This book introduces polytempic polymicrotonality as a new musical aesthetic. It proposes music with more than one microtonal tuning system and discusses examples from the literature to give an historic framework showing that this tendency has been present throughout human musical history. Polytempo is a tool for which polymicrotonal structures can function in relief from its background, and it acts as a frame, or ground structure, that is multidimensional, akin to the advancement of perspective in Renaissance art. The book has historic significance as it is the only book of its category, or genre, in music that features polymicrotonality in music composition or production. It displays examples of music literature for musical precedence in this area, focusing on Charles Ives's Universe Symphony, unfinished since 1925.

Presents a wide survey of scholarship in American music that is useful if idiosyncratic and captures a wide range of American music traditions Brings together scholars who worked with Michael J. Budds as a colleague, editor, or mentor to carry on his legacy of passionate engagement with America's rich and varied musical heritage

Dr Peter Martens provides the first complete edited English translation of, and commentary on, Isaac Vossius's De poematum cantu et viribus rythmi, a late seventeenth-century work of Continental musical humanism. plays an important but poorly understood role in the continued development of rhythmopoeia; A full translation and accompanying discussion of Vossius's own sources and musical influences allows English-language students and scholars to access and study this work in the depth and to the degree it deserves.

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

Cowboy Bebop is one of the most beloved anime series of all time, and if you ask its fans why, you can expect to hear about its music. Composer Yoko Kanno created an eclectic blend of jazz, rock, lullabies, folk and funk (to list just a few) for Cowboy Bebop's many moods and environments. Cowboy Bebop's blend of science fiction, westerns and gangster films promised to be "the work which becomes a new genre itself," and only Kanno's score could deliver. In this volume of 33 1/3 Japan, musicologist Rose Bridges helps listeners make sense of the music of Cowboy Bebop. The book places it within the context of Bebop's influences and Kanno's larger body of work. It analyzes how the music tells Spike, Faye, Jet and the rest of the crew's stories. Cowboy Bebop and its music are like nothing else, and they deserve a guide to match. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-basedbooks and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

Low End Theory probes the much-mythologized field of bass and low-frequency sound. It begins in music but quickly moves far beyond, following vibratory phenomena across time, disciplines and disparate cultural spheres (including hauntings, laboratories, organ workshops, burial mounds, sound art, studios, dancefloors, infrasonic anomalies, and a global mystery called The Hum). Low End Theory asks what it is about bass that has fascinated us for so long and made it such a busy site of bio-technological experimentation, driving developments in science, technology, the arts, and religious culture. The guiding question is not so much what we make of bass, but what it makes of us: how does it undulate and unsettle; how does it incite; how does it draw bodily thought into new equations with itself and its surroundings? Low End Theory is the first book to survey this sonorous terrain and devise a conceptual language proper to it. With its focus on sound's structuring agency and the multi-sensory aspects of sonic experience, it stands to make a transformative contribution to the study of music and sound, while pushing scholarship on affect, materiality, and the senses into fertile new territory. Through energetic and creative prose, Low End Theory works to put thought in touch with the vibratory encounter as no scholarly book has done before. For more information, visit: http://www.lowendtheorybook.com/

Rock Criticism from the Beginning is a wide-ranging exploration of the rise and development of rock criticism in Britain and the United States from the 1960s to the present. It chronicles the evolution of a new form of journalism, and the course by which writing on rock was transformed into a respected field of cultural production. The authors explore the establishment of magazines from Crawdaddy! and Rolling Stone to The Source, and from Melody Maker and New Musical Express to The Wire, while investigating the careers of well-known music critics like Robert Christgau, Greil Marcus, and Lester Bangs in the U.S., and Nik Cohn, Paul Morley, and Jon Savage in the U.K., to name just a few. While much has been written on the history of rock, this Bourdieu-inspired book is the first to offer a look at the coming of age of rock journalism, and the critics that opened up a whole new kind of discourse on popular music.

Just as music has the power to inspire, it has the power to irritate and enrage. Why does certain music annoy us? Why does it force us to leave rooms, invade our personal space and affect us on a visceral level? Based on more than 70 interviews, this book discusses the everyday challenges of living together with unwanted music. It examines issues of taste, individual rights, private and public spaces, violence and the law. The interviews explore various relationships with forced listening and the behaviors that result. Interviewees talk about emotions and reactions to the nuisance caused by music, highlighting matters of otherness, individualism and rights. They discuss experiences with neighbors, at stores, on the street, while commuting and even in their homes - and reveal the complex social interactions mediated by music and sounds in our day-to-day lives.

The music of Tchaikovsky remains as much loved in the twenty-first century as it was a hundred years ago. But it has so much more to offer than luscious orchestration and tuneful melodies. In Experiencing Tchaikovsky: A Listener's Companion, historian and scholar David Schroeder looks beyond traditional views of Tchaikovsky to explore the dramatic impact of his music by walking readers through the remarkable range of works by this great Russian composer. Drawing on a select, but highly representative, group of compositions from Tchaikovsky's vast output, from his groundbreaking ballet Swan Lake to his great opera Eugene Onegin, Experiencing Tchaikovsky: A Listener's Companion offers in-depth explorations without technical jargon. In addition to looking at his ballets and some of his operas, Schroeder probes the many other genres in which Tchaikovsky worked, from his chamber music pieces and symphonies to his other orchestral works and concertos. Throughout, Schroeder draws connections among the works, painting a fuller, more coherent picture of Tchaikovsky through his thematic interests, musical techniques, sonic signatures, and literary and cultural focuses. For context, Schroeder describes the works of personal significance for the composer through such contemporary literature as Tchaikovsky's letters to Nadezhda von Meck, the wealthy patroness whom he never met. Experiencing Tchaikovsky: A Listener's Companion is for anyone who left a ballet performance whistling themes from Swan Lake or humming melodies from The Nutcracker. It is the ideal work for concertgoers, music students, opera buffs, ballet enthusiasts, and anyone who appreciates this musical master.

Offers a comprehensive guide to approaching a degree in music, tailored to the needs of first-year undergraduate students. Questions for discussion, chapter-by-chapter assignments, and downloadable eResources provide practical tools to develop students' professional, practical and academic skills. Includes contributions from faculty across all areas of music that establish foundations to prepare students for all types of music specialities.

While interpretation of musical scores is amongst the most frequent of musical activities, it is also, strangely, one of the least researched. This collection of essays seeks to remedy this deficit by illuminating ways in which today's curious musician - interested in probing beyond the dictates of a faintly understood score - can engage more deeply and thoughtfully with the act of interpretation. Skilful musical interpretation draws on a vast range of knowledges. The chapters of this collection accordingly address a similarly broad set of issues, including notation, rhetoric, theory, historiography, performers past and present, instrument builders, concert presenters, reception history, and more. Written by leading experts from a variety of musical subdisciplines, these essays are designed to be accessible and practically relevant for musical performance. Many of the chapters utilize case studies and, as such, will be useful for university and conservatory level students as well as music scholars. The chapters in this book were originally published as a special issue of the Journal of Musicological Research.

Offers a comprehensive guide to approaching a degree in music, tailored to the needs of first-year undergraduate students. Questions for discussion, chapter-by-chapter assignments, and downloadable eResources provide practical tools to develop students' professional, practical and academic skills. Includes contributions from faculty across all areas of music that establish foundations to prepare students for all types of music specialities.

"Fraser discusses the aesthetics and system of ideal musical styles employed by talempong players, the history of the talempong, and, most compellingly, the newer styles of practice, including repertoires that incorporate popular music genres from around the world. The author's discussion of institutionalization, professionalization, and monetization of Minangkau arts in general and talempong styles specifically gives this book broader relevance...SUMMING UP: Recommended." -CHOICE Scholarship on the musical traditions of Indonesia has long focused on practices from Java and Bali, including famed gamelan traditions, at the expense of the wide diversity of other musical forms within the archipelago. Jennifer A. Fraser counters this tendency by exploring a little-known gong tradition from Sumatra called talempong, long associated with people who identify themselves as Minangkabau. Grounded in rich ethnographic data and supplemented with online audiovisual materials, Gongs and Pop Songs is the first study to chronicle the history and variety of talempong styles. It reveals the continued vitality of older modes in rural communities in the twenty-first century, while tracing the emergence of newer ones with radically different aesthetic frames and values. Each talempong style discussed incorporates into its repertoire Minangkabau pop or indigenous songs, both of which have strong associations with the place and people. These contemporary developments in talempong have taken place against a shifting political, social, and economic backdrop: the institutionalization of indigenous arts, a failed regional rebellion, and the pressures of a free-market economy. Fraser adopts a cognitive approach to ethnicity, asking how people understand themselves as Minangkabau through talempong and how different styles of the genre help create and articulate ethnic sentiments - that is, how they help people sound Minangkabau.

As one of the salient forces in the ritual life of those who worship the pre-Christian and Muslim deities called orishas, the Yoruba god of drumming, known as Ayan in Africa and Ana in Cuba, is variously described as the orisha of drumming, the spirit of the wood, or the more obscure Yoruba praise name AsoroIgi (Wood That Talks). With the growing global importance of orisha religion and music, the consequence of this deity's power for devotees continually reveals itself in new constellations of meaning as a sacred drum of Nigeria and Cuba finds new diasporas. Despite the growing volume of literature about the orishas, surprisingly little has been published about the ubiquitous Yoruba music spirit. Yet wherever one hears drumming for the orishas, Ayan or Ana is nearby. This groundbreaking collection addresses the gap in the research with contributions from a cross-section of prestigious musicians, scholars, and priests from Nigeria, the Americas, and Europe who have dedicated themselves to studying Yoruba sacred drums and the god sealed within. As well as offering multidisciplinary scholarly insights from transatlantic researchers, the volume includes compelling first-hand accounts from drummer-priests who were themselves history-makers in Nigerian and Cuban diasporas in the United States, Venezuela, and Brazil. This collaboration between diverse scholars and practitioners constitutes an innovative approach, where differing registers of knowledge converge to portray the many faces and voices of a single god.

Fanny Hensel created some of the most imaginative and original music of her era, making her arguably the most gifted female composer of the nineteenth century. While Hensel has finally stepped out of the shadow of her famous brother, Felix Mendelssohn, as scholars have begun to study her life and writings, her music has remained surprisingly underexamined. This collection places Hensel's music at the center, focusing on the genre that not only made up more than half of her creative output but also, as Hensel herself put it, "suits her best": song. In eleven new essays, leading scholars in the fields of music theory and musicology consider Hensel's songs from a wide range of angles, covering topics such as Hensel's fascination with particular poets and poetic themes; her innovative harmonic, melodic, rhythmic, and textual strategies; and her connection to larger literary and musical trends. The chapters also provide insight into Hensel's efforts to break free from the constraints placed on her as a woman and her place in the larger history of the nineteenth-century Lied. Drawing on diverse biographical, historical, cultural, and musical contexts for their detailed discussions of Hensel's songs, the authors underline Hensel's historical importance and deepen our understanding and appreciation of her compositions. This volume, in short, finally gives Fanny Hensel and her songs the stage that they deserve.

In Chocolate Surrealism Njoroge Njoroge highlights connections among the production, performance, and reception of popular music at critical historical junctures in the late nineteenth and twentieth centuries. The author sifts different origins and styles to place socio-musical movements into a larger historical framework. Calypso reigned during the turbulent interwar period and the ensuing crises of capitalism. The Cuban rumba/son complex enlivened the postwar era of American empire. Jazz exploded in the Bandung period and the rise of decolonization. And, lastly, Nuyorican Salsa coincided with the period of the civil rights movement and the beginnings of black/brown power. Njoroge illuminates musics of the circum-Caribbean as culturally and conceptually integrated within the larger history of the region. He pays close attention to the fractures, fragmentations, and historical particularities that both unite and divide the region's sounds. At the same time, he engages with a larger discussion of the Atlantic world. Njoroge examines the deep interrelations between music, movement, memory, and history in the African diaspora. He finds the music both a theoretical anchor and a mode of expression and representation of black identities and political cultures. Music and performance offer ways for the author to re-theorize the intersections of race, nationalism and musical practice, and geopolitical connections. Further music allows Njoroge a reassessment of the development of the modern world system, through local, popular responses to the global age. The book analyzes different styles, times, and politics to render a brief history of Black Atlantic sound.

Listen to Pop! discusses the evolution of pop music in America from the 1950s to the present, diving into its impact on American culture, particularly through its association with television, and its enduring legacy. Listen to Pop!: Exploring a Musical Genre provides readers with an overview and a history of the pop music genre. The bulk of the book is devoted to analysis of 50 must-hear musical examples, which include artists, songs, and albums. Additionally, the book contains chapters that analyze the impact of pop music on American popular culture and the legacy of pop music, including how the music is used today in film and television soundtracks and in television commercials. The book deals with all of the various subgenres of pop music from the 1950s to the present. The selection of material discussed reflects the artists, songs, and albums topping the pop music charts of the period, and while the volume examines these items individually, it also discusses how our definition of pop music has evolved over the decades. This combination of detailed examination of specific songs, albums, and artists and discussion of background, legacy, and impact distinguishes it from other books on the subject and make it a vital reference and interesting read for all readers and music aficionados. Analyzes a diversity, stylistically and otherwise, of must-hear examples Traces the evolution of pop music from the end of World War II to the present Extensively discusses the interplay between popular music and television Identifies certain formulas for success, such as the "oldies" chord progression through the 20th century to the present

In the London of Shakespeare and William Byrd, Thomas East was the premier, often exclusive, printer of music. As he tells the story of this influential figure in early English music publishing, Jeremy Smith also offers a vivid overall portrait of a bustling and competitive industry, in which composers, patrons, publishers, and tradesmen sparred for creative control and financial success. It provides a truly comprehensive study of music publishing and a new way of understanding the place of musical culture in Elizabethan times. In addition, Smith has compiled the first complete chronology of East's music prints, based on both bibliographical and paper-based evidence.

Tyranny and Music is an edited collection of essays that explore how musical artists respond to cruel or oppressive governments and ruling regimes. Its primary strength and unique quality lies in its diversity, presenting a postmodern collage of scholarship that reaches across the divides of classical, popular and traditional musics just as it connects musical resistance of the past with the present and the near (Western) with the far (non-Western). Contemporary topics include Chosan's analysis of blood diamonds in the Sierra Leonean Civil War, and collective memory in the Persian Gulf War songs. Historical topics include the image of John Wilkes Booth in the popular imagination, censorship in the Soviet Union, Victor Ullman's song setting at Terezin, artistic restrictions in Maoist China, anti-inquisition propaganda in the outbreak of the Dutch revolt, Revolutionary Era Anthems in the United States and much more. These essays, while remarkable in their scholarly erudition, also provide intimate glimpses of the resiliency of the individual artist. From Cherine Amr's Heavy Metal resistance to the Muslim Brotherhood to Hanns Eisler's battle with the United States House on Un-American Activities Committee, stories of human struggle and perseverance arise from each of these narratives.

this volume seeks to explore the constructive potential of noise in contemporary musical practices. Rather than viewing noise as a 'defect', this volume aims at studying its aesthetic and cultural potential. This book includes work on avant-garde music developed in the domain of classical music as well.

Heinrich Schenker's theoretical and analytical works claim to resubstantiate the unique artistic presence of the canonic work, and thus reject those musical disciplines such as psychoacoustics and systematic musicology which derive from the natural sciences. In this respect his writing reflects the counter-positivism endemic to the German academic discourse of the first decades of the twentieth century. The rhetoric of this stance, however, conceals a sophisticated programme wherein Schenker situates his project in relation to these sciences, arguing his reading of the musical text as a synthesis of a descriptive psychology and an explanatory historiography (which itself embeds both paleographic and philological assumptions). This book rereads Schenker's project as an attempt to reconstruct music theory as a discipline against the background of the empirical musical sciences of the later nineteenth century.

In this book, perspectives in psychology, aesthetics, history and philosophy are drawn upon to survey the value given to sad music by human societies throughout history and today. Why do we love listening to music that makes us cry? This mystery has puzzled philosophers for centuries and tends to defy traditional models of emotions. Sandra Garrido presents empirical research that illuminates the psychological and contextual variables that influence our experience of sad music, its impact on our mood and mental health, and its usefulness in coping with heartbreak and grief. By means of real-life examples, this book uses applied music psychology to demonstrate the implications of recent research for the use of music in health-care and for wellbeing in everyday life.

In 1972, a group of creative Brazilian musicians and poets informally led by singer-songwriter Milton Nascimento recorded a landmark double-LP titled Clube da Esquina (Corner Club). The album saw highly original songs by Milton, already an award-winning international star, sharing vinyl with those of Lo Borges, an unknown eighteen-year-old from Belo Horizonte, the capital of the state of Minas Gerais. There, where the street "corner" still exists, grew their collective also known as the Corner Club, as the artists collaborated on many subsequent albums boasting innovative blends of pop, jazz, rock, folk, classical influences, and, before Brazil's return to civilian rule in 1985, poignant protest songs aimed at a cruel dictatorship. Drawing on a thirty-year relationship with Minas Gerais that includes interviews with Corner Club members and extensive research of Portuguese language sources, Jonathon Grasse presents an analysis of the artists, songs, and ideas comprising the LP that helps define this Brazilian generation. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

Aimed at lay, student, and academic readers alike, this book concerns the imagination and, specifically, imagination in music. It opens with a discussion of the invalidity of the idea of the creative genius and the connected view that ideas originate just in the individual mind. An alternative view of the imaginative process is then presented, that ideas spring from a subconscious dialogue activated by engagement in the world around. Ideas are therefore never just of our own making. This view is supported by evidence from many studies and corresponds with descriptions by artists of their experience of imagining. The third subject is how imaginations can be shared when musicians work with other artists, and the way the constraints imposed by trying to share subconscious imagining result in clearly distinct forms of joint working. The final chapter covers the use of the musical imagination in making meanings from music. The evidence is that music does not communicate meanings directly, and so composers or performers cannot be looked to as authorities on its meaning. Instead, music is commonly heard as analogous to human experience, and listeners who perceive such analogies may then imagine their own meanings from the music.

This book is designed for composers, orchestral musicians, conductors, orchestral managers and programmers as well as for music students and their instructors/supervisors who want to investigate contemporary Australian concert music for orchestra and are interested in the nature of contemporary symphonism. It is also intended for musically informed concert-goers and music lovers eager to explore an unfamiliar but rich repertory of fine symphonies.