Popular music has long understood that human rights, if attainable at all, involve a struggle without end. The right to imagine an individual will, the right to some form of self-determination and the right to self-legislation have long been at the forefront of popular music's approach to human rights. At a time of such uncertainty and confusion, with human rights currently being violated all over the world, a new and sustained examination of cultural responses to such issues is warranted. In this respect music, which is always produced in a social context, is an extremely useful medium; in its immediacy music has a potency of expression whose reach is long and wide. Contributors to this significant volume cover artists and topics such as Billy Bragg, punk, Fun-da-Mental, Willie King and the Liberators, Hedwig and the Angry Inch, the Anti-Death Penalty movement, benefit concerts, benefit albums, Gil Scott-Heron, Bruce Springsteen, Wounded Knee and Native American political resistance, Tori Amos, Joni Mitchell, as well as human rights in relation to feminism. A second volume covers World Music.

This best-selling text gives music majors and minors a solid foundation in the theory of music. It strengthens their musical intuition, builds technical skills, and helps them gain interpretive insights. The goal of the text is to instruct readers on the practical application of knowledge. The analytical techniques presented are carefully designed to be clear, uncomplicated, and readily applicable to any repertoire. The two-volume format ensures exhaustive coverage and maximum support for students and faculty alike. Volume I serves as a general introduction to music theory while volume II offers a survey of the theoretical underpinnings of musical styles and forms from Gregorian Chant through the present day. The supplemental instructor's materials provide clear-cut solutions to assignment materials. Music in Theory and Practice is a well-rounded textbook that integrates the various components of musical structure and makes them accessible to students at the undergraduate level.

Popular music has long understood that human rights, if attainable at all, involve a struggle without end. The right to imagine an individual will, the right to some form of self-determination and the right to self-legislation have long been at the forefront of popular music's approach to human rights. At a time of such uncertainty and confusion, with human rights currently being violated all over the world, a new and sustained examination of cultural responses to such issues is warranted. In this respect music, which is always produced in a social context, is an extremely useful medium; in its immediacy music has a potency of expression whose reach is long and wide. Contributors to this significant volume cover artists and topics such as Billy Bragg, punk, Fun-da-Mental, Willie King and the Liberators, Hedwig and the Angry Inch, the Anti-Death Penalty movement, benefit concerts, benefit albums, Gil Scott-Heron, Bruce Springsteen, Wounded Knee and Native American political resistance, Tori Amos, Joni Mitchell, as well as human rights in relation to feminism. A second volume covers World Music.

Ulster's marching bands form perhaps the most vibrant participatory folk music tradition in contemporary Europe, and are one of the most significant and visible elements of working-class loyalist culture in the divided society of Northern Ireland. Their significance springs largely from the central place they have assumed in the lives of their members. This book presents an ethnography of three County Antrim flute bands from the very different genres of 'part-music', 'melody' and 'blood and thunder'. The author explores the emotional rewards of communal music-making and the way that identities are formed through the acquisition of tastes, competences and skills within specific communal contexts, paying particular attention to the impact of class position. These issues are examined in the context of the competitions, concerts and street parades that are central to the social lives of thousands of band members and supporters in Northern Ireland.

This book studies the effects of repetitive musical rhythm on the brain and nervous system, and in doing so integrates diverse fields including ethnomusicology, psychology, neuroscience, anthropology, religious studies, music therapy, and human health. It presents aspects of musical rhythm and biological rhythms, and in particular rhythmic entrainment, in a way that considers cultural context alongside theoretical research and discussions of potential clinical and therapeutic implications. Considering the effects of drumming and other rhythmic music on mental and bodily functioning, the volume hypothesizes that rhythmic music can have a dramatic impact on mental states, sometimes catalyzing profound changes in arousal, mood, and emotional states via the stimulation of changes in physiological functions like the electrical activity in the brain. The experiments presented here make use of electroencephalography (EEG), galvanic skin response (GSR), and subjective measures to gain insight into how these mental states are evoked, what their relationship is to the music and context of the experience, and demonstrate that they are happening in a consistent and reproducible fashion, suggesting clinical applications. This comprehensive volume will appeal to scholars in cognition, ethnomusicology, and music perception who are interested in the therapeutic potential of music.

Why do people attach importance to the wordless language we call music? "Musical Cognition" suggests that music is a game. In music, our cognitive functions such as perception, memory, attention, and expectation are challenged; yet, as listeners, we often do not realize that the listener plays an active role in reaching the awareness that makes music so exhilarating, soothing, and inspiring. In reality, the author contends, listening does not happen in the outer world of audible sound, but in the inner world of our minds and brains. Recent research in the areas of psychology and neuro-cognition allows Honing to be explicit in a way that many of his predecessors could not. His lucid, evocative writing style guides the reader through what is known about listening to music while avoiding jargon and technical diagrams. With clear examples, the book concentrates on underappreciated musical skills--"sense of rhythm" and "relative pitch"--skills that make us musical creatures. Research on how living creatures respond to music supports the conviction that all humans have a unique, instinctive attraction to music. "Musical Cognition "includes a selection of intriguing examples from recent literature exploring the role that an implicit or explicit knowledge of music plays when one listens to it. The scope of the topics discussed ranges from the ability of newborns to perceive a beat, to the unexpected musical expertise of ordinary listeners. The evidence shows that music is second nature to most human beings--biologically and socially. View the book trailer View the book's website - see videos, images, sample materials, and the author's blog and Twitter feed.

Being Time invites a deep consideration of the personal experience of temporality in music, focusing on the perceptual role of the listener. Through individual case studies, this book centers on musical works that deal with time in radical ways. These include pieces by Morton Feldman, James Saunders, Chiyoko Szlavnics, Ryoji Ikeda, Toshiya Tsunoda, Laurie Spiegel and Andre O. Moeller. Multiple perspectives are explored through a series of encounters, initially between an individual and a work, and subsequently with each author's varying experiences of temporality. The authors compare their responses to features such as repetition, speed, duration and scale from a perceptual standpoint, drawing in reflections on aspects such as musical memory and anticipation. The observations made in this book are accessible and relevant to readers who are interested in exploring issues of temporality from a broad range of disciplinary perspectives.

This book discusses the myriad ways in which Beethoven begins his works and the structural, rhetorical, and emotional implications of these beginnings for listeners. Examining the opening moments of nearly 200 compositions, it offers a new method of analysis of Beethoven's music. At the same time, it sets Beethoven's work in context through a close study of beginnings in the compositions of the Classical Era.

Music, Movies, Meanings, and Markets: Cinemajazzamatazz focuses on (macro)marketing-related aspects of film music in general and on the cinemusical role of jazz in particular. The book begins by reviewing other work on music in motion pictures and explains that such work has tended to deal either with nondiegetic film music (background music that comes from off-screen and that tends to further the dramatic development of plot, character, or other themes) or with diegetic music (source music that is produced on-screen and that adds to the realism of the mise-en-sc ne without contributing much to other dramatic meanings). Cinemajazzamatazz defines, describes, and illustrates another hitherto-neglected type of film music -- namely, ambi-diegetic film music, which appears on-screen (like diegetic music) but which contributes to the film's dramatic development (like nondiegetic music). Consistent with an interest in (macro)marketing, such ambi-diegetic film music (1) serves as a kind of product placement (suitable for commercialization via the cross-promotion of soundtrack albums and so forth); (2) plays a role in product design (as one key feature of the cinemusical offering); (3) provides one type of symbolic consumer behavior (that indicates choices made by film characters when playing-singing-listening-or-dancing in ways that reveal their personalities, that move the plot forward, or that convey other important cinemusical meanings); and (4) sheds light on various social issues (such as the age-old tension between art and entertainment as it applies to the contrast between creative integrity and commercialization). After a general introduction and review, Music, Movies, Meanings, and Markets offers a series of chapters that explore and illustrate the ways in which ambi-diegetic jazz contributes to the development of dramatic meanings in various films, many of which address the art-versus-commerce theme as a central concern.

- Highly accessible and code-free introduction to game audio, suitable for a wide range of undergraduate courses, such as music production, sound design and composition - Accompanied by eresources, including downloadable projects for each chapter - A great addition to our growing catalogue of game audio titles

- Highly accessible and code-free introduction to game audio, suitable for a wide range of undergraduate courses, such as music production, sound design and composition - Accompanied by eresources, including downloadable projects for each chapter - A great addition to our growing catalogue of game audio titles

Helie Salomon's Scientia artis musice (1274), is a practical manual devoted to basic concepts, psalmody, vocal pedagogy, the musical hand in singing, clefs as indicators of the tone (mode) to which a piece belongs, and practical instruction in the singing of four-voice parallel organum. Joseph Dyer presents the first, much-needed, modern edition of Salomon's treatise, accompanied by a full English translation, comprehensive introduction and commentary. This edition corrects errors in the 1784 edition of Martin Gerbert, includes the music of chants omitted by Gerbert from the tonary, and makes available reproductions in colour of the eight illustrations in the treatise.

This study focuses on beliefs about music current in eighteenth-century Germany. Of particular interest are the conceptual metaphors through which major writers (Goethe, Schiller, Herder and Klopstock) used music as analogy and medium for perceptions of the world in their writing. The book surveys traditional metaphors (music as harmony/disharmony, music as like/unlike language, music as structured by mathematical proportion or by rhythm) inherited from Greek and French thought and looks at ways in which these writers also assimilated and developed contemporary ideas (especially from Leibniz, the French Rationalists, Rameau and Rousseau). German writers of this epoch had a remarkably rich and varied range of ideas of music at their disposal, some of which could also be realised in multi-media genres. With the help of modern theory from several fields, the study aims to show how they deployed these resources in ways both like and unlike the practice of Romantic writers with whom they overlapped at the end of the century.

The classical record business gained a new lease on life in the 1980s when period instrument performances of baroque and classical music began to assume a place on the stage. This return to the past found its complement in the musical ascension of the American minimalists, in particular the music of Steve Reich, Philip Glass, and John Adams, and smaller specialty labels that focused on experimental composers like John Cage. During this period of change-of classical music's transition of looking both forward and back-Rob Haskins served as a reviewer for The American Record Guide, tracing these evolutions while also attending to works emerging from within the mainstream of classical music performance and composition. Classical Listening: Two Decades of Reviews of Reviews from The American Record Guide collects the several hundred reviews produced since Rob Haskins's start in the mid-1990s. A performer and musicologist, Haskins writes delightful, cogent reviews that unapologetically reflect his personal experience, musical interests, and professional background, emphasizing the value of subjectivity in music criticism. Witty, provocative, and eloquent, Haskins's book reads like a diary of personal experience even as it addresses important topics as diverse as historical performance practice and the aesthetics of contemporary music. It is also a perfect guide to buying or listening for the classical music devotee seeking an informed opinion on the breadth of remarkable recordings available. Record collectors, students and scholars of early and contemporary music, and performers, professionals, and general music lovers will find this collection an invaluable resource as they trace the reception of recordings in the last twenty years of classical music performance.

Robert Fludd (1574-1637) is well known among historians of science and philosophy for his intriguing work, The Metaphysical, Physical and Technical History of both Major and Minor Worlds, in which music plays an important role in his system of neoplatonic correspondences: the harmony of the universe (macrocosm) as well as the harmony of man (microcosm). 'The Temple of Music' (1617-18) is one section of this work, and deals with music theory, practice and organology. Many musicologists today have dismissed his musical ideas as conservative and outmoded or mainly based on fantasy; only the chapters on instruments have received some attention. However, reading Fludd's work on music theory and practice in the context of his own time and comparing it with other contemporary treatises, it is apparent that much of it contains highly original ideas and cannot be considered old fashioned or conservative. It is evident that Fludd's music philosophy influenced and provoked contemporary natural philosophers such as Marin Mersenne and Johannes Kepler. Less well known is the fact that Fludd's music theory reveals aspects of the development of new concepts that appear to reflect contemporary writers on music such as John Coprario and Thomas Campion. Before now, 'The Temple of Music' has not been easily accessible or available, and the fact that Fludd wrote in Latin has also been prohibitive. This critical edition provides the original Latin, an English translation and essential illustrations. The book will therefore be a useful tool for understanding the position of English music theory around 1600.

The New Bruckner provides a valuable study of Bruckner's music, focusing on the interaction of biography, textual scholarship, reception history and analysis. Dr Dermot Gault conveys a broad chronological narrative of Bruckner's compositional development, interpolating analytical commentaries on the works and critical accounts of the notoriously complex and editorial issues. Gault corrects longstanding misconceptions about the composer's revision process, and its relationship with the early editions and widely-held critical opinions. Bruckner's constantly evolving engagement with symphonic form is traced by taking each revision in due order, rather than by taking each symphony on its own, and by relating the symphonies to other mature works such as the Te Deum, the three great Masses, and the Quintet, and argues that Bruckner's music became more organic and less schematic as the result of his revisions. The book will be essential reading for those studying Bruckner's compositions, the complex history of their reception, and late Romantic music in general.

Towards a Twenty-First-Century Feminist Politics of Music opens up a new way of thinking about the absence of women's music. It does not aim to find 'a solution' in a liberal feminist sense, but to discover new potentialities, new possibilities for thought and action. Sally Macarthur encourages us, with the assistance of Deleuze, and feminist-Deleuzian work, to begin the important work of imagining what else might be possible, not in order to provide answers but to open up the as yet unknown. The power of thought - or what Deleuze calls the 'virtual' - opens up new possibilities. Macarthur suggests that the future for women's 'new' music is not tied to the predictable and known but to futures beyond the already-known. Previous research concludes that women's music is virtually absent from the concert hall, and yet fails to find a way of changing this situation. Macarthur finds that the flaw in the recommendations flowing from past research is that it envisages the future from the standpoint of the present, and it relies on a set of pre-determined goals. It thus replicates the present reality, so reinforcing rather than changing the status quo. Macarthur challenges this thinking, and argues that this repetitive way of thinking is stuck in the present, unable to move forward. Macarthur situates her argument in the context of current dominant neoliberal thought and practice. She argues that women have generally not thrived in the neoliberal model of the composer, which envisages the composer as an individual, autonomous creator and entrepreneur. Successful female composers must work with this dominant, modernist aesthetic and exploit the image of the neo-romantic, entrepreneurial creator. This book sets out in contrast to develop a new conception of subjectivity that sows the seeds of a twenty-first-century feminist politics of music.

For the many poor and working-class Northeastern Brazilians who have been displaced from their home region for economic reasons, the music of forro is a redemptive attempt at establishing an immanent relationship to history and community in the diaspora. The redemption explored in this book is multifaceted, including a desire to return home as part of a larger workforce in a sustainable economy, the desire to see the region's rich culture celebrated throughout Brazil, and to ensure that its traditional legacies are both preserved and further enriched through respectful innovation. The acute perceptiveness of forro musicians in portraying the diasporic experience of Northeastern Brazilians is elaborated in various chapters, including: one chapter focused on lyrical, musical, and collective representations or manifestations of diasporic nostalgia (saudade), another chapter analyzing the lyrico-musical representation of rural workers' alienation from - and resistance to - life in the urban centers, and a third chapter which contextualizes forro's descriptions of the experiences of Brazil's internal migrants, utilizing an array of testimonials and academic studies on the subject of interregional migration to reveal both the wisdom of forro lyricists and some of their blind spots. The study also includes a historical analysis of this Northeastern genre's transformation from a rhythm called baiao that symbolically represented the Northeast as a simple, coherent entity, to forro, a more allegorical representation with a greater appreciation for the class, gender, racial, and generational complexity of the region. The development of the genre, as well as the circulation of theory related to cultural production and identity, are contextualized in a global economy.

Bhangra is commonly understood as the hybrid music produced in Britain by British Asian music producers through mixing Panjabi folk melodies with western pop and black dance rhythms. This is derived from a Punjabi harvest dance of the same name. This book looks at Bhangra's global flows from one of its originary sites, the Indian subcontinent, to contribute to the understanding of emerging South Asian cultural practices such as Bhangra or Bollywood in multi-ethnic societies. It seeks to trace Bhangra's moves from Punjab and its 'return back' to look at the forces that initiate and regulate global flows of local texts and to ask how their producers and consumers redirect them to produce new definitions of culture, identity and nation. The critical importance of this book lies in understanding the difference between the present globalizing wave and previous trans-local movements. Gera Roy contrasts the frames of cultural imperialism with those of cultural invasion to show how Indian cultures have constantly reinvented themselves by cross-pollinating with 'invading' cultures such as Hellenic, Persian, Arabic and many others in the past. By looking at Bhangra's flows to and from India, the book revises the relation between culture, space and identity and challenges boundaries. It weighs both the uses and costs of visibility provided by global networks to marginalized groups in diverse localities and explores whether collaborations between Bhangra practitioners, largely of working class origin, give ordinary people any control over the circulation of culture in the global village. Finally, the book considers whether cultural practices can alter hierarchies and power structures in the real world.

Musical Rhythm in the Age of Digital Reproduction presents new insights into the study of musical rhythm through investigations of the micro-rhythmic design of groove-based music. The main purpose of the book is to investigate how technological mediation - in the age of digital music production tools - has influenced the design of rhythm at the micro level. Through close readings of technology-driven popular music genres, such as contemporary R&B, hip-hop, trip-hop, electro-pop, electronica, house and techno, as well as played folk music styles, the book sheds light on how investigations of the musical-temporal relationships of groove-based musics might be fruitfully pursued, in particular with regard to their micro-rhythmic features. This book is based on contributions to the project Rhythm in the Age of Digital Reproduction (RADR), a five-year research project running from 2004 to 2009 that was funded by the Norwegian Research Council.

There is a paucity of material regarding how choral music specifically was performed in the 1800s. The Historically Informed Performance (HIP) movement has made remarkable advancements in choral music of the Renaissance, Baroque, and Classical periods, with modest forays into the music of Beethoven, Schubert, Mendelssohn, and other early nineteenth-century composers; however, there are no sources with a comprehensive examination of how choral music was performed. Using more than one-hundred musical examples, illustrations, tables, and photographs and relying on influential, contemporaneous sources, David Friddle details the performance practices of the time, including expressive devices such as articulation, ornamentation, phrasing, tempo, and vibrato, along with an in-depth discussion of period pronunciation, instruments, and orchestral/choral placement. Sing Romantic Music Romantically: Nineteenth-Century Choral Performance Practices fills a gap in choral scholarship and moves forward our knowledge of how choral music sounded and was performed in the nineteenth century. The depth of research and abundance of source material makes this work a must-have for choral professionals everywhere.

Two crucial moments in the formation and disintegration of musical modernity and the musical canon occurred at the turn of the seventeenth and the first half of the twentieth century. Dr Ljubica Ilic provides a fresh and close look at these moments, exploring the ways musical compositions shift to and away from ideological structures identified with modernity. The focus is on European art music whose grand narrative, defined by tonality and teleological development, begins in the seventeenth century and ends with twentieth-century modernisms. This particular musical "language game" coincides with historical changes in the phenomenological understanding of space and selfhood. A key concept of the book concerns musical compositions that remain without proper conclusions: if the wholesome (musical) work is a manifestation of wholesome subjectivity, the pieces Ilic explores deny it, reflecting conflict of the individual with previous beliefs, with contexts, and even within the self as the basic modern condition. The musical work is, in this case, still bounded and well-defined, but fractured by the incapability or refusal to satisfactorily conclude: the implicit cut forced upon it changes the expected musical flow or - speaking in spatial terms - it influences the musical form. By using the metaphor of space, Ilic explores: how the existence of a separate self as a primary feature of Western modernity becomes negotiated through awareness of the subject's own independence and individuality; innerness as something entirely separate from its surroundings; and the collective space of social interaction. Seeing musical storytelling as a metaphoric representation of selfhood, and modernity as a historical continuum, Ilic examines the boundaries and relationships between the musical work, the subject, and modern European history.

The book contains twenty-two essays on Sibelius, written by scholars from seven countries across the Atlantic. Most of the articles were originally papers read at the Fourth International Jean Sibelius Conference, held in January 2005 at the University of North Texas, in Denton. The book is divided into four sections: Historical and Cultural Studies, Analytical Studies, Source Studies, Reception and Interpretation. The chapters in this book reflect, in their contents and standpoints, the different musicological and music analytical trends current in Europe and the North America; they thereby offer a compelling cross-section of the manifold approaches to Sibelius studies.

The Principle and Practice of Modal Counterpoint follows the pedagogical tradition of stressing writing skills in the manner of Palestrina, i.e. modal vocal counterpoint of the Roman sacred school of the sixteenth century. Rather than using the direct approach to counterpoint, this textbook uses the species approach. This textbook pays attention to the music that led up to Palestrina's style and the subsequent music that led to the instrumental style of Bach. Stress is placed on the basic principles of contrapuntal music throughout the history of western music and how they are put into practice in various styles. Each chapter includes a number of exercises that helps the student assimilate the material of the chapter.

This collection of essays and interviews addresses important theoretical, philosophical and creative issues in Western art music at the end of the twentieth- and the beginning of the twenty-first centuries. Edited by Max Paddison and Irene Deliege, the book offers a wide range of international perspectives from prominent musicologists, philosophers and composers, including Celestin Deliege, Pascal Decroupet, Richard Toop, Rudolf Frisius, Alastair Williams, Herman Sabbe, FranAois Nicolas, Marc Jimenez, Anne Boissiere, Max Paddison, Hugues Dufourt, Jonathan Harvey, and new interviews with Pierre Boulez, Brian Ferneyhough, Helmut Lachenmann, and Wolfgang Rihm. Part I is mainly theoretical in emphasis. Issues addressed include the historical rationalization of music and technology, new approaches to the theorization of atonal harmony in the wake of Spectralism, debates on the 'new complexity', the heterogeneity, pluralism and stylistic omnivorousness that characterizes music in our time, and the characterization of twentieth-century and contemporary music as a 'search for lost harmony'. The orientation of Part II is mainly philosophical, examining concepts of totality and inclusivity in new music, raising questions as to what might be expected from an autonomous contemporary musical logic, and considering the problem of the survival of the avant-garde in the context of postmodernist relativism. As well as analytic philosophy and cognitive psychology, critical theory features prominently, with theories of social mediation in music, new perspectives on the concept of musical material in Adorno's late aesthetic theory, and a call for 'an aesthetics of risk' in contemporary art as a means 'to reassert the essential role of criticism, of judgment, and of evaluation as necessary conditions to bring about a real public debate on the art of today'. Part III offers creative perspectives, with new essays and interviews from important contemporary composers who have mad