about earlier music are examined, together with the cultural reception of performances of past repertoire. Organized into two parts, each of the eleven chapters characterizes a specific cultural network or temporal interplay, which may result in synthesis, disjunction, or historical misreading. The interwar years and those surrounding the Second World War prove particularly rich sources of enquiry. This volume aims to attract a wide readership of musicologists and musicians, as well as cultural historians, other humanities scholars and concert-goers.

This best-selling text gives music majors and minors a solid foundation in the theory of music. It strengthens their musical intuition, builds technical skills, and helps them gain interpretive insights. The goal of the text is to instruct readers on the practical application of knowledge. The analytical techniques presented are carefully designed to be clear, uncomplicated, and readily applicable to any repertoire. The two-volume format ensures exhaustive coverage and maximum support for students and faculty alike. Volume I serves as a general introduction to music theory while Volume II offers a survey of the theoretical underpinnings of musical styles and forms from Gregorian Chant through the present day. The supplemental instructor's materials provide clear-cut solutions to assignment materials. Music in Theory and Practice is a well-rounded textbook that integrates the various components of musical structure and makes them accessible to students at the undergraduate level.

To witness war is, in large part, to hear it. And to survive it is, among other things, to have listened to it-and to have listened through it. Listening to War: Sound, Music, Trauma, and Survival in Wartime Iraq is a groundbreaking study of the centrality of listening to the experience of modern warfare. Based on years of ethnographic interviews with U.S. military service members and Iraqi civilians, as well as on direct observations of wartime Iraq, author J. Martin Daughtry reveals how these populations learned to extract valuable information from the ambient soundscape while struggling with the deleterious effects that it produced in their ears, throughout their bodies, and in their psyches. Daughtry examines the dual-edged nature of sound-its potency as a source of information and a source of trauma-within a sophisticated conceptual frame that highlights the affective power of sound and the vulnerability and agency of individual auditors. By theorizing violence through the prism of sound and sound through the prism of violence, Daughtry provides a productive new vantage point for examining these strangely conjoined phenomena. Two chapters dedicated to wartime music in Iraqi and U.S. military contexts show how music was both an important instrument of the military campaign and the victim of a multitude of violent acts throughout the war. A landmark work within the study of conflict, sound studies, and ethnomusicology, Listening to War will expand your understanding of the experience of armed violence, and the experience of sound more generally. At the same time, it provides a discrete window into the lives of individual Iraqis and Americans struggling to orient themselves within the fog of war.

Norris presents a series of closely linked chapters on recent developments in epistemology, philosophy of language, cognitive science, literary theory, musicology and other related fields. While to this extent adopting an interdisciplinary approach, Norris also very forcefully challenges the view that the academic "disciplines" as we know them are so many artificial constructs of recent date and with no further role than to prop up existing divisions of intellectual labour. He makes his case through some exceptionally acute revisionist readings of diverse thinkers such as Derrida, Paul de Man, Wittgenstein, Chomsky, Michael Dummett and John McDowell. In each instance Norris stresses the value of bringing various trans-disciplinary perspectives to bear while none-the-less maintaining adequate standards of area-specific relevance and method. Most importantly he asserts the central role of recent developments in cognitive science as pointing a way beyond certain otherwise intractable problems in philosophy of mind and language.

The mathematical theory of counterpoint was originally aimed at simulating the composition rules described in Johann Joseph Fux's Gradus ad Parnassum. It soon became apparent that the algebraic apparatus used in this model could also serve to define entirely new systems of rules for composition, generated by new choices of consonances and dissonances, which in turn lead to new restrictions governing the succession of intervals. This is the first book bringing together recent developments and perspectives on mathematical counterpoint theory in detail. The authors include recent theoretical results on counterpoint worlds, the extension of counterpoint to microtonal pitch systems, the singular homology of counterpoint models, and the software implementation of contrapuntal models. The book is suitable for graduates and researchers. A good command of algebra is a prerequisite for understanding the construction of the model.

The five volumes of "A Shakespeare Music Catalogue" provide documentation of all music, published and unpublished, from Shakespeare's day to the 20th century, relating to Shakespeare's life and work. The music includes operas, ballets, overtures, tone-poems, songs and various types of incidental music for stage, radio, film and television productions. Each composition is cited with information on its vocal and instrumental requirements, its publication history and, when known, its first performance. The first three deal with music and musical stage-directions for the plays and settings of the sonnets and narrative poems. The fourth volume contains indices of Shakespeare's titles and lines, the titles of musical works, composers, arrangers, editors and librettists. The final volume provides an annotated bilbiography of writings, in all language, on the subject of Shakespeare and music.

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 1 Music Theory exam. Written to make theory engaging and relevant to developing musicians of all ages, it offers: *

Discovering Music Theory is a suite of workbooks and corresponding answer books that offers all-round preparation for the updated ABRSM Music Theory exams from 2020, including the new online papers. This full-colour workbook will equip students of all ages with the skills, knowledge and understanding required for the ABRSM Grade 2 Music Theory exam. Written to make theory engaging and relevant to developing musicians of all ages, it offers: - straightforward explanations of all new concepts - progressive exercises to build skills and understanding, step by step - challenge questions to extend learning and develop music-writing skills - helpful tips for how to approach specific exercises - ideas for linking theory to music listening, performing and instrumental/singing lessons - clear signposting and progress reviews throughout - a sample practice exam paper showing you what to expect in the new style of exams from 2020 As well as fully supporting the ABRSM theory syllabus, Discovering Music Theory provides an excellent resource for anyone wishing to develop their music literacy skills, including GCSE and A-Level candidates, and adult learners.

Number 10 Sound: The Musical Way 10 the Scientific Revolution is a collection of twelve essays by writers from the fields of musicology and the history of science. The essays show the idea of music held by Euro th pean intellectuals who lived from the second half of the 15 century to the th early 17: physicians (e. g. Marsilio Ficino), scholars of musical theory (e. g. Gioseffo Zarlino, Vincenzo Galilei), natural philosophers (e. g. Fran cis Bacon, Isaac Beeckman, Marin Mersenne), astronomers and mathema ticians (e. g. Johannes Kepler, Galileo Galilei ). Together with other people of the time, whom the Reader will meet in the course of the book, these intellectuals share an idea of music that is far removed from the way it is commonly conceived nowadays: it is the idea of music as a science whose object-musical sound--can be quantified and demonstrated, or enquired into experimentally with the methods and instruments of modem scientific enquiry. In this conception, music to be heard is a complex, variable structure based on few simple elements--e. g. musical intervals-, com bined according to rules and criteria which vary along with the different ages. However, the varieties of music created by men would not exist if they were not based on certain musical models--e. g. the consonances-, which exist in the mind of God or are hidden in the womb of Nature, which man discovers and demonstrates, and finally translates into the lan guage of sounds."

Classic book originally published in 1760. After the memoirs there is a Catalogue of Works and Observations on the Works of George Frederic Handel.

In recent years, empathy has received considerable research attention as a means of understanding a range of psychological phenomena, and it is fast drawing attention within the fields of music psychology and music education. This volume seeks to promote and stimulate further research in music and empathy, with contributions from many of the leading scholars in the fields of music psychology, neuroscience, music philosophy and education. It exposes current developmental, cognitive, social and philosophical perspectives on research in music and empathy, and considers the notion in relation to our engagement with different types of music and media. Following a Prologue, the volume presents twelve chapters organised into two main areas of enquiry. The first section, entitled 'Empathy and Musical Engagement', explores empathy in music education and therapy settings, and provides social, cognitive and philosophical perspectives about empathy in relation to our interaction with music. The second section, entitled 'Empathy in Performing Together', provides insights into the role of empathy across non-Western, classical, jazz and popular performance domains. This book will be of interest to music educators, musicologists, performers and practitioners, as well as scholars from other disciplines with an interest in empathy research.

A reissue of a classic that represents the culmination of over 40 years in Schoenberg's life devoted to the teaching of musical principles to students and composers in Europe and America. For his classes, he developed a manner of presentation in which "every technical matter is discussed in a very fundamental way, so that at the same time it is both simple and thorough". This book can be used for analysis as well as for composition. On the one hand, it has the practical objective of introducing students to the process of composing in a systematic way, from the smallest to the largest forms on the other hand, the author analyzes in detail, with numerous illustrations, those particular sections in the works of the masters which relate to the compositional problem under discussion.

The Music Theory in Practice series has helped more than one million musicians worldwide to learn about the notation and theory of music. Now fully revised, this workbook remains the best way to prepare for ABRSM's Grade 1 Theory of Music Exam. Features a clear explanation of music notation, many worked examples and practice exercises, definitions of important words and concepts, specimen exam questions and helpful tips for students. As well as supporting the ABRSM Theory syllabus, this workbook also provides an excellent resource for anyone wishing to develop general music literacy skills.

This volume addresses the perceived gap between symbolic interaction and ethnomusicological approaches to the study of music. It seeks to bring the fields closer by highlighting some of the complementary theoretical constructs of phenomenology and symbolic interaction as they relate to music studies. The papers, presented at the 2012 Couch-Stone Symposium, work toward this reconciliation by applying the lens of symbolic interaction to various musical genres, from traditional Inuit music to jazz to hip-hop, reflecting a sensitivity to their various topics as both artistic achievement and social activity. The authors' work in multiple disciplines (Sociology, Ethnomusicology, and Communication Studies), along with their own sharing of ideas in this project, nurtures the opportunity to bring these studies into a full interdisciplinary conversation. It is the hope of the authors that we can not only open a deepened conversation between scholars in different fields, but also integrate concepts from symbolic interactionism and ethnomusicology as they continue to address the complexity of meaning in varying musical contexts.

Over several years, Bertrand Denzler and Jean-Luc Guionnet have interviewed approximately 50 musicians from various backgrounds about their practice of musical improvisation. Musicians include both the very experienced such as Sophie Agnel, Burkhard Beins, John Butcher, Rhodri Davies, Bill Dixon, Phil Durrant, Axel Doerner, Annette Krebs, Daunik Lazro, Mattin, Seijiro Murayama, Andrea Neumann, Jerome Noetinger, Evan Parker, Eddie Prevost and Taku Unami, as well as those newer to the field. Asked questions on topics such as the mental processes behind a collective improvisation, the importance of the human factor in improvisation, the strategies used and the way musical decisions are made, the interviewees highlight the habits and customs of a practice, as experienced by those who invent it on a daily basis. The interviews were carefully edited in order to produce a sort of grand discussion that draws an incomplete map of the blurred territory of contemporary improvised music.

Now you can have over 100 of the most useful chords right at your fingertips. This chart gives you all the basic chords in every key. Each chord is shown in standard music notation and as an easy-to-read piano keyboard diagram. Fingerings are given for each chord. Also included is a clear description of inverting chords.

This book introduces readers to the most significant technological developments in music making and listening, including such topics as metronomes and the development of music notation as well as synthesizers, the latest music collaboration apps, and other 21st-century technologies. Rather than focusing on technical and mechanical details, Music and Technology: A Historical Encyclopedia features the sociological role of technological developments by highlighting the roles they have played in society throughout time. Students and music fans alike will gain valuable insight from this alphabetized encyclopedia of the most significant examples of technological changes that have impacted the creation, production, dissemination, recording, and/or consumption of music. The book also contains a chronology of milestone events in the history of music and technology as well as sidebars that focus on several key individual musicians and inventors. Includes 100 entries on the most important technological achievements related to music making, sharing, and listening Traces the evolution of music and technology from antiquity to the 21st century, including information on how the COVID-19 pandemic has reshaped the way music is created and disseminated Approaches the content through a historical and sociological lens rather than a purely technical one Offers bibliographic sources and a glossary of terms for readers new to this field of study