The first book-length study in English of composer Mathias Spahlinger, one of Germany's leading practitioners of contemporary music. One of the most stimulating and provocative figures on the new music scene on Germany, he has long been a touchstone for leftist, 'critical' composition there, yet his work has received very little attention in Anglophone scholarship until now. Born in 1944, Spahlinger has risen only gradually to prominence in his native Germany and for many years was considered an outsider within the contemporary music scene. Yet, his position as one of the most venerable exponents of post-WWII modernism in his homeland is now undeniable: his music is regularly performed, he has received commissions from many of the major orchestras and new music groups in Germany, and in 2014 he received the Grossen Berliner Kunstpreis (Berlin Art Prize - Grand Prize) from the city's Akademie der Kunste (Academy of Arts). Spahlinger is, however, becoming increasingly known as a significant figure within later twentieth-century music - in 2015, a festival in Chicago focused exclusively on his music, and he was a keynote speaker at a conference on Compositional Aesthetics and the Political at Goldsmiths, University of London. This new book provides an essential reference for scholars of new music and twentieth-century modernism. There are no other book-length studies of Spahlinger in English, though there is a monograph and a book of essays in German, and books of interviews. This original work promises a more critical perspective upon the composer and his aesthetics and political ideas compared to previous publications. The illustrations include musical examples. Its primary market will be a specialist musicological readership, including academics, researchers and composers, but the writing style such that it could be accessible also to undergraduates interested in the field. The discussion of aesthetic debates in post-war Germany, and the interesting reading of the work of Jacques Ranciere, means that it could also have significant appeal across the disciplines of philosophy and critical theory.

Identity and Diversity in New Music: The New Complexities aims to enrich the discussion of how musicians and educators can best engage with audiences, by addressing issues of diversity and identity that have played a vital role in the reception of new music, but have been little-considered to date. Marilyn Nonken offers an innovative theoretical approach that considers how the environments surrounding new music performances influence listeners' experiences, drawing on work in ecological psychology. Using four case studies of influential new music ensembles from across the twentieth century, she considers how diversity arises in the musical environment, its impact on artists and creativity, and the events and engagement it makes possible. Ultimately, she connects theory to practice with suggestions for how musicians and educators can make innovative music environments inclusive.

Originally published in 2003, Charles Edward Horn's Memoirs of His Father and Himself is an annotated collection of the memoirs of Charles Edward Horn. They include an account of Horn's father, Charles Frederick Horn, who arrived penniless in London in 1782 and rose to become music master to Queen Charlotte. Today he is most remembered for his pioneering publications of J.S. Bach's music in England. Charles Edward Horn's memoir covers his activities in England and Ireland and provide numerous details of English musical life in the Georgian era not previously known to scholars. They are supplemented in this book by transcripts of four other autobiographical accounts of the Horns, a summary of their extant correspondence and a chronology of their activities.

Carl Stumpf (1848-1936) was a German philosopher and psychologist and a visionary and important academic. During his lifetime, he ranked among the most prominent scientists of his time. Stumpf's intention, as evident in his book, Tone Psychology, was to investigate the phenomenon of tone sensation in order to understand the general psychic functions and processes underlying the perception of sound and music. It could be argued that modern music psychology has lost or perhaps ignored the epistemological basis that Carl Stumpf developed in his Tone Psychology. To gain a confident psychological basis, the relevance of Stumpf's deliberations on music psychology cannot be overestimated. Analyses of the essence of tones, complex tones and sounds are fundamental topics for general psychology and epistemology. By the end of this two-volume work, Stumpf had established an epistemology of hearing. The subject of Volume I is the sensation of successive single tones. Stumpf demonstrates that analysis leads to the realisation of a plurality (is there only one tone or are there several tones?), which is then followed by a comparison: an increase may be observed (one tone is higher than the other) or a similarity may be realised (both tones have the same pitch or the same loudness). With almost mathematical stringency, Stumpf developed a topology of tones. Volume II deals with the sensation of two simultaneous tones (musical intervals). The books are stimulating, rewarding and provocative and will appeal to music psychologists, music theorists, general psychologists, philosophers, epistemologists and neuroscientists.

This book presents four extended essays that are rooted in the growing interdisciplinary field of applied musicology, in which music theory - in particular, the zygonic conjecture - is used to inform thinking in the domains of music psychology, music education and music therapy research. It is essential reading for academics and postgraduate students working in these fields. The topics covered include a new study on the emergence of musical abilities in the early years, using the Sounds of Intent framework of musical development; an exploration of how the Sounds of Intent model can be extended to map how people with learning difficulties engage in creative multisensory activities; an investigation of the expectations generated on hearing a piece of music more than once evolve in cognition, using evidence from a musical savant; and a report on the effect on listeners of repeated exposure to a novel melody. Data are drawn from the findings of postgraduate and postdoctoral projects. It is hoped that this exciting new work will act as a catalyst in the emerging field of applied musicological research, and bring recognition to a group of new young academics.

This volume of original essays is dedicated to Owen Wright in recognition of his formative contribution to the study of music in the Islamic Middle East. Wright's work, which comprises, at the time of writing, six field-defining volumes and countless articles, has reconfigured the relationship between historical musicology and ethnomusicology. No account of the transformation of these fields in recent years can afford to ignore his work. Ranging across the Middle East, Central Asia and North India, this volume brings together historical, philological and ethnographic approaches. The contributors focus on collections of musical notation and song texts, on commercial and ethnographic recordings, on travellers' reports and descriptions of instruments, on musical institutions and other spaces of musical performance. An introduction provides an overview and critical discussion of Wright's major publications. The central chapters cover the geographical regions and historical periods addressed in Wright's publications, with particular emphasis on Ottoman and Timurid legacies. Others discuss music in Greece, Iraq and Iran. Each explores historical continuities and discontinuities, and the constantly changing relationships between music theory and practice. An edited interview with Owen Wright concludes the book and provides a personal assessment of his scholarship and his approach to the history of the music of the Islamic Middle East. Extending the implications of Wright's own work, this volume argues for an ethnomusicology of the Islamic Middle East in which past and present, text and performance are systematically in dialogue.

Beethoven Symphonies Revisited guides the reader -- music student, concert goer, or general music lover -- through the movements in a way that renews the novelty and excitement that listeners must have felt at the first performances. Stylistic discussion concentrates on the unusual features of each symphony, placing each individual work in the context of Beethovens musical advancement and circumstances. His musical innovations are explored, and his contribution to the genre assessed. Thirty author-annotated musical pages elaborate and exemplify. The essential building blocks of key, tonality, metre, rhythm and instrumentation are discussed in detail. The authors purpose is twofold: to bring together major research findings and at the same time offer detailed descriptive analyses of all nine symphonies. The approach is singular in its emphasis on the symphonies in the context of performance practice of the time, especially musical direction; the importance of the wind instruments (especially horns) and kettle drums; how counterpoint features in various passages in all the symphonies except the Sixth and Eighth, and how this was influenced by Beethovens strict training in species counterpoint. New evaluations are offered, especially for the Second, Eighth and Ninth symphonies. The books multi-faceted approach will be invaluable not only for conductors and music students at all levels, but for all concert goers and music lovers who wish to gain insight into the musical intricacies developed and enhanced by Beethovens symphonic journey. Illustrations: 30 annotated musical score pages comprising 99 examples linked to text explanations; autographed manuscripts; performance venues; and instruments of the period.

Freedom from Violence and Lies is a collection of forty-one essays by Simon Karlinsky (1924-2009), a prolific and controversial scholar of modern Russian literature, sexual politics, and music who taught in the University of California, Berkeley's Department of Slavic Languages and Literatures from 1964 to 1991. Among Karlinsky's full-length works are major studies of Marina Tsvetaeva and Nikolai Gogol, Russian Drama from Its Beginnings to the Age of Pushkin; editions of Anton Chekhov's letters; writings by Russian emigres; and correspondence between Vladimir Nabokov and Edmund Wilson. Karlinsky also wrote frequently for professional journals and mainstream publications like the New York Times Book Review and the Nation. The present volume is the first collection of such shorter writings, spanning more than three decades. It includes twenty-seven essays on literary topics and fourteen on music, seven of which have been newly translated from the Russian originals.

In The Art of Listening, Anthony Arnone interviews 13 of the top cello teachers of our time, sharing valuable insights about performing, teaching, music, and life. While almost every other aspect of twenty-first-century life has been changed by technological advancements, the art of playing and teaching the cello has largely remained the same. Our instruments are still made exactly the same way and much of what we learn is passed on by demonstration and word of mouth from generation to generation. We are as much historians of music as we are teachers of the instrument. The teaching lineage in the classical music world has formed a family tree of sorts with a select number of iconic names at the top of the tree, such as Pablo Casals, Gregor Piatigorsky, and Leonard Rose. A large percentage of professional cellists working today studied with these giants of the cello world, or with their students. In addition to discussing the impact of these masters and their personal experience as their students, the renowned cellists interviewed in this book touch on a variety of topics from teaching philosophies to how technology has changed classical music.

The Oxford Handbook of the British Musical provides a comprehensive academic survey of British musical theatre offering both a historical account of the musical's development from 1728 and a range of in-depth critical analyses of the unique forms and features of British musicals, which explore the aesthetic values and sociocultural meanings of a tradition that initially gave rise to the American musical and later challenged its modern pre-eminence. After a consideration of how John Gay's The Beggar's Opera (1728) created a prototype for eighteenth-century ballad opera, the book focuses on the use of song in early nineteenth century theatre, followed by a sociocultural analysis of the comic operas of Gilbert and Sullivan; it then examines Edwardian and interwar musical comedies and revues as well as the impact of Rodgers and Hammerstein on the West End, before analysing the new forms of the postwar British musical from The Boy Friend (1953) to Oliver! (1960). One section of the book examines the contributions of key twentieth century figures including Noel Coward, Ivor Novello, Tim Rice, Andrew Lloyd Webber, director Joan Littlewood and producer Cameron Macintosh, while a number of essays discuss both mainstream and alternative musicals of the 1960s and 1970s and the influence of the pop industry on the creation of concept recordings such as Jesus Christ Superstar (1970) and Les Miserables (1980). There is a consideration of "jukebox" musicals such as Mamma Mia! (1999), while essays on overtly political shows such as Billy Elliot (2005) are complemented by those on experimental musicals like Jerry Springer: the Opera (2003) and London Road (2011) and on the burgeoning of Black and Asian British musicals in both the West End and subsidized venues. The Oxford Handbook of the British Musical demonstrates not only the unique qualities of British musical theatre but also the vitality and variety of British musicals today.

When How to Make It in the New Music Business hit shelves in 2016, it instantly became the go-to resource for musicians eager to make a living in a turbulent industry. Widely adopted by music schools everywhere and considered "the best how- to book of its kind" (Music Connection), this essential work has inspired tens of thousands of aspiring artists to stop waiting around for that "big break" and take matters into their own hands. In this highly anticipated new edition, Ari Herstand reveals how to build a profitable career with the many tools at our fingertips in the post-COVID era and beyond, from conquering social media and mastering the digital landscape to embracing authentic fan connection and simply learning how to persevere. This edition breaks down these phenomena and more, resulting in a timeless must-have for anyone hoping to navigate the increasingly complex yet advantageous landscape that is the modern music business.

In an extraordinary story unfolding across two hundred years, Kristina Gaddy uncovers the banjo's key role in Black spirituality, ritual and rebellion. Through meticulous research in diaries, letters, archives and art, she traces the banjo's beginnings from the seventeenth century, when enslaved people of African descent created it from gourds or calabashes and wood. Gaddy shows how the enslaved carried this unique instrument as they were transported and sold by slaveowners throughout the Americas, to Suriname, the Caribbean and the colonies that became US states, including Louisiana, South Carolina, Maryland and New York. African Americans came together at rituals where the banjo played an essential part. White governments, rightfully afraid that the gatherings could instigate revolt, outlawed them without success. In the mid-nineteenth century, Blackface minstrels appropriated the instrument for their bands, spawning a craze. Eventually the banjo became part of jazz, bluegrass and country, its deepest history forgotten.

This essay collection, devoted to exploring the richness of Christian musical traditions in the Americas, reflects the distinctive critical perspectives of the Society for Christian Scholarship in Music, an association of scholars dedicated to exploring the intersections of Christian faith and musical scholarship. Now in our sixteenth year, we seek to celebrate our work in the world and bring it to a larger audience by offering a cross- section of the most outstanding scholarship from an international array of writers. The proposed collection follows a first collection published to celebrate the fifteenth anniversary of the Society (Exploring Christian Song, M. Jennifer Bloxam and AndrewShenton, editors, Lexington Books, 2017). That first volume focused on Christian song in a variety of different contexts. Our proposed collection surveys a broad geographical areaand demonstrates the enormous diversity of music-making and scholarship within that area. While there are some studies that focus on a single country or region and its sacred music (see the literature survey below), this will be the first collection to present a representative cross-section of the range of sacred music in the Americas and the approaches to studying them in context. The essays in this collection are ecumenical, reflecting the breadth of Christian traditions. The essays include several by distinguished senior scholars in the field (including David Music, Baylor University; and Jeff Warren, Quest University, Canada). Several essays are by noted specialists in the field (including Jesse Karlsberg, Emory University; and Cathy Ann Elias, DePaul University), and several by younger scholars (including Hannah Denecke, Florida State University; and Natasha Walsh, York University, Canada). SCSM is particularly keen to promote the work of students. The work of these rising stars thus appears alongside the work of veteran scholars working in the area of Christian sacred music, ensuring a stimulating mix of subjects, viewpoints, and methodologies.

"The Music of the Netherlands Antilles: Why Eleven Antilleans Knelt before Chopin's Heart" is not your usual musical scholarship. In October 1999, eleven Antilleans attended the service held to commemorate the 150th anniversary of Frederic Chopin's death. This service, held in the Warsaw church where the composer's heart is kept in an urn, was an opportunity for these Antilleans to express their debt of gratitude to Chopin, whose influence is central to Antillean music history. Press coverage of this event caused Dutch novelist and author Jan Brokken (b. 1949) to start writing this book, based on notes he took while living on Curacao from 1993 to 2002.

Anyone hoping to discover an overlooked chapter of Caribbean music and music history will be amply rewarded with this Dutch-Caribbean perspective on the pan-Caribbean process of creolization. On Curacao, the history and legacy of slavery shaped culture and music, affecting all the New World. Brokken's portraits of prominent Dutch Antillean composers are interspersed with cultural and music history. He puts the Dutch Caribbean's contributions into a broader context by also examining the nineteenth-century works by pianist Louis Moreau Gottschalk from New Orleans and Manuel Saumell from Cuba. Brokken explores the African component of Dutch Antillean music--examining the history of the rhythm and music known as "tambu" as well as American jazz pianist Chick Corea's fascination with the tumba rhythm from Curacao. The book ends with a discussion of how recent Dutch Caribbean adaptations of European dance forms have shifted from a classical approach to contemporary forms of Latin jazz."

It is the first monograph in which the concertos of all composers active in this field in the Republic of Venice in the years 1695-1740 are methodically discussed. The Venetian instrumental concerto from Vivaldi's time is portrayed here through an extensive and thorough survey of the most complete and representative musical material that allowed for the making of conclusions as to its typology, form, style and technique. The concertos discussed here include 974 works by fifteen composers active in Venice, Brescia, Bergamo and Padua. Such an approach not only gives an exhaustive but also a more objective view on the history of the Baroque concerto in its Venetian variant. It shows Vivaldi's work in a new and broad context, which allows us to better understand its unique character.

Sound positions individuals as social subjects. The presence of human beings, animals, objects, or technologies reverberates into the spaces we inhabit and produces distinct soundscapes that render social practices, group associations, and socio-cultural tensions audible. The Acoustics of the Social on Page and Screen unites interdisciplinary perspectives on the social dimensions of sound in audiovisual and literary environments. The essays in the collection discuss soundtracks for shared values, group membership, and collective agency, and engage with the subversive functions of sound and sonic forms of resistance in American literature, film, and TV.

When the German Democratic Republic (GDR) was founded in 1949, its leaders did not position it as a new state. Instead, they represented East German socialism as the culmination of all that was positive in Germany's past. The GDR was heralded as the second German Enlightenment, a society in which the rational ideals of progress, Bildung, and revolution that had first come to fruition with Goethe and Beethoven would finally achieve their apotheosis. Central to this founding myth was the Germanic musical heritage. Just as the canon had defined the idea of the German nation in the nineteenth-century, so in the GDR it contributed to the act of imagining the collective socialist state.
Composing the Canon in the German Democratic Republic uses the reception of the Germanic musical heritage to chart the changing landscape of musical culture in the German Democratic Republic. Author Elaine Kelly demonstrates the nuances of musical thought in the state, revealing a model of societal ascent and decline that has implications that reach far beyond studies of the GDR itself. The first book-length study in English devoted to music in the GDR, Composing the Canon in the German Democratic Republic is a seminal text for scholars of music in the Cold War and in Germany more widely.

In Heavy Metal Music in Latin America: Perspectives from the Distorted South, the editors bring together scholars engaged in the study of heavy metal music in Latin America to reflect on the heavy metal genre from a regional perspective. The contributors' southern voices diversify metal scholarship in the global north. An extreme musical genre for an extreme region, the contributors explore how issues like colonialism, dictatorships, violence, ethnic extermination and political persecution have shaped heavy metal music in Latin America, and how music has helped shape Latin American culture and politics.

This book examines the theory and the practice of music, in relation to the writing of four major modernist figures: Walter Pater, Ezra Pound, James Joyce, and Gertrude Stein. Brad Bucknell examines modernist writers' relationship and engagement with music, from theories about music and musical-literary relations to the composition of music and libretti. Bucknell's study investigates how music, as a discrete artistic mode of expression, and a recurring theme in the work of these four writers, reveals the intricate and varied nature of the modernist project.

The Musical Matrix Reloaded proposes a striking new scenario for the music of Beethoven and Schubert in the contemporary world. It draws on the theory of Multiple Worlds in physics, and on sci-fi and movies, as powerful contemporary models of alternative realities to explain radical features of interpolation, dislocation, and ultimately of return. Confronting familiar assumptions about Beethoven's and Schubert's music as long-range consonance, the book proposes instead that musical action is predicated on an underlying disruptive energy, Nietzsche's Dionysian disruptive background re-interpreted in the contemporary world. When it breaks through the musical surface, it dislocates continuity and re-routes tonal narrative into new, unforeseen directions. These unforeseen paths enable us to glimpse in Beethoven's and Schubert's music the beautiful, and often haunting, reality of another world.

From Footlights to "The Flickers" is the long awaited fourth book in the collectible sheet music series by Marion Short. Two of the most popular collecting categories are covered in this colorful book-the music of the Broadway stage, and silent screen movie music. Over 560 full color photographs of sheet music covers from musical shows and silent movies accompany the informative text. The movie songs are arranged alphabetically by cover personality, and the section becomes a compendium of all the major silent screen stars from the earliest days of the "flickers" to the sound revolution in 1929. From Footlights to "The Flickers" follows the success of Mrs. Short's other books about sheet music, The Gold in Your Piano Bench (tearjerkers, black songs, rags, and blues), More Gold in Your Piano Bench (inventions, wars, and disasters), and Covers of Gold (sports, fashion, illustration, and the dance).

Twentieth- and Twenty-First-Century Song Cycles: Analytical Pathways Toward Performance presents analyses of fourteen song cycles composed after the turn of the twentieth century, with a focus on offering ways into the musical and poetic structure of each cycle to performers, scholars, and students alike. Ranging from familiar works of twentieth-century music by composers such as Schoenberg, Britten, Poulenc, and Shostakovich to lesser-known works by Van Wyk, Sviridov, Wheeler, and Sanchez, this collection of essays captures the diversity of the song cycle repertoire in contemporary classical music. The contributors bring their own analytical perspectives and methods, considering musical structures, the composers' selection of texts, how poetic narratives are expressed, and historical context. Informed by music history, music theory, and performance, Twentieth- and Twenty-First-Century Song Cycles offers an essential guide into the contemporary art-music song cycle for performers, scholars, students, and anyone seeking to understand this unique genre.

When the show was first produced in 1960, at a time when transatlantic musical theatre was dominated by American productions, Oliver already stood out for its overt Englishness. But in writing Oliver , librettist and composer Lionel Bart had to reconcile the Englishness of his Dickensian source with the American qualities of the integrated book musical. To do so, he turned to the musical traditions that had defined his upbringing: English music hall, Cockney street singing, and East End Yiddish theatre. This book reconstructs the complicated biography of Bart's play, from its early inception as a pop musical inspired by a marketable image, through its evolution into a sincere Dickensian adaptation that would push English musical theatre to new dramatic heights. The book also addresses Oliver 's phenomenal reception in its homeland, where audiences responded to the musical's Englishness with a nationalistic fervor. The musical, which has more than fulfilled its promise as one of the most popular English musicals of all time, remains one of the country's most significant shows.
Author Marc Napolitano shows how Oliver 's popularity has ultimately exerted a significant influence on two separate cultural trends. Firstly, Bart's adaptation forever impacted the culture text of Dickens's Oliver Twist; to this day, the general perception of the story and the innumerable allusions to the novel in popular media are colored heavily by the sights, scenes, sounds, and songs from the musical, and virtually every major adaptation of from the 1970s on has responded to Bart's work in some way. Secondly, Oliver helped to move the English musical forward by establishing a post-war English musical tradition that would eventually pave the way for the global dominance of the West End musical in the 1980s. As such, Napolitano's book promises to be an important book for students and scholars in musical theatre studies as well as to general readers interested in the megamusical.

Music, Sexuality and the Enlightenment explains how Mozart's music for Le nozze di Figaro, Don Giovanni and CosA fan tutte 'sounds' the intentions of Da Ponte's characters and their relationships with one another. Mozart, by way of the infinitely generative and beautiful logic of the sonata principle, did not merely interpret Da Ponte's characterizations but lent them temporal, musical forms. Charles Ford's analytic interpretation of these musical forms concerns processes and structures in detail and at medium- to long-term levels. He addresses the music of a wide range of arias and ensembles, and develops original ways to interpret the two largely overlooked operatic genres of secco recitative and finales. Moreover, Ford presents a new method by which to relate musical details directly to philosophical concepts, and thereby, the music of the operas to the inwardly contradictory thinking of the European Enlightenment. This involves close readings of late eighteenth-century understandings of 'man' and nature, self and other, morality and transgression, and gendered identities and sexuality, with particular reference to contemporary writers, especially Goethe, Kant, Laclos, Rousseau, Sade, Schiller, Sterne and Wollstonecraft. The concluding discussion of the implied futures of the operas argues that their divided sexualities, which are those of the Enlightenment as a whole, have come to form our own unquestioned assumptions about gender differences and sexuality. This, along with the elegant and eloquent precision of Mozart's music, is why Figaro, Giovanni and CosA still maintain their vital immediacy for audiences today.