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 Performance of Listening in Postcolonial Francophone Culture argues that globalized media has allowed for efficient transmission of transnational culture, and in turn, our everyday experiences are informed by sounds ranging from voices, to music, to advertising, to bombs, and beyond. In considering cultural works from French-speaking North Africa and the Middle East all published or released in France from 1962-2011, Solheim's study of listening across cultural genres will be of interest to any scholar or lay person curious about contemporary postcolonial France. This book is also a primer to contemporary Francophone culture from North Africa and the Middle East. Some of the French-speaking world's most renowned and adored artists are the subject of this study, including preeminent Algerian feminist novelist, filmmaker and historian Assia Djebar (1936-2015), the first writer of the Maghreb to become part of the Academie Francaise; celebrated Iranian graphic novelist and filmmaker Marjane Satrapi (Persepolis, Chicken with Plums); the lauded Lebanese-Quebecois playwright and dramaturge Wajdi Mouawad (Littorial, Incendies), and Lebanese comic artist and avant jazz trumpeter Mazen Kerbaj, whose improvisation with Israeli fighter jets during the 2006 Israeli War, "Starry Night," catapulted him to global recognition. An interdisciplinary study of contemporary Francophone cultures, this book will be of interest to French scholars and students in literary studies, performance studies, gender studies, anthropology, history, and ethnomusicology.

Experiencing Alice Cooper: A Listener's Companion takes a long overdue look at the music and stage act of rock music's self-styled arch-villain. A provocateur from the very start of his career in the mid-1960s, Alice Cooper, aka Vince Furnier, son of a lay preacher in the Church of Jesus Christ, carved a unique path through five decades of rock'n'roll. Despite a longevity that only a handful of other artists and acts can match, Alice Cooper remains a difficult act and artist to pin down and categorize. During the last years of the 1960s and the heydays of commercial success in the 1970s, Cooper's groundbreaking theatricality, calculated offensiveness, and evident disregard for the conventions of rock protocols sowed confusion among his critics and evoked outrage from the public. Society's watchdogs demanded his head, and Cooper willingly obliged at the end of each performance with his on-stage self-guillotining. But as youth anthem after youth anthem - "I'm Eighteen," "School's Out," "Elected," "Department of Youth"-rang out in his arena concerts the world over and across airwaves, fans flocked to experience Cooper's unique brand of rock. Critics searched for proper descriptions: "pantomime," "vaudeville," "retch-rock," "Grand Guignol." In 1973 Cooper headlined in Time magazine as "Schlock Rock's Godzilla." In Experiencing Alice Cooper: A Listener's Companion, Ian Chapman surveys Cooper's career through his twenty-seven studio albums (1969-2017). While those who have written about Cooper have traditionally kept their focus on the stage spectacle, too little attention has been paid to Cooper's recordings. Throughout, Chapman argues that while Cooper may have been rock's most accomplished showman, he is first and foremost a musician, with his share of gold and platinum albums to vouch for his qualifications as a musical artist.

Musicians' Migratory Patterns: American-Mexican Border Lands considers the works and ideologies of an array of American-based, immigrant Mexican musicians. It asserts their immigrant status as a central force in nourishing, informing, and propelling musical and artistic concerns, uncovering pure and fresh forms of expression that broaden the multicultural map of Mexico. The text guides readers in appreciation of the aesthetic and technical achievements of original works and innovative performances, with artistic and pedagogical implications that frame a vivid picture of the contemporary Mexican as immigrant creator in the United States. The ongoing displacement of Mexicans into the United States impacts not only American economic conditions but the country's social, cultural, and intellectual configurations as well. Artistic and academic voices shape and enrich the multicultural diversity of both countries, as immigrant Mexican artists and their musics prove instrumental to the forming of a self-critical society compelled to value and embrace its diversity. Despite conflicting political reactions on this complex subject of legal and illegal immigration, undeniable is the influence of Mexican musical expressions in the United States and Mexico, at the border and beyond.

This textbook enhances preservice and practicing music educators' understanding of ways to successfully engage children in music composition. It offers both a rationale for the presence of composition in the music education program and a thorough review of what we know of children's compositional practices to date. Minds On Music offers a solid foundation for planning and implementing composition lessons with students in grades PreK-12.

The concept of intertextuality - namely, the meaning generated by interrelations between different texts - was coined in the 1960s among literary theorists and has been widely applied since then to many other disciplines, including music. Intertextuality in Music: Dialogic Composition provides a systematic investigation of musical intertextuality not only as a general principle of musical creativity but also as a diverse set of devices and techniques that have been consciously developed and applied by many composers in the pursuit of various artistic and aesthetic goals. Intertextual techniques, as this collection reveals, have borne a wide range of results, such as parody, paraphrase, collage and dialogues with and between the past and present. In the age of sampling and remix culture, the very notion of intertextuality seems to have gained increased momentum and visibility, even though the principle of creating new music on the basis of pre-existing music has a long history both inside and outside the Western tradition. The book provides a general survey of musical intertextuality, with a special focus on music from the second half of the twentieth century, but also including examples ranging from the nineteenth century to the second decade of the twenty-first century. The volume is intended to inspire and stimulate new work in intertextual studies in music.

In Sonic Virtuality: Sound as Emergent Perception, authors Mark Grimshaw and Tom Garner introduce a novel theory that positions sound within a framework of virtuality. Arguing against the acoustic or standard definition of sound as a sound wave, the book builds a case for a sonic aggregate as the virtual cloud of potentials created by perceived sound. The authors build on their recent work investigating the nature and perception of sound as used in computer games and virtual environments, and put forward a unique argument that sound is a fundamentally virtual phenomenon. Grimshaw and Garner propose a new, fuller and more complete, definition of sound based on a perceptual view of sound that accounts more fully for cognition, emotion, and the wider environment. The missing facet is the virtuality: the idea that all sound arises from a sonic aggregate made up of actual and virtual sonic phenomena. The latter is a potential that depends upon human cognition and emotion for its realization as sound. This thesis is explored through a number of philosophical, cognitive, and psychological concepts including: issues of space, self, sonosemantics, the uncanny, hyper-realism, affect, Gettier problems, belief, alief, imagination, and sound perception in the absence of sound sensation. Provocative and original, Grimshaw and Garner's ideas have broader implications for our relationship to technology, our increasingly digital lives, and the nature of our being within our supposed realities. Students and academics from philosophy to acoustics and across the broad spectrum of digital humanities will find this accessible book full of challenging concepts and provocative ideas.

The U.S. incarceration machine imprisons more people than in any other country. Music-Making in U.S. Prisons looks at the role music-making can play in achieving goals of accountability and healing that challenge the widespread assumption that prisons and punishment keep societies safe. The book's synthesis of historical research, contemporary practices, and pedagogies of music-making inside prisons reveals that, prior to the 1970s tough-on-crime era, choirs, instrumental ensembles, and radio shows bridged lives inside and outside prisons. Mass incarceration had a significant negative impact on music programs. Despite this setback, current programs testify to the potency of music education to support personal and social growth for people experiencing incarceration and deepen social awareness of the humanity found behind prison walls. Cohen and Duncan argue that music-making creates opportunities to humanize the complexity of crime, sustain meaningful relationships between incarcerated individuals and their families, and build social awareness of the prison industrial complex. The authors combine scholarship and personal experience to guide music educators, music aficionados, and social activists to create restorative social practices through music-making.

The translation of the third volume of Syntagma musicum, a multi-volume work by German composer and theorist Michael Praetorius (1571-1621). Volume III deals with terminolgy and performance practice, and offers us the most detailed commentary available from the 17th century about the performance of particular pieces of music. Praetorius is the most often quoted and excerpted writer on performance practice. In his translation, Kite=Powell has worked with a notoriously difficult syntax to produce a definitive English edition of this important work.

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.

* Describes the creative energy of two highly respected 20th century artists, Iannis Xenakis both as engineer and composer, and Roger Reynolds, Pulitzer prize winning musician in 1989 * Will appeal to the professional sector of musicians and architects, and students in both of these disciplines * Connects the creative path of architecture and music, i.e., Xenakis' treatment of "light" in an architectural context parallels his use of varying textural density in his music. * Analyzes chamber works Achorripsis, Thallein, and his string quartet, Tetras, which pertain to the interactive house design

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.

"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."

Music as a narrative drama is an intriguing idea, which has captured explicit music theoretical attention since the nineteenth century. Investigations into narrative characters or personae has evolved into a sub-field-musical agency. In this book, Palfy contends that music has the potential to engage us in social processes and that those processes can be experienced as a social interaction with a musical agent. She explores the overlap between the psychological processes in which we participate in order to understand and engage with people, and those we engage in when we listen to music. Thinking of musical agency as a form of social process is quite different from existing theoretical frameworks for agency. It implies that we come to musical analysis by way of intuition-that our ideas are already partially formed based on our experience of the piece (and what it makes us feel or how it makes us sense it as any other) when we choose to analyze and interpret it. Palfy's focus on social processes is a very effective way to pinpoint when and why it is that our attention is captured and engaged by musical agents.

The aim of the volume is to show in which sense the study of culture, literature and the arts can contribute to a better understanding of human cognition. The collection of essays is questioning whether culture is exclusively human and discusses evolutionary substrates of narrative and the interfaces between culture, stories and cognition. The contributions examine the cognitive strengths and weaknesses of literary reading and analyse other techniques of sense-making in the arts through imagined dialogues and the experience of ambiguity. The final contributions are dealing with musical cognition, the relation between music, aesthetics and cognition.

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.

While there have been a number of studies that have explored African American "movement culture" and African American "movement politics," rarely has the mixture of black music and black politics or, rather, black music an as expression of black movement politics, been explored across several genres of African American "movement music," and certainly not with a central focus on the major soundtracks of the Civil Rights Movement: gospel, freedom songs, rhythm & blues, and rock & roll. Here the mixture of music and politics emerging out of the Civil Rights Movement is critically examined as an incredibly important site and source of spiritual rejuvenation, social organization, political education, and cultural transformation, not simply for the non-violent civil rights soldiers of the 1950s and 1960s, but for organic intellectual-artist-activists deeply committed to continuing the core ideals and ethos of the Civil Rights Movement in the twenty-first century. Civil Rights Music: The Soundtracks of the Civil Rights Movement is primarily preoccupied with that liminal, in-between, and often inexplicable place where black popular music and black popular movements meet and merge. Black popular movements are more than merely social and political affairs. Beyond social organization and political activism, black popular movements provide much-needed spaces for cultural development and artistic experimentation, including the mixing of musical and other aesthetic traditions. "Movement music" experimentation has historically led to musical innovation, and musical innovation in turn has led to new music that has myriad meanings and messages-some social, some political, some cultural, some spiritual and, indeed, some sexual. Just as black popular movements have a multiplicity of meanings, this book argues that the music that emerges out of black popular movements has a multiplicity of meanings as well.

From 1660 through approximately 1830, the alteration of Shakespearean texts to comply with contemporary dramaturgy was a normal occurrence, and the need to adapt Shakespeare to popular tastes generated music quite different in style, function, and influence from that envisioned by the Elizabethan playwright. Shakespeare's plots and poetry were updated, and the role of music elevated. The musical repertoire created for this transfigured Shakespeareana represents the staggering variety of music on the English stage and shows the effect of Continental musical influences, especially Italian opera and ballad opera. Proceeding chronologically, this book discusses music used in Shakespeare productions on the London stage during the 170-year period following the Restoration. Included are settings of Shakespeare's song lyrics, other original texts, and added non-Shakespearean texts, as well as incidental music, masques, operas and afterpieces based on the plays. Source materials documenting the arguments include manuscript scores, the extant music printed in play texts, and contemporary commentary from advertisements, criticism, playbills, and memoirs and correspondence. An appendix summarizes information about important productions and source materials in a series of charts cross-referenced to the extensive bibliography. Numerous musical examples illustrate the text, and scores of Shakespearean music by Arne, Boyce, Leveridge, Vernon, Weldon, and others are reprinted. Theater historians as well as music historians working in this period will find this book a valuable resource, as will theater practitioners interested in period productions.

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.

"Music at the Limits" is the first book to bring together three decades of Edward W. Said's essays and articles on music. Addressing the work of a variety of composers, musicians, and performers, Said carefully draws out music's social, political, and cultural contexts and, as a classically trained pianist, provides rich and often surprising assessments of classical music and opera.

"Music at the Limits" offers both a fresh perspective on canonical pieces and a celebration of neglected works by contemporary composers. Said faults the Metropolitan Opera in New York for being too conservative and laments the way in which opera superstars like Pavarotti have "reduced opera performance to a minimum of intelligence and a maximum of overproduced noise." He also reflects on the censorship of Wagner in Israel; the worrisome trend of proliferating music festivals; an opera based on the life of Malcolm X; the relationship between music and feminism; the pianist Glenn Gould; and the works of Mozart, Bach, Richard Strauss, and others.

Said wrote his incisive critiques as both an insider and an authority. He saw music as a reflection of his ideas on literature and history and paid close attention to its composition and creative possibilities. Eloquent and surprising, "Music at the Limits" preserves an important dimension of Said's brilliant intellectual work and cements his reputation as one of the most influential and groundbreaking scholars of the twentieth century.

Basic Elements of Music introduces readers to a wide range of knowledge essential for a well-rounded understanding of music. This primer surveys the history of music and the composers who made that history; the history of instrument families and how the instruments function; an introduction to the science of sound and sound production; the various types of ensembles; and the fundamentals of music theory, form in music, musical notation, and music vocabulary. Accessible, yet detailed and comprehensive, Michael Pagliaro's handbook is an excellent guide for music lovers, instructors, and students in any music program. As an introduction to music for the layman, a refresher for music teachers planning lessons, or an enrichment source for professional musicians seeking broader music knowledge, this book is an invaluable addition to any library.

Focusing on some of the best-known and most visible stage plays and dance performances of the late nineteenth- and early twentieth-centuries, Penny Farfan's interdisciplinary study demonstrates that queer performance was integral to and productive of modernism, that queer modernist performance played a key role in the historical emergence of modern sexual identities, and that it anticipated, and was in a sense foundational to, the insights of contemporary queer modernist studies. Chapters on works from Vaslav Nijinsky's Afternoon of a Faun to Noel Coward's Private Lives highlight manifestations of and suggest ways of reading queer modernist performance. Together, these case studies clarify aspects of both the queer and the modernist, and how their co-productive intersection was articulated in and through performance on the late-nineteenth- and early-twentieth-century stage. Performing Queer Modernism thus contributes to an expanded understanding of modernism across a range of performance genres, the central role of performance within modernism more generally, and the integral relation between performance history and the history of sexuality. It also contributes to the ongoing transformation of the field of modernist studies, in which drama and performance remain under-represented, and to revisionist historiographies that approach modernist performance through feminist and queer critical perspectives and interdisciplinary frameworks and that consider how formally innovative as well as more conventional works collectively engaged with modernity, at once reflecting and contributing to historical change in the domains of gender and sexuality.

In Maria Szymanowska (1789-1831): A Bio-Bibliography, Anna E. Kijas examines the career of the highly-influential Polish pianist and composer. Kijas focuses on Szymanowska's life from her days as a young artist to her public concert tours between 1822 and 1828 to the last three years of her life in St. Petersburg. Kijas examines the daily aspects of touring, including organizing concerts, securing transportation and lodging, and managing finances, and she reviews Szymanowska's reception in the cities in which she performed, paying attention to her repertoire, the critic's remarks, ticket prices, and other artists on the program. Separated into Works, Discography, and Literature, the bibliography lists more than 100 compositions for piano, voice, and chamber ensemble. The discography provides details for CD, LP, and cassette recordings between 1960 and the present, and the literature section examines more than 120 primary source documents such as 19th-century reviews and advertisements, personal correspondence, journals, and scrapbooks. Secondary sources include articles, books, and essays about Szymanowska as a composer and pianist. Complete with a list of sources and an index, this comprehensive reference provides insight into the struggles and accomplishments related to concert life for a professional woman in early 19th-century Europe.

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.