This book will be of interest to scholars, students and practitioners in the fields of ethnomusicology, music education, social learning and community music. It applies concepts and approaches from these disciplines with ethnographic data to identify a pedagogy for the learning and teaching of traditional music in community-based organisations.

Bulgarian popular music, the meanings it articulates, and the infrastructures of its creation, operates within a web of inter-dependencies with changing social and political contexts. Positioned on the edge of Europe, between the cultural constructs of the 'East' and 'West', Bulgarian popular music negotiates the complexities of perceived 'global' values and specificities of the 'local'. This book takes an ethnographic approach to qualitative methodologies to create a mosaic of perspectives through the participation of music artists, critics, business figures, copyright specialists, and young audiences. It employs the metaphor of the 'crossroads' to describe the realities of the contemporary Bulgarian popular music field, developed amidst the prolonged transitions that followed the communist era. In the context of struggles for social change, popular music has participated in the creation of rituals and symbols of protest and resistance. At the same time, the new market environment created opportunities for popular music to formulate a business approach to producing standardised content. The Balkans, are a melting pot of music traditions, but are also framed as pathologically different from the rest of Europe. This book suggests that an internalised negative stereotype adds tacit complexities to Bulgarian popular music, while at the same time, expressive markers of identity, such as folklore and language, are celebrated.

In this book Steven Vande Moortele offers a comprehensive account of operatic and concert overtures in continental Europe between 1815 and 1850. Discussing a broad range of works by German, French, and Italian composers, it is at once an investigation of the Romantic overture within the context of mid-nineteenth century musical culture and an analytical study that focuses on aspects of large-scale formal organization in the overture genre. While the book draws extensively upon the recent achievements of the 'new Formenlehre', it does not use the overture merely as a vehicle for a theory of romantic form, but rather takes an analytical approach that engages with individual works in their generic context.

Outside and Inside: Representations of Race and Identity in White Jazz Autobiography is the first full-length study of key autobiographies of white jazz musicians. White musicians from a wide range of musical, social, and economic backgrounds looked to black music and culture as the model on which to form their personal identities and their identities as professional musicians. Their accounts illustrate the triumphs and failures of jazz interracialism. As they describe their relationships with black musicians who are their teachers and peers, white jazz autobiographers display the contradictory attitudes of reverence and entitlement, and deference and insensitivity that remain part of the white response to black culture to the present day. Outside and Inside features insights into the development of jazz styles and culture in the urban meccas of twentieth-century jazz in New Orleans, Chicago, New York, and Los Angeles. Reva Marin considers the autobiographies of sixteen white male jazz instrumentalists, including renowned swing-era bandleaders Benny Goodman, Artie Shaw, and Charlie Barnet; reed instrumentalists Mezz Mezzrow, Bob Wilber, and Bud Freeman; trumpeters Max Kaminsky and Wingy Manone; guitarist Steve Jordan; pianists Art Hodes and Don Asher; saxophonist Art Pepper; guitarist and bandleader Eddie Condon; and New Orleans-style clarinetist Tom Sancton. While critical race theory informs this work, Marin argues that viewing these texts simply through the lens of white privilege does not do justice to the kind of sustained relationships with black music and culture described in the accounts of white jazz autobiographers. She both insists upon the value of insider perspectives and holds the texts to rigorous scrutiny, while embracing an expansive interpretation of white involvement in black culture. Marin opens new paths for study of race relations and racial, ethnic, and gender identity formation in jazz studies.

Today, no matter where you are in the world, you can turn on a radio and hear the echoes and influences of Chicago house music. Do You Remember House? tells a comprehensive story of the emergence, and contemporary memorialization of house in Chicago, tracing the development of Chicago house music culture from its beginnings in the late '70s to the present. Based on expansive research in archives and his extensive conversations with the makers of house in Chicago's parks, clubs, museums, and dance studios, author Micah Salkind argues that the remediation and adaptation of house music by crossover communities in its first decade shaped the ways that Chicago producers, DJs, dancers, and promoters today re-remember and mobilize the genre as an archive of collectivity and congregation. The book's engagement with musical, kinesthetic, and visual aspects of house music culture builds from a tradition of queer of color critique. As such, Do You Remember House? considers house music's liberatory potential in terms of its genre-defiant repertoire in motion. Ultimately, the book argues that even as house music culture has been appropriated and exploited, the music's porosity and flexibility have allowed it to remain what pioneering Chicago DJ Craig Cannon calls a 'musical Stonewall' for queers and people of color in the Windy City and around the world.

A major new study piecing together the intriguing but fragmentary evidence surrounding the lives of minstrels to highlight how these seemingly peripheral figures were keenly involved with all aspects of late medieval communities. Minstrels were a common sight and sound in the late Middle Ages. Aristocrats, knights and ladies heard them on great occasions (such as Edward I's wedding feast for his daughter Elizabeth in 1296) and in quieter moments in their chambers; town-dwellers heard and saw them in civic processions (when their sound drew attention to the spectacle); and even in the countryside people heard them at weddings, church-ales and other parish celebrations. But who were the minstrels, and what did they do? How did they live, and how easily did they make a living? How did they perform, and in what conditions? The evidence is intriguing but fragmentary, including literary and iconographic sources and, most importantly, the financial records of royal and aristocratic households and of towns. These offer many insights, although they are often hard to fit into any coherent picture of the minstrels' lives and their place in society. It is easy to see the minstrels as peripheral figures, entertainers who had no central place in the medieval world. Yet they were full members of it, interacting with the ordinary people around them, as well as with the ruling classes: carrying letters and important verbal messages, some lending huge sums of money to the king (to finance Henry V's Agincourt campaign in 1415, for instance), some regular and necessary civic servants, some committing crimes or suffering the crimes of others. In this book Rastall and Taylor bring to bear the available evidence to enlarge and enrich our view of the minstrel in late medieval society.

Our understanding of music is inherently metaphorical, and metaphoricity pervades all sorts of musical discourses, be they theoretical, analytical, philosophical, pedagogical, or even scientific. The notions of "body" and "force" are the two most pervasive and comprehensive scientific metaphors in musical discourse. Throughout various intertwined contexts in history, the body-force pair manifests multiple layers of ideological frameworks and permits the conceptualization of music in a variety of ways. Youn Kim investigates these concepts of body and force in the emerging field of music psychology in the late nineteenth and early twentieth centuries. The field's discursive space spans diverse contexts, including psychological theories of auditory perception and cognition, pedagogical theories on the performer's bodily mechanism, speculative and practical theories of musical rhythm, and aesthetical discussion of the power of music. This investigation of body and force aims to illuminate not just the past scene of music psychology but also the notions of music that are being constructed at present.

This book studies George Crumb's Winds of Destiny (2004) and Black Angels (1970) as artefacts of collective memory and cultural trauma. It situates these two pieces in Crumb's output and unpacks the complex methodologies needed to understand these pieces as contributions and challenges to traditional narratives of the Civil War and the Vietnam War. This book shows how this association began and how it endures through connections to iconic Vietnam War media, including films and books. Together these analyses show the legacy of trauma in American collective memory, which is in a continuous crisis. \This book will be of interest to students of contemporary American music, American studies, and memory studies. It benefits readers by newly situating Crumb's music within these three fields of study.

Sonic Identity at the Margins convenes the interdisciplinary work of 17 academics, composers, and performers to examine sonic identity from the 19th century to the present. Recognizing the myriad aspects of identity formation, the authors in this volume adopt methodological approaches that range from personal accounts and embodied expression to archival research and hermeneutic interpretation. They examine real and imagined spaces—from video games and monument sites to films and depictions of outer space—by focusing on sonic creation, performance, and reception. Drawing broadly from artistic and performance disciplines, the authors reimagine the roles played by music and sound in constructing notions of identity in a broad array of musical experiences, from anti-slavery songsters to Indigenous tunes and soundscapes, noise and multimedia to popular music and symphonic works. Exploring relationships between sound and various markers of identity—including race, gender, ability, and nationality—the authors explore challenging, timely topics, including the legacies of slavery, indigeneity, immigration, and colonial expansion. In heeding recent calls to decolonize music studies and confront its hegemonic methods, the authors interrogate privileged perspectives embedded in creating, performing, and listening to sound, as well as the approaches used to analyze these experiences.

Unquestionably the founding work of minimalism in musical composition, Terry Riley's In C (1964) challenges the standards of imagination, intellect, and musical ingenuity to which "classical" music is held. Only one page of score in length, it contains neither specified instrumentation nor parts. Its fifty-three motives are compact, presented without any counterpoint or evident form. The composer gave only spare instructions and no tempo. And he assigned the work a title that's laconic in the extreme. At the same moment of its composition, Elliott Carter was working on his Concerto for Piano, a work Stravinsky was to hail as a masterpiece. Having almost completed Laborinthus II, Luciano Berio would soon start the Sinfonia. Karlheinz Stockhausen had just finished Momente. In context of these other works, and of the myriad of compositional styles and trends which preceded them, In C stands the whole idea of musical "progress" on its head.
Forty years later, In C continues to receive regular performances every year by professionals, students, and amateurs, and has had numerous recordings since its 1968 LP premiere. Welcoming performers from a vast range of practices and traditions, from classical to rock to jazz to non-Western, these recordings range from the Chinese Film Orchestra of Shanghai -- on traditional Chinese instruments -- to the Hungarian 'European Music Project' group, joined by two electronica DJs manipulating the Pulse. In C rouses audiences while all the while projecting an inner serenity that suggests Cage's definition of music's purpose -- "to sober and quiet the mind, thus making it susceptible to divine influence."
Setting the stage for a most intriguing journey into the world of minimalism, Robert Carl's Terry Riley's In C argues that the work holds its place in the canon because of the very challenges it presents to "classical" music. He examines In C in the context of its era, its grounding in aesthetic practices and assumptions, its process of composition, presentation, recording, and dissemination. By examining the work's significance through discussion with performers, composers, theorists, and critics, Robert Carl explores how the work's emerging performance practice has influenced our very ideas of what constitutes art music in the 21st century.

In recent decades, the relationship between music, emotions, health and well-being has become a hot topic. Scientific research and new neuro-imaging technologies have provided extraordinary new insights into how music affects our brains and bodies, and researchers in fields ranging from psychology and music therapy to history and sociology have turned their attention to the question of how music relates to mind, body, feelings and health, generating a wealth of insights as well as new challenges. Yet this work is often divided by discipline and methodology, resulting in parallel, yet separate discourses. In this context, The Routledge Companion to Music, Mind and Well-being seeks to foster truly interdisciplinary approaches to key questions about the nature of musical experience and to demonstrate the importance of the conceptual and ideological frameworks underlying research in this field. Incorporating perspectives from musicology, history, psychology, neuroscience, music education, philosophy, sociology, linguistics and music therapy, this volume opens the way for a generative dialogue across both scientific and humanistic scholarship. The Companion is divided into two sections. The chapters in the first, historical section consider the varied ways in which music, the emotions, well-being and their interactions have been understood in the past, from Antiquity to the twentieth century, shedding light on the intellectual origins of debates that continue today. The chapters in the second, contemporary section offer a variety of current scientific perspectives on these topics and engage wider philosophical problems. The Companion ends with chapters that explore the practical application of music in healthcare, education and welfare, drawing on work on music as a social and ecological phenomenon. Contextualising contemporary scientific research on music within the history of ideas, this volume provides a unique overview of what it means to study music in relation to the mind and well-being.

Performance Practice in the Music of Steve Reich provides a performer's perspective on Steve Reich's compositions from his iconic minimalist work, Drumming, to his masterpiece, Music for 18 Musicians. It addresses performance issues encountered by the musicians in Reich's original ensemble and the techniques they developed to bring his compositions to life. Drawing comparisons with West African drumming and other non-Western music, the book highlights ideas that are helpful in the understanding and performance of rhythm in all pulse-based music. Through conversations and interviews with the author, Reich discusses his percussion background and his thoughts about rhythm in relation to the music of Ghana, Bali, India, and jazz. He explains how he used rhythm in his early compositions, the time feel he wants in his music, the kind of performer who seems to be drawn to his music, and the way perceptual and metrical ambiguity create interest in repetitive music.

This textbook is a product of William Bennett's work in developing and teaching a course on the physics of music at Yale University to a diverse audience of musicians and science students in the same class. The book is a culmination of over a decade of teaching the course and weaves together historical descriptions of the physical phenomena with the author's clear interpretations of the most important aspects of the science of music and musical instruments. Many of the historical examples are not found in any other textbook available on the market. As the co-inventor of the Helium-Neon laser, Prof. Bennett's knowledge of physics was world-class. As a professor at one of the most prestigious liberal-arts universities in the world, his appreciation for culture and humanities shines through. The book covers the basics of oscillations, waves and the analysis techniques necessary for understanding how musical instruments work. All types of stringed instruments, pipe organs, and the human voice are covered in this volume. A second volume covers the remaining families of musical instruments as well as selected other topics. Readers without a background in acoustics will enjoy learning the physics of the Science of Musical Sound from a preeminent scientist of the 20th century. Those well versed in acoustics will discover wonderful illustrations and photographs depicting familiar concepts in new and enlightening ways.

This introduction to the essential elements of music is ideal for students preparing for examinations, as well as an excellent resource for everyone learning to read music.

Mixtape Nostalgia: Culture, Memory, and Representation analyzes the role of the mixtape as a site of collective memory tied to youth culture, community identity, and sharing music. The author looks at the history of the mixtape from the early 1980s and the rise of the cassette as a fundamental aspect of the music industry. She discusses the continued contemporary appeal of the mixtape as musicians, novelists, memoirists, playwrights, and even podcasters have used it as a metaphor for connection and identity. The book shows how creators use the iconography of the mixtape cassette to create ephemera which speaks to the appreciation of the tangible and the analog. The desire to find connection through sharing a physical artifact permeates the various creative uses of the mixtape. From blockbuster films to mixtape throw pillows, Burns highlights the appreciation music lovers have for tangibly sharing music and the emotions it brings.

This text has been out of print since 1990; it was originally published by Solomon Press in 1987. Several experts in the field have verified that the information in the book remains constant; nothing has, or will, change in the basic science of musical sound. It explains the science of musical sound without the encumbrance of detailed mathematics. It will appeal to music lovers as well as students of music and students of physics. It can easily be promoted with our physics program.

Hailed by the New Grove Dictionary of Music (2nd edition) as "the most original and far-ranging theorist of his generation," David Lewin (1933-2003) explored for over four decades how composers in the German tradition set poetry and drama to music. He conceived Studies in Music with Text as a unified collection, reproducing papers on music by Mozart, Schubert, Wagner, Schoenberg, and Babbitt, many of which have become classics in the fields of music theory and historical musicology. He also included new analytical essays on Mozart, Wagner, and Schubert, and provided fresh readings of selected songs by Clara Schumann, Robert Schumann, and Johannes Brahms.
The analyses collected here focus on how the music, from its small details to its large formal schemes, engages the poetic and dramatic dynamics of the works at hand, and how music and text enact each other reciprocally. A recurrent topic is the theatricality of texted music for the concert as well as operatic stage, and Lewin's perspectives offer many interpretive insights and conceptual perspectives for the musical performer. A methodological eclectic, Lewin cultivated a magisterial command of historical theories and thought deeply about how those theories could inform contemporary understanding. Analytical models by Zarlino, Schenker, Riemann, Rameau, and Babbitt are brought into play, and the range of poetic and dramatic questions that emerge are explored, concerning inter alia psychological and social identity, the relation of psychological inner worlds to phenomenal reality, and the narrowly biographical and broadly historical conditions of artistic creation. As it illuminates the richness and profundity of the language/musicpartnership, Studies in Music with Text offers incisive thinking about the scope--and limitations--of descriptive and analytical discourse about music.

This is a study of vocal expressions in the borderland between speech and song, based on performances from cultural contexts where oral transmission dominates. Approaches drawn from perspectives belonging to both ethnomusicology and linguistics are integrated in the analysis. As the idea of the performance template is employed as an analytical tool, the focus is on those techniques that make performance possible. The result is an increased understanding of what performers actually do when they employ variation or improvisation, and sometimes composition as well. The transmission of these culture-specific techniques is essential for the continuation of this form of human communication and interaction with the spirit world. By comparative study of other research, the result of the analysis is viewed in relation to ongoing processes in society. -- .

It was Carl Dahlhaus who coined the phrase 'dead time' to describe the state of the symphony between Schumann and Brahms. Christopher Fifield argues that many of the symphonies dismissed by Dahlhaus made worthy contributions to the genre. He traces the root of the problem further back to Beethoven's ninth symphony, a work which then proceeded to intimidate symphonists who followed in its composer's footsteps, including Schubert, Mendelssohn and Schumann. In 1824 Beethoven set a standard that then had to rise in response to more demanding expectations from both audiences and the musical press. Christopher Fifield, who has a conductor's intimacy with the repertory, looks in turn at the five decades between the mid-1820s and mid-1870s. He deals only with non-programmatic works, leaving the programme symphony to travel its own route to the symphonic poem. Composers who lead to Brahms (himself a reluctant symphonist until the age of 43 in 1876) are frequently dismissed as epigones of Beethoven, Mendelssohn and Schumann but by investigating their symphonies, Fifield reveals their respective brands of originality, even their own possible influence upon Brahms himself and in so doing, shines a light into a half-century of neglected nineteenth century German symphonic music.

The Traditional Tunes of the Child Ballads begins where Francis Child's The English and Scottish Popular Ballads leaves off. Bronson has collected all available tunes for each of Child's ballads, annotated and organized them, with notes describing the history and development of each tune and tune family. This is an indispensable text for ballad scholars, performers, and students of the ballad tradition.

In the year following its 1787 Prague premiere, Don Giovanni was performed in Vienna. Everyone, according to the well-known account by Da Ponte, thought something was wrong with it. In response, Mozart made changes, producing a Vienna 'version' of the opera, cutting two of the original arias but inserting three newly-composed pieces. The dilemma faced by musicians and scholars ever since has been whether to preserve the opera in these two 'authentic' forms, or whether to fashion a hybrid text incorporating the best of both. This study presents new evidence about the Vienna form of the opera, based on the examination of late eighteenth-century manuscript copies. The Prague Conservatory score is identified as the primary exemplar for the Viennese dissemination of Don Giovanni, which is shown to incorporate two quite distinct versions, represented by the performing materials in Vienna (O.A.361) and the early Lausch commercial copy in Florence. To account for this phenomenon, seen also in early sources of the Prague Don Giovanni and Cosi fan tutte, a general theory of transmission for the Mozart Da Ponte operas is proposed, which clarifies the relationship between the fluid text produced by re-creation (performing) and the static text generated by replication (copying). Aspects of the compositional history of Don Giovanni are uncovered. Evidence to suggest that Mozart first considered an order in which Donna Elvira's scena precedes the comic duet 'Per queste tue manine' is assessed. The essential truth of Da Ponte's account - that the revision of the opera in Vienna was an interactive process, involving the views of performers, the reactions of audiences and the composer's responses - seems to be fully borne out. The final part of the study investigates the late eighteenth-century transmission of Don Giovanni. The idea that hybrid versions gained currency only in the nineteenth century or in the lighter Singspiel tradition is challenged. IAN WOODFIELD is Professor and Director of Research at the School of Music and Sonic Arts, Queen's University Belfast.

Following methods known to have been adopted by Bach himself, the exercises provided in chorale harmonization are graded in such a way as to encourage the student to develop both technique and imagination within a closely-defined framework. The instrumental counterpoint section is based on Bach's two-and three-part Inventions. By close analysis the author helps the reader to recognize the procedures Bach adopted in various musical situations. The exercises are taken largely from Bach's keyboard works.