Film music often tells us how to feel, but it also guides us how to hear. Hollywood Harmony explores the inner workings of film music, bringing together tools from music theory, musicology, and music psychology. Harmony, and especially chromaticism, is emblematic of what we commonly recognize as film music sound and it is often used to evoke wonder, that most cinematic of feelings. To help parse this familiar but complex musical style, Hollywood Harmony offers a first-of-its kind introduction to neo-Riemannian theory, a recently developed and versatile method of understanding music as a dynamic and transformational process, rather than a series of inert notes on a page. This application of neo-Riemannian theory to film music is perfect way in for curious newcomers, while also constituting significant scholarly contribution to the larger discipline of music theory. Author Frank Lehman draws from his extensive knowledge of cinematic history with case-studies that range from classics of Golden Age Hollywood to massive contemporary franchises to obscure cult-films. Special emphasis is placed on scores for major blockbusters such as Lord of the Rings, Star Wars, and Inception. With over a hundred meticulously transcribed music examples and more than two hundred individual movies discussed, Hollywood Harmony will fascinate any fan of film and music.

The University of Louisville's annual Grawemeyer Award for Music Composition is the largest monetary award offered in its field. The international prize is offered for outstanding achievement by a living composer in a large musical genre, such as choral, orchestral, chamber, electronic, song-cycle, dance, opera, musical theater, or extended solo work. Since the award was first offered in 1985, the Dwight Anderson Memorial Music Library-one of the largest new music collections in North America-has housed the competition submissions. In order to keep an accurate listing detailing the holdings of this collection, this catalog was developed. Grawemeyer Award for Music Composition: The First Twenty Years catalogs every submission for this prestigious award, offering complete information on all the competition submissions, including title, composer, format, length, instrumentation, and information on where to find or purchase the composition. The bulk of the catalog is listed alphabetically by composer, so that users can learn whose works were submitted over the 20 years covered by the award. The additional appendixes provide the opposite perspective: a year-by-year glance at the award and those who submitted works each year. Concluding with an index, this catalog increases awareness of this collection and acknowledges the work of these important composers and their consequence to recent music history.

Opera in Performance elucidates the performative dimension of contemporary opera productions. What are the most striking and decisive moments in a performance? Why do we respond so strongly to stagings that transform familiar scenes, to performers' bodily presence, and to virtuosic voices as well as ill-disposed ones? Drawing on phenomenology and performance theory, Clemens Risi explains how these moments arise out of a dialogue between performers and the audience, representation and presence, the familiar and the new. He then applies these insights in critical descriptions of his own experiences of various singers, stagings, and performances at opera houses and festivals from across the German-speaking world over the last twenty years. As the first book to focus on what happens in performance as such, this study shifts our attention to moments that have eluded articulation and provides tools for describing our own experiences when we go to the opera. This book will particularly interest scholars and students in theater and performance studies, musicology, and the humanities, and may also appeal to operagoers and theater professionals.

With many incarnations, The Fall (1976-2018) were one of the most influential bands to emerge in the British Post-Punk Scene. Their unique sound and distinct iconography have had a lasting impact on music fans and performers alike. This book disassembles The Fall's significant contribution to music. Based on up-to-date original research, the book separates fact from fiction and offers a thorough investigation into The Fall and their founder/leader Mark E Smith, in particular. Given The Fall's complexities (their wide range of influences; multiple line-ups and 'anti-music' stance), the book draws upon a wide range of academic disciplines, including ethnomusicology, sociology, literary theory, linguistics, journalism, cultural studies, and film and media studies, in order to unpack the group's influence and legacy.

Heitor Villa-Lobos's Bachianas Brasileiras demonstrates how the composer achieved his own Brazilian neoclassical style in a group of works, nine suites in total, that is arguably one of the best examples of homage to J.S. Bach's music in the twentieth century. In this book, the corpus of Bachianas Brasileiras is contextualised and critically examined according to its structure and intertextual aspects, as well as its relationship to Bach's music, Brazilian popular music, and other works by contemporaries of Villa Lobos. A range of musical examples illustrate instances of the selected topics in the works, encompassing urban Brazilian popular music such as the choro, Brazilian northeast and afro rhythms, and citation of folkloric melodies. Dudeque's comprehensive examination of the Bachianas Brasileiras will be invaluable for scholars and researchers of music theory and analysis.

Generally speaking, the philosophy of music hitherto can be said to approach music, as it were, from above or from outside. Music, thus envisaged, can be "absolute" or "sounding forms in motion". It can be expression, have a linguistic meaning, tell a story, be a manifestation of "the world as will and conceptualization", and mirror society's inward contradictions. Music is seen as an activity, sometimes as interactivity, not least through an anthropological approach in which prominence is given to its origins. This work is an attempt to reverse the argument, by taking the phenomenon of tone as the starting point to work the way up to an understanding of the phenomenon of music, to make a philosophy of tone the foundation of a philosophy of music. Such thoughts were already present in the author's previous works, but, being available only in Swedish, will be enlarged here.

Ever hear of a butt splice? A cover? An iron mother? A biscuit? These were terms used in the heyday of vinyl records, from 1949 to the mid-1980s. This colorful and almost forgotten language was once used by record producers, label owners, disc jockeys, jukebox operators, record distributors, and others in the music industry. Their language is collected in this dictionary. Each entry offers both an explanation of a term's meaning as well as its context and use in the history of the record business.

Digital Scenography in Opera in the Twenty-First Century is the first definitive study of the use of digital scenography in Western opera production. The book begins by exploring digital scenography's dramaturgical possibilities and establishes a critical framework for identifying and comparing the use of digital scenography across different digitally enhanced opera productions. The book then investigates the impacts and potential disruptions of digital scenography on opera's longstanding production conventions, both on and off the stage. Drawing on interviews with major industry practitioners, including Paul Barritt, Mark Grimmer, Donald Holder, Elaine J. McCarthy, Luke Halls, Wendall K. Harrington, Finn Ross, S. Katy Tucker, and Victoria 'Vita' Tzykun, author Caitlin Vincent identifies key correlations between the use of digital scenography in practice and subsequent impacts on creative hierarchies, production design processes, and organisational management. The book features detailed case studies of digitally enhanced productions premiered by Dutch National Opera, Komische Oper Berlin, Opera de Lyon, The Royal Opera, Covent Garden, San Francisco Opera, Santa Fe Opera, Theatre Royal de la Monnaie, The Metropolitan Opera, Victorian Opera, and Washington National Opera.

The Music of the Spheres in the Western Imagination describes various systematic musical ecologies of the cosmos by examining attempts over time to define Western theoretical musical systems, whether practical, human, nonhuman, or celestial. This book focuses on the theoretical, theological, philosophical, physical, and mathematical concepts of a cosmic musical order and how these concepts have changed in order to fit different worldviews through the imaginations of theologians, theorists, and authors of fiction, as well as the practical performance of music. Special attention is given to music theory treatises between the ninth and sixteenth centuries, English-language hymnody from the eighteenth century to the present, polemical works on music and worship from the last hundred years, the Divine Comedy of Dante, nineteenth- and twentieth-century English-language fiction, the fictional works of C.S. Lewis, and the legendarium of J.R.R. Tolkien.

This handbook offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes.
Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema and television migrated across media. However, the traversal, or "remediation," from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of "cyberspace," audiovisual expression has changed dramatically.
The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and non-academic writers (both mainstream and independent)- open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today's sound and image. All consider the aural dimension, and what Michel Chion calls "audio-vision: " the sensory and semiotic result of sound placed with vision, an encounter greater than their sum.

In Mars By 1980, David Stubbs charts the evolution of electronic music from the earliest mechanical experiments in the late nineteenth century, through to the ubiquitous, familiar sounds of electronica, house and techno that we know today. It's a tale of mavericks and future dreamers overcoming Luddite resistance, malfunctioning devices, and sonic mayhem. The beginnings may be in the world of avant-classical composition, but it continues on through the sonic funk of Stevie Wonder and Giorgio Moroder, via the astonishing sounds of the BBC Radiophonic Workshop, through unforgettable eighties electropop by the likes of Depeche Mode, the Pet Shop Boys and Laurie Anderson, and right up to present-day innovators on the underground scene.

Presents current analytic views by established scholars of the traditional tonal repertoire, with essays on works by Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms. Bach to Brahms presents current analytic views on the traditional tonal repertoire, with essays on works by Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms. The fifteen essays, written by well-established scholars of this repertoire, are divided into three groups, two of which focus primarily on elements of musical design (formal, metric, and tonal organization) and voice leading at multiple levels of structure. The third groupof essays focuses on musical motives from different perspectives. The result is a volume of integrated studies on the music of the common-practice period, a body of music that remains at the core of modern concert and classroom repertoire. Contributors: Eytan Agmon, David Beach, Charles Burkhart, L. Poundie Burstein, Yosef Goldenberg, Timothy L. Jackson, William Kinderman, Joel Lester, Boyd Pomeroy, John Rink, Frank Samarotto, Lauri Suurpaa, Naphtali Wagner, Eric Wen, Channan Willner. David Beach is professor emeritus and former dean of the Faculty of Music, University of Toronto. Yosef Goldenberg teaches at the Hebrew University of Jerusalem and at the Jerusalem Academy of Music and Dance, where he also serves as head librarian.

Sound Inventions is a collection of 34 articles taken from Experimental Musical Instruments, the seminal journal published from 1984 through 1999. In addition to the selected articles, the editors have contributed introductory essays, placing the material in cultural and temporal context, providing an overview of the field both before and after the time of original publication. The Experimental Musical Instruments journal contributed extensively to a number of sub-fields, including sound sculpture and sound art, sound design, tuning theory, musical instrument acoustics, timbre and timbral perception, musical instrument construction and materials, pedagogy, and contemporary performance and composition. This book provides a picture of this important early period, presenting a wealth of material that is as valuable and relevant today as it was when first published, making it essential reading for anyone researching, working with or studying sound.

The Rolling Stones' Beggars Banquet is one of the seminal albums in rock history. Arguably it not only marks the advent of the 'mature' sound of the Rolling Stones but lays out a new blueprint for an approach to blues-based rock music that would endure for several decades. From its title to the dark themes that pervade some of its songs, Beggars Banquet reflected and helped define a moment marked by violence, decay, and upheaval. It marked a move away from the artistic sonic flourishes of psychedelic rock towards an embrace of foundational streams of American music - blues, country - that had always underpinned the music of the Stones but assumed new primacy in their music after 1968. This move coincided with, and anticipated, the 'roots' moves that many leading popular music artists made as the 1960s turned toward a new decade; but unlike many of their peers whose music grew more 'soft' and subdued as they embraced traditional styles, the music and attitude of the Stones only grew harder and more menacing, and their status as representatives of the dark underside of the 60s rock counterculture assumed new solidity. For the Rolling Stones, the 1960s ended and the 1970s began with the release of this album in 1968.

Wilbur C. Sweatman (1882-1961) is one of the most important, yet unheralded, African American musicians involved in the transition of ragtime into jazz in the early twentieth century. In "That's Got 'Em ," Mark Berresford tracks this energetic pioneer over a seven-decade career. His talent transformed every genre of black music before the advent of rock and roll--"pickaninny" bands, minstrelsy, circus sideshows, vaudeville (both black and white), night clubs, and cabarets. Sweatman was the first African American musician to be offered a long-term recording contract, and he dazzled listeners with jazz clarinet solos before the Original Dixieland Jazz Band's so-called "first jazz records."

Sweatman toured the vaudeville circuit for over twenty years and presented African American music to white music lovers without resorting to the hitherto obligatory "plantation" costumes and blackface makeup. His bands were a fertile breeding ground of young jazz talent, featuring such future stars as Duke Ellington, Coleman Hawkins, and Jimmie Lunceford. Sweatman subsequently played pioneering roles in radio and recording production. His high profile and sterling reputation in both the black and white entertainment communities made him a natural choice for administering the estate of Scott Joplin and other notable black performers and composers.

"That's Got 'Em " is the first full-length biography of this pivotal figure in black popular culture, providing a compelling account of his life and times.

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.

Singing in Signs: New Semiotic Explorations of Opera offers a bold and refreshing assessment of the state of opera study as seen through the lens of semiotics. At its core, the volume responds to Carolyn Abbate and Roger Parker's Analyzing Opera, utilizing a semiotic framework to embrace opera on its own terms and engage all of its constituent elements in interpretation. Chapters in this collection resurrect the larger sense of serious operatic study as a multi-faceted, interpretive discipline, no longer in isolation. Contributors pay particular attention to the musical, dramatic, cultural, and performative in opera and how these modes can create an intertext that informs interpretation. Combining traditional and emerging methodologies, Singing in Signs engages composer-constructed and work-specific music-semiotic systems, broader socio-cultural music codes, and narrative strategies, with implications for performance and staging practices today.

*** 'A fantastical journey through what might have been... Exciting and compelling' -CHRIS HAWKINS, BBC 6 MUSIC 'A detailed researcher and writer... Ingenious' -RECORD COLLECTOR This is the story of the great lost Beatles album. The end of the Beatles wasn't inevitable. It came through miscommunication, misunderstandings and missed opportunities to reconcile. But what if it didn't end? What if just one of those chances was taken, and the Beatles carried on? What if they made one last, great album? In Like Some Forgotten Dream, Daniel Rachel - winner of the prestigious Penderyn Music Book Prize - looks at what could have been. Drawing on impeccable research, Rachel examines the Fab Four's untimely demise - and from the ashes compiles a track list for an imagined final album, pulling together unfinished demos, forgotten B-sides, hit solo songs, and arguing that together they form the basis of a lost Beatles masterpiece. Compelling and convincing, Like Some Forgotten Dream is a daring re-write of Beatles history, and a tantalising glimpse of what might have been. Praise for Daniel Rachel: Walls Come Tumbling Down: 'Superlative...brilliant' - Q Magazine 'Triumphant' - The Guardian 'Brilliant' - Mojo Isle of Noises: 'In depth, scholarly' - Q Magazine 'Fascinating' - The Guardian / NME 'Fantastic, insightful interviews' - Noel Gallagher Don't Look Back in Anger: 'A-grade, A-list' - The Sunday Times 'A rollicking read' - Mail on Sunday 'Remarkable' - Art Review 'Book of the Week' - The Guardian

Music aesthetics in late eighteenth-century Germany has always been problematic because there was no aesthetic theory to evaluate the enormous amount of high-quality instrumental music produced by composers like Haydn and Mozart. This book derives a practical aesthetic for German instrumental music during the late eighteenth century from a previously neglected source, reviews of printed instrumental works. At a time when the theory of mimesis dominated aesthetic thought, leaving sonatas and symphonies at the very bottom of the aesthetic hierarchy, a group of reviewers were quietly setting about the task of evaluating instrumental music on its own terms. The reviews document an intersection with trends in literature and philosophy, and reveal interest in criteria like genius, the expressive power of music, and the necessity of unity, several decades earlier than has previously been supposed.

Compositional Process in Elliott Carter's String Quartets is an interdisciplinary study examining the evolution and compositional process in Elliott Carter's five string quartets. Offering a systematic and logical way of unpacking concepts and processes in these quartets that would otherwise remain opaque, the book's narrative reveals new aspects of understanding these works and draws novel conclusions on their collective meaning and Carter's place as the leading American modernist. Each of Carter's five string quartets is driven by a new idea that Carter was exploring during a particular period, which allows for each quartet to be examined under a unique lens and a deeper understanding of his oeuvre at large. Drawing on key ideas from a variety of subjects including performance studies, philosophy, music cognition, musical meaning and semantics, literary criticism, and critical theory, this is an informative volume for scholars and researchers in the areas of music theory and musicology. Analyses are supplemented with sketch study, correspondence, text manuscripts, and other archival sources from the Paul Sacher Stiftung, the Library of Congress, and the New York Public Library.

In the wake of World War II, the arts and culture of Europe became a site where the devastating events of the 20th century were remembered and understood. Exploring one of the most integral elements of the cinematic experience-music-the essays in this volume consider the numerous ways in which post-war European cinema dealt with memory, trauma and nostalgia, showing how the music of these films shaped the representation of the past. The contributors consider films from the United Kingdom, Poland, the Soviet Union, France, Italy, Germany, Sweden, Austria, and the Netherlands, providing a diverse and well-rounded understanding of film music in the context of historical memory. Memory is often underrepresented within scholarly musical studies, with most of these applications found in the disciplines of ethnomusicology, popular music studies, music cognition, and psychology and music therapy. Likewise, trauma has mainly been studied in relation to music in only a few historical contexts, while nostalgia has attracted even less academic attention. In three parts, this volume addresses each area of study as it relates to the music of European cinema from 1945 to 1989, applying an interdisciplinary approach to investigate how films use music to negotiate the precarious relationships we maintain with the past. Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War offers compelling arguments as to what makes music such a powerful medium for memory, trauma and nostalgia.

The Creative Electronic Music Producer examines the creative processes of electronic music production, from idea discovery and perception to the power of improvising, editing, effects processing, and sound design. Featuring case studies from across the globe on musical systems and workflows used in the production process, this book highlights how to pursue creative breakthroughs through exploration, trial and error tinkering, recombination, and transformation. The Creative Electronic Music Producer maps production's enchanting pathways in a way that will fascinate and inspire students of electronic music production, professionals already working in the industry, and hobbyists.

Christians and Christianity have been central to Hip Hop since its inception. This book explores the intersection of Christians and Hip Hop and the multiple outcomes of this intersection. It lays out the ways in which Christians and Hip Hop overlap and diverge. The intersection of Christians and Hip Hop brings together African diasporic cultures, lives, memories and worldviews. Moving beyond the focus on rappers and so-called "Christian Hip Hop," each chapter explores three major themes of the book: identifying Hip Hop, irreconcilable Christianity, and boundaries.There is a self-identified Christian Hip Hop (CHH) community that has received some scholarly attention. At the same time, scholars have analyzed Christianity and Hip Hop without focusing on the self-identified community. This book brings these various conversations together and show, through these three themes, the complexities of the intersection of Christians and Hip Hop. Hip Hop is more than rap music, it is an African diasporic phenomenon. These three themes elucidate the many characteristics of the intersection between Christians and Hip Hop and our reasoning for going beyond "Christian Hip Hop." This collection is a multi-faceted view of how religious belief plays a role in Hip Hoppas' lives and community. It will, therefore, be of great interest to scholars of Religion and Hip Hop, Hip Hop, African Diasporas, Religion and the Arts, Religion and Race and Black Theology as well as Religious Studies more generally.

This volume brings together the work of social scientists and music scholars examining the role of migrant and migrant descended communities in the production and consumption of popular music in Europe and North America. The contributions to the collection include studies of language and local identity in hip hop in Liege and Montreal; the politics of Mexican folk music in Los Angeles; the remaking of ethnic boundaries in Naples; the changing meanings of Tango in the Argentine diaspora and of Alevi music among Turks in Germany; the history of Soca in Brooklyn; and the recreation of 'American' culture by the children of immigrants on the Broadway stage. Taken together, these works demonstrate how music affords us a window onto local culture, social relations and community politics in the diverse cities of immigrant receiving societies. Music is often one of the first arenas in which populations encounter newcomers, a place where ideas about identity can be reformulated and reimagined, and a field in which innovation and hybridity are often highly valued. This book highlights why it is a subject worthy of more attention from students of racial and ethnic relations in diverse societies. It was originally published as a special issue of Ethnic and Racial Studies.