The Routledge Companion to Aural Skills Pedagogy offers a comprehensive survey of issues, practice, and current developments in the teaching of aural skills. The volume regards aural training as a lifelong skill that is engaged with before, during, and after university or conservatoire studies in music, central to the holistic training of the contemporary musician. With an international array of contributors, the volume captures diverse perspectives on aural-skills pedagogy, and enables conversation between different regions. It addresses key new developments such as the use of technology for aural training and the use of popular music. This book will be an essential resource and reference for all university and conservatoire instructors in aural skills, as well as students preparing for teaching careers in music.

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.

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.

- Emphasis on hearing musical forms is pedagogically effective and unique among form textbooks - Offers a complete course package, with workbook pages included in the Textbook, while the accompanying Anthology makes full scores of pieces covered in the book easily available - Offers clear and accessible explanations that are up to date with current scholarship

Since rock's beginnings, there have been groupies. These chosen few women who bed, but not often wed, the musicians of their dreams are almost as much a part of music history as the musicians themselves. Pamela Des Barres, the world's foremost supergroupie, here offers an all-access backstage pass to the world of rock stars and the women who love them. Having had her own affairs with legends such as Keith Moon and Jimmy Page--as documented in her bestselling memoir "I'm with the Band"--Pamela now turns the spotlight onto other women who have found their way into the hearts and bedrooms of some of the world's greatest musicians. In "Let's Spend the Night Together, "she tells, in their own words, the stories of these amazing women who went way beyond the one-night stand. Here you'll get to know 24 outrageous groupies, including - Tura Satana, Miss Japan Beautiful, who taught Elvis how to dance and gave him lessons in lovemaking - Cassandra Peterson, aka Elvira, Mistress of the Dark, who tangled with Tom Jones in Sin City - Soulful Miss Mercy, who discovered that not only does the rest of the world listen to Al Green while making love--so does Al Green - Cynthia Plaster Caster, who redefined art and made history when Jimi Hendrix plunged his member into her plaster mold - The mysterious Miss B, who reveals Kurt Cobain's penchant for lip gloss and pantyhose - and over a dozen more

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.

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.

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.

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/

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 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.

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.

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.

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.

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.

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.

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.

Scholarship applied alonsgide personal voices and vivid narratives to present potential meanings to music participation Potential meanings to music participation explored across age groups, communities and spaces Ten original studies presenting diverse portrait of music engagement A valuable resource for scholars, professionals, and students working in school and community music or music education research, as well as readers interested in general education, social psychology, lifelong learning, and aging studies.

Ever since Alfred Brendel bid farewell to the concert stage after six decades of performing, he has been passing on his insight and experience in the form of lectures, readings and master-classes. This reader for lovers of the piano distils his musical and linguistic eloquence and vast knowledge, and will prove invaluable to anyone with an interest in the technique, history and repertoire of the piano.

Erudite, witty, enlightening and deeply personal, A Pianist’s A to Z is the ideal book for all piano lovers, musicians and music aficionados: rarely has the instrument been described in such an entertaining and intelligent fashion.

Kramer was one of the most visionary musical thinkers of the second half of the 20th century. In his The Time of Music, he approached the idea of the many different ways that time itself is articulated musically. This book has become influential among composers, theorists, and aestheticians. Now, in his almost completed text written before his untimely death in 2004, he examines the concept of postmodernism in music. Kramer created a series of markers by which we can identify postmodern works. He suggests that the postmodern project actually creates a radically different relationship between the composer and listener. Written with wit, precision, and at times playfully subverting traditional tropes to make a very serious point about this difference, Postmodern Music, Postmodern Listening leads us to a strongly grounded intellectual basis for stylistic description and an intuitive sensibility of what postmodernism in music entails. Postmodern Music, Postmodern Listening is an examination of how musical postmodernism is not just a style or movement, but a fundamental shift in the relationship between composer and listener. The result is a multifaceted and provocative look at a critical turning point in music history, one whose implications we are only just beginning to understand.

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

This volume of primary source material examines the organisation of music in Britian during the ninteenth century. Sources explore music careers and professions, music societies, festivals and concerts, and popular music. The collection of materials are accompanied by an introduction by Rosemary Golding, as well as headnotes contextualising the pieces. This collection will be of great value to students and scholars.

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.