Contents:
Preface Conventions Used in This Book 1. Modality: An Introduction to the Terminology and Concepts 2. The Discourse about Mode: Evidence of Textual and Musical Sources 3. Tinctoris and the Origin of Polyphonic Modality 4. Modus and Tonus: Two Attitudes towards Modes 5. The Rise and Fall of Polyphonic Modality 6. The Modes before Classical Vocal Polyphony: Evidence from Central-European Cycles 7. Zarlino and Polyphonic Modality in Italy 8. Conclusion: The Language of the Modes

From c.1750 to c.1810 the paths of music history and the history of painting converged with lasting consequences. The publication of Newton's Opticks at the start of the eighteenth century gave a 'scientific' basis to the analogy between sight and sound, allowing music and the visual arts to be defined more closely in relation to one another. This was also a period which witnessed the emergence of a larger and increasingly receptive audience for both music and the visual arts - an audience which potentially included all social strata. The development of this growing public and the commercial potential that it signified meant that for the first time it became possible for a contemporary artist to enjoy an international reputation. Nowhere is this better illustrated than in the career of Joseph Haydn. Although this phenomenon defies conventional modes of study, the book shows how musical pictorialism became a major creative force in popular culture. Haydn, the most popular living cultural personality of the period, proved to be the key figure in advancing the new relationship. The connections between the composer and his audiences and leading contemporary artists (including Tiepolo, Mengs, Kauffman, Goya, David, Messerschmidt, Loutherbourg, Canova, Copley, Fuseli, Reynolds, Gillray and West) are examined here for the first time. By the early nineteenth century, populism was beginning to be regarded with scepticism and disdain. Mozart was the modern Raphael, Beethoven the modern Michelangelo. Haydn, however, had no clear parallel in the accepted canon of Renaissance art. Yet his recognition that ordinary people had a desire to experience simultaneous aural and visual stimulation was not altogether lost, finding future exponents in Wagner and later still in the cinematic arts.

The Shubert name has been synonymous with Broadway for almost as long as Broadway entertainment itself. With seventeen Broadway theatres including the Ambassador, the Music Box, and the Winter Garden, The Shubert Organization perpetuates brothers Lee and Jacob Shubert's business legacy. In The Shuberts and Their Passing Shows: The Untold Tale of Ziegfeld's Rivals, author Jonas Westover investigates beyond the Shuberts' business empire into their early revues and the centrifugal role they played in developing American theatre as an art form. The Shubert-produced revues, titled Passing Shows, were terrifically popular in the teens and twenties, consistently competing with Florenz Ziegfeld's Follies for the greatest numbers of stars, biggest spectacles, and ultimately the largest audiences. The Shuberts and Their Passing Shows is the first-ever book to unpack the colorful history of the productions, delving into their stars, costumes, stagecraft, and orchestration in unprecedented detail. Providing a fresh and exciting window into American theatrical history, Westover traces the fascinating history of the Shuberts' revue series, presented annually from 1912-1924, and covers more broadly the glorious days of early Broadway. In addition to its compelling history of Broadway's Golden Age, The Shuberts and Their Passing Shows also provides a revisionary argument about the overarching history of the revue. Bolstered by a rich collection of documents in the Shubert Theater Archive, Westover argues against the popular misconception that the Shubert's competitor, producer Florenz Ziegfield - responsible for the better-known Follies - was the sole proprietor of Broadway audiences. As Westover proves, not only were the Passing Shows as popular as the Follies but also a key component in a history of the revue that is vastly more complex than previous scholarship has shown. The Shuberts and Their Passing Shows brings to fruition years of original research and invaluable insights into the gilded formation of present day Broadway.

This volume examines the global influence and impact of DIY cultural practice as this informs the production, performance and consumption of underground music in different parts of the world. The book brings together a series of original studies of DIY musical activities in Europe, North and South America, Asia and Oceania. The chapters combine insights from established academic writers with the work of younger scholars, some of whom are directly engaged in contemporary underground music scenes. The book begins by revisiting and re-evaluating key themes and issues that have been used in studying the cultural meaning of alternative and underground music scenes, notably aspects of space, place and identity and the political economy of DIY cultural practice. The book then explores how the DIY cultural practices that characterize alternative and underground music scenes have been impacted and influenced by technological change, notably the emergence of digital media. Finally, in acknowledging the over 40-year history of DIY cultural practice in punk and post-punk contexts, the book considers how DIY cultures have become embedded in cultural memory and the emotional geographies of place. Through combining high-quality data and fresh conceptual insights in the context of an international body of work spanning the disciplines of popular-music studies, cultural and media studies, and sociology the book offers a series of innovative new directions in the study of DIY cultures and underground/alternative music scenes. This volume will be of particular interest to undergraduate students in the above-mentioned fields of study, as well as an invaluable resource for established academics and researchers working in these and related fields.

The first full-length study of the musical pasts of Asafo warrior associations based on the author's "ways of walking" with local scholars along the Ghanaian littoral. What is Asafo ndwom (music)? How and when is it performed? What is the state of this warrrior tradition that once served as the bedrock of the Akan, Ewe, and Ga societies in Ghana? How does Asafo enact the past and serve as an archive for the people? In an attempt to answer these questions, Walking with Asafo in Ghana investigates the musical pasts of Asafo. The book is an ethnography of walking, organized into eight chapters. Each chapter ends with a piece of creative writing in the author's "ethnographic voice," in which she sums up the main ideas. It is Aduonum's attempt at an anticolonial and decolonialist African musicology, one that subverts and decenters white racial framing of research, analysis, and presentation, disrupting how Euro-American concepts frame our ways of telling and experiencing ndwom. Aduonum's goal on this trajectory is to tell her story, create something new, and chart a new path. Through this fluid and complex book, she repositions African Elders' knowledge as "epistemologies of decolonization and de-coloniality" and centers the stories shared by local Fante scholars. The text is polyvocal, multimodal, multiperspective, performative, reflexive, and dialogic, informed by the structure of Asafo ndwom, appellations, proverbs, her mentors' tellings, and "embodied" calling and responding. It is a performative scholarly discourse, ndwom-based: a performance. As a celebration of Asafo, those warriors who insisted their lives matter, the text is meant to be read and performed. This book is openly available in digital formats thanks to a generous grant from the Andrew W. Mellon Foundation.

This book is a new and exciting interdisciplinary resource which integrates the worlds of music and literature. It is the first primary and secondary source collection of its kind to focus on the relationships between words and music, and between musical and verbal forms. Featured along with key writings on music, speech and their relationship are previously unpublished articles and interview transcripts, and a new translation of an extract from Wagner's theoretical works.

Designed for undergraduate students, the book uniquely:

- examines a historically and geographically diverse selection of genres from a variety of academic perspectives

- explores issues of language, musical form, performance, song, narrative, sound and action, and identity

- enables readers to connect with different histories, cultures and technologies via the linkages between musical and literary texts.

This anthology is an important contribution to the growing field of music and literature studies, and an engaging read for anyone interested in a culturally rich musical and literary inheritance.

Serial or 12-tone music has proved to be an enduring twentieth century style that has generated a wide range of writings. This much-needed work provides the only comprehensive up-to-date guide to research on serial music, offering an annotated bibliography with nearly 500 citations from books and journals from 1950 to 1995.

The Safavid era (1501-1722) is one of the most important in the history of Persian culture, celebrated especially for its architecture and art, including miniature paintings that frequently represent singers and instrumentalists. Their presence reflects a sophisticated tradition of music making that was an integral part of court life, yet it is one that remains little known, for the musicological literature of the period is rather thin. There is, however, a significant exception: the text presented and analysed here, a hitherto unpublished and anonymous theoretical work probably of the middle of the sixteenth century. With a Sufi background inspiring the use of the nay as a tool of theoretical demonstration, it is exceptional in presenting descriptive accounts of the modes then in use and suggesting how these might be arranged in complex sequences. As it also gives an account of the corpus of rhythmic cycles it provides a unique insight into the basic structures of art-music during the first century of Safavid rule.

Music is central to any film, creating a tone for the movie that is just as vital as the visual and narrative components. In recent years, racial and gender diversity in film has exploded, and the making of musical scores has changed drastically.
"Hearing Film" offers the first critical examination of music in the films of the 1980s and 1990s and looks at the burgeoning role of compiled scores in the shaping of a film . In the first section, "A Woman Scored," Kassabian analyzes desire and agency in the music of such films as "Dangerous" "Liaisons, Desert Hearts, Bagdad Cafe, Dirty Dancing" and "Thelma and Louise." In "At the Twilight's Last Scoring," she looks at gender, race, sexuality and assimilation in the music of "The Hunt for Red October, Lethal Weapon 2" and "Indiana Jones and the Temple of Doom." And finally, in "Opening Scores," she considers how films such as "Dangerous Minds, The Substitute, Mississippi Masala" and "Corrina, Corrina" bring together several different entry points of identification through their scores.
Kassabian ensures that modern film criticism has a new chapter written through this book. Her important and long-overdue analysis is not to be ignored. Also includes 11 musical examples.

'In a word, I shall endeavour to show how our music, having been originally a shell-fish, with its restrictive skeleton on the outside and no soul within, has been developed by the inevitable laws of evolution, through natural selection and the survival of the fittest, into something human, even divine, with the strong, logical skeleton of its science inside, the fair flesh of God-given beauty outside, and the whole, like man himself, animated by a celestial, eternal spirit....' W.J. Henderson, The Story of Music (1889) Critical writing about music and music history in nineteenth-century Britain was permeated with metaphor and analogy. Music and Metaphor examines how over-arching theories of music history were affected by reference to various figurative linguistic templates adopted from other disciplines such as art, religion, politics and science. Each section of the book discusses a wide range of musicological writings and their correspondence with the language used to convey contemporary ideas such as the sublime, the ancient and modern debate, and, in particular, the theory of evolution. Bennett Zon reveals that through their application of metaphorical frameworks taken from art, religion and science, these writers and their work shed light on nineteenth-century perceptions of music history and illuminate the ways in which these disciplines affected notions of musical development.

Sonic fiction is everywhere: in conversations about vernacular culture, in music videos, sound art compositions and on record sleeves, in everyday encounters with sonic experiences and in every single piece of writing about sound. Where one can find sounds one will also detect bits of fiction. In 1998 music critic, DJ and video essayist Kodwo Eshun proposed this concept in his book "More Brilliant Than The Sun: Adventures in Sonic Fiction". Originally, he did so in order to explicate the manifold connections between Afrofuturism and Techno, connecting them to Jazz, Breakbeat and Electronica. His argument, his narrations and his explorative language operations however inspired researchers, artists, and scholars since then. Sonic Fiction became a myth and a mantra, a keyword and a magical spell. This book provides a basic introduction to sonic fiction. In six chapters it explicates the inspirations for and the transformations of this concept; it explores applications and extrapolations in sound art and sonic theory, in musicology, epistemology, in critical and political theory. Sonic fiction is presented in this book as a heuristic for critique and activism.

Much of Franz Liszt's musical legacy has often been dismissed as 'trivial' or 'merely showy,' more or less peripheral contributions to nineteenth-century European culture. But Liszt was a mainstream composer in ways most of his critics have failed to acknowledge; he was also an incessant and often extremely successful innovator. Liszt's mastery of fantasy and sonata traditions, his painstaking settings of texts ranging from erotic verse to portions of the Catholic liturgy, and the remarkable self-awareness he demonstrated even in many of his most 'entertaining' pieces: all these things stamp him not only as a master of Romanticism and an early Impressionist, but as a precursor of Postmodern 'pop.' Liszt's Music places Liszt in historical and cultural focus. At the same time, it examines his principal contributions to musical literature -- from his earliest operatic paraphrases to his final explorations of harmonic and formal possibilities. Liszt's compositional methods, including his penchant for revision, problems associated with early editions of some of his works, and certain aspects of class and gender issues are also discussed. The first book-length assessment of Liszt as composer since Humphrey Searle's 1956 volume, Liszt's Music is illustrated with well over 100 musical examples.

The second half of the eighteenth century witnessed a flourishing of the string quartet, often represented as a smooth and logical progression from first violin-dominated homophony to a more equal conversation between the four voices. Yet this progression was neither as smooth nor as linear as previously thought, as Mara Parker illustrates in her examination of the string quartet during this period. Looking at a wide variety of string quartets by composers such as Pleyel, Distler and Filtz, in addition to Haydn and Mozart, the book proposes a new way of describing the relationships between the four instruments in different works. Broadly speaking, these relationships follow one of four patterns: the 'lecture', the 'polite conversation', the 'debate', and the 'conversation'. In focusing on these musical discourses, it becomes apparent that each work is the product of its composer's stylistic choices, location, intended performers and intended audience. Instead of evolving in a strict and universal sequence, the string quartet in the latter half of the eighteenth century was a complex genre with composers mixing and matching musical discourses as circumstances and their own creative impulses required.

Semiotics of Musical Time investigates the link between musical time and the world of signs and symbols. It examines the extent to which musical time is a product of signs, sign systems, and sign-oriented behavior. Sound is discussed as a potential sign of time and of musical time. Inherent and recognizable temporal features are identified in a number of musical works. Time as a compositional concern is examined in the case of Igor Stravinsky and Karlheinz Stockhausen. A principal distinction between hearing associated with perception and listening associated with cognition provides the basis for the proposition that musical time is both unheard and imperceptible. The role of concepts, and their designations, is investigated to demonstrate that consciousness of musical time involves semiotic processes.

This volume constitutes the first complete publication of Marina Lobanova's study - banned in Russia in 1979 as "too avant-garde" and published there only in a bowdlerized version in 1990.
Drawing on baroque, classical, romantic, and contemporary music, Dr. Lobanova proposes an original concept of musical syntax with special emphasis on the role of the categories of time, space, and motion. Embracing such aspects of cultural life as poetry and philosophy, she deals with the problems of cultural dialogue and the disintegration of the concept of "absolute music."

General Music: Dimensions of Practice is a practical guide for music teachers and teaching artists who strive to teach music holistically. The book begins by framing general music as a holistic music education that is comprehensive, meaningful, and relevant to diverse learners in school and community settings. It is followed by chapters that are organized into one of four dimensions of music practice: performing, connecting, creating, and responding. Chapter authors share creative and innovative teaching ideas, for both elementary and secondary school students, that focus on a wide range of topics, including: songwriting, composing, improvising, singing, moving, playing, listening, analyzing, contextualizing, and connecting. Each chapter provides (a) a rationale for a given area of music study, establishing its importance and relevance; (b) a research or theoretical background, to inform and guide practice; and (c) a pedagogical model or framework illustrated through lesson ideas, curriculum units, or vignettes. The ideas in this book seek to inspire and guide teachers as they build comprehensive music programs that are informed by students and communities.

The Ordo Virtutum, Hildegard von Bingen's twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon. Not only does the Ordo's expansive duration set it apart from its precursors, but also its complex imagery and non-biblical narrative have raised various questions concerning its context and genre. As a poetic meditation on the fall of a soul, the Ordo deploys an array of personified virtues and musical forces over the course of its eighty-seven chants. In this ambitious analysis of the work, Michael C. Gardiner examines how classical Neoplatonic hierarchies are established in the music-drama and considers how they are mediated and subverted through a series of concentric absorptions (absorptions related to medieval Platonism and its various theological developments) which lie at the core of the work's musical design and text. This is achieved primarily through Gardiner's musical network model, which implicates mode into a networked system of nodes, and draws upon parallels with the medieval interpretation of Platonic ontology and Hildegard's correlative realization through sound, song, and voice.

John Rahn's prolific activities as a composer-theorist-teacher, inventor of computer sound-synthesis software, editor of Perspectives of New Music during the 1980s and 90s, and author of an exemplary text on atonal theory are conspicuously in the foreground of the academic music-intellectual world.
This collection of essays charts Rahn's progression from the construal of music's data structures to the articulation of its experiential structures, leading to the question of its moral infrastructures and its value systems of the internal and external worlds. This book shows Rahn's remarkable intellectual evolution, culminating in the recognition that the pressure bearing on discourse can only be contained by thought formulated in the non-referential language of the arts themselves. Also includes 18 musical examples.

John Rahn's prolific activities as a composer-theorist-teacher, inventor of computer sound-synthesis software, editor of Perspectives of New Music during the 1980s and 90s, and author of an exemplary text on atonal theory are conspicuously in the foreground of the academic music-intellectual world.
This collection of essays charts Rahn's progression from the construal of music's data structures to the articulation of its experiential structures, leading to the question of its moral infrastructures and its value systems of the internal and external worlds. This book shows Rahn's remarkable intellectual evolution, culminating in the recognition that the pressure bearing on discourse can only be contained by thought formulated in the non-referential language of the arts themselves. Also includes 18 musical examples.

How do people use music to heal themselves and others? Are the healing powers of music universal or culturally specific? The essays in this volume address these two central questions as to music's potential as a therapeutic source. The contributors approach the study of music healing from social, cultural and historical backgrounds, and in so doing provide perspectives on the subject which complement the wealth of existing literature by practitioners. The forms of music therapy explored in the book exemplify the well-being that can be experienced as a result of participating in any type of musical or artistic performance. Case studies include examples from the Bolivian Andes, Africa and Western Europe, as well as an assessment of the role of Islamic traditions in Western practices. These case studies introduce some new, and possibly unfamiliar models of musical healing to music therapists, ethnomusicologists and anthropologists. The book contributes to our understanding of the transformative and healing roles that music plays in different societies, and so enables us better to understand the important part music contributes to our own cultures.

The essays in this collection reflect the range and depth of musical life in the US from 1900 to 1950. Contributions consider the triumph of popular forms such as jazz, swing and blues, as well as the art music of composers such as Ives, Cage and Copland among others. American contributions to music technology and dissemination, and the role of these forms in extending the audience for music is also a focus.

How Music Works is David Byrne's bestselling, buoyant celebration of a subject he has spent a lifetime thinking about. Drawing on his own work over the years with Talking Heads, Brian Eno, and his myriad collaborators - along with journeys to Wagnerian opera houses, African villages, and anywhere music exists - Byrne shows how music emerges from cultural circumstance as much as individual creativity. It is his magnum opus, and an impassioned argument about music's liberating, life-affirming power.

Contents:
Introduction, Christle Collins Judd
Grammar of Early Music: Preconditions for Analysis, Margaret Bent
Exploring Tonal Structure in French Polyphonic Song of the Fourteenth Century, Sarah Fuller
Internal and External Views of the Modes, Frans Wiering
Josquin's Gospel Motets and Chant-Based Tonality, Christle Collins Judd
Tonal Coherence and the Cycle of Thirds in Josquin's Memoresto Verbitui, Timothy H. Steele
Concepts of Pitch in English Music Theory, c. 1560-1640, Jessie Ann Owens^H
Concepts of Key in 17th-Century English Keyboard Music, Candace Bailey
From Psalmody to Tonality, Harold Powers
Tonal Types and Modal Equivalence in Two Keyboard Cycles by Mursschhauser, Michael Dodds

For Theodore Gracyk meaning in popular music depends as much on the context of reception and performer’s intentions as on established musical and semantic practices. Songs are structures that serve as the scaffolding for meaning production, influenced by the performance decisions of the performer and their intentions. Arguing against prevailing theories of meaning that ignore the power of the performance, Gracyk champions the contextual relevance of the performer as well as novel messaging through creative repurposing of recordings. Extending the philosophical insight that meaning is a function of use, Gracyk explains how both the performance persona and the personal life of a song’s performer can contribute to (or undercut) ethical and political aspects of a performance or recording. Using Carly Simon’s “You’re So Vain”, Pink Floyd, the emergence of the musical genre of post-punk and the practice of “cover” versions, Gracyk explores the multiple, sometimes contradictory, notions of authenticity applied to popular music and the conditions for meaningful communication. He places popular music within larger cultural contexts and examines how assigning a performance or recording to one music genre rather than another has implications for what it communicates. Informed by a mix of philosophy of art and philosophy of language, Gracyk's entertaining study of popular music constructs a theoretical basis for a philosophy of meaning for songs.