ABRSM's official More Music Theory Sample Papers are additional resources for candidates preparing for our new online Music Theory exams. Providing more authentic practice material and a reliable guide as to what to expect in the exam. -Essential practice material for the new format ABRSM Grade 5 Theory exams -Includes four sample papers -Model answers also available separately

In October 2001, an unlikely gathering of musicians calling itself the MuzikMafia took place at the Pub of Love in Nashville, Tennessee. "We had all been beat up pretty good by the 'industry' and we told ourselves, if nothing else, we might as well be playing muzik," explains Big Kenny of Big and Rich. For the next year and a half, the MuzikMafia performed each week and garnered an ever-growing, dedicated fan base.

Five years, several national tours, six Grammy nominations, and eleven million sold albums later, the MuzikMafia now includes a family of artists including founding members Big and Rich, Jon Nicholson, and Cory Gierman along with Gretchen Wilson, Cowboy Troy, James Otto, Shannon Lawson, Damien Horne (Mista D), Two-Foot Fred, Rachel Kice, and several more in development.

This book explores how a set of shared beliefs created a bond that transformed the MuzikMafia into a popular music phenomenon. David B. Pruett examines the artists' coalition from the inside perspective he gained in five years of working with them. Looking at all aspects of the collective, "MuzikMafia" documents the problems encountered along the ascent, including business difficulties, tensions among members, disagreements with record labels, and miscalculations artists inevitably made before the MuzikMafia unofficially dissolved in 2008. A final section examines hope for the future: the birth of Mafia Nation in 2009.

The only things truly universal in music are those that are based on biological and/or perceptual facts. Tuning Timbre Spectrum Scale focuses on perceptions of consonance and dissonance, which are defined in the Harvard Dictionary of Music: "Consonance is used to describe the agreeable effect produced by certain intervals as against the disagreeable effect produced others. Consonance and dissonance are the very foundation of harmonic music... consonance represents the element of smoothness and repose, while dissonance represents the no less important elements of roughness and irregularity.a Tuning Timbre Spectrum Scale begins by asking (and answering) the question: How can we build a device to measure consonance and dissonance? The remainder of the book describes the impact of such a "dissonance metera on music theory, on synthesizer design, on the construction of musical scales and tunings, on the design of musical instruments, and introduces related compositional techniques and new methods of musicological analyses. This new and greatly revised edition of William Sethares' classic book includes an attached CD-ROM that contains over three hours of sound examples that demonstrate the ideas in action, as well as computer programs that enable readers to conduct their own explorations. A new chapter contains a detailed explanation of how the software works. It incorporates several important simplifications over the full presentation in the current Chapter 7 in order to allow it to function in real time. Another new chapter describes the various ways that the software can be used. New sections throughout the book bring it up to date with the current state of the subject. Tuning TimbreSpectrum Scale offers a unique analysis of the relationship between the structure of sound and the structure of scale and will be useful to musicians and composers who use inharmonic tones and sounds. This includes a large percentage of people composing and performing with modern musical synthesizers. It will be of use to arrangers, musicologists, and others interested in musical analysis. Tuning Timbre Spectrum Scale provides a unique approach to working with environmental sounds, and there are clear applications for the use of inharmonic sounds in film scoring. The book will also be of interest to engineers and others interested in the design of audio devices such as musical synthesizers, special effects devices, and keyboards.

Winding it Back: Teaching to Individual Differences in Music Classroom and Ensemble Settings is a collaborative effort by practicing music educators, teacher educators, pedagogy experts, researchers, and inclusion enthusiasts with a combined one hundred plus years in the field of music education. The framework of this text is centered on the following principles: 1) Honoring the individual learning needs of all students; 2) providing multiple access points and learning levels; and 3) providing adequate learning conditions for all students within the music classroom. This framework is based on research and best practice within music education. Topics include early childhood music, creative movement, older beginners, rhythm, melodic, and tonal development as well as secondary choral and instrumental music. All chapters focus on meeting the needs of all students and all learning levels within the music classroom. Many of the authors are pairs of music educators that bring different experiences to each topic. In addition, all authors contributed to the editing and musical examples that are provided as part of the collaborative writing process preserving the synergy between practicing K-12 music educators, researchers, and music teacher educators. Therefore, this text can be used as a resource for practicing music educators, teacher educators, and arts integration specialists and enthusiasts. Specific musical examples are provided both within the text and on the extended companion website. These include musical examples, lesson ideas, videos, assessment tools and sequencing ideas that work. The aim of this book is to provide one resource that can be used by music educators for all students in the music classroom both for classroom music education and music teacher preparation.

With its 1.5 million words Blur is the biggest electronic corpus of nonstandard English. The present study describes the stages in the design, the compilation, and the editing of Blur and attempts to gauge its linguistic profit. This is done both from a theoretical perspective - blues poetry vs. natural speech, representativeness, validity - and from an analytical perspective in particular qualitative, quantitative, and comparative analyses of morphological, morphosyntactic, and syntactic features. The findings indicate that Blur provides an outstandingly rich and reliable documentation of the vernaculars spoken by African Americans between the Civil War and World War II. The more than 1,000 illustrative examples presented throughout this study attest to the correctness of this statement.

Improvising Sabor: Cuban Dance Music in New York begins in 1960s New York and examines in rich detail the playing styles and international influence of important figures in US Latin music. Such innovators as Jose Fajardo, Johnny Pacheco, George Castro, and Eddy Zervigon dazzled the Palladium ballroom and other Latin music venues in those crucible years. Author Sue Miller focuses on the Cuban flute style in light of its transformations in the US after the 1959 revolution and within the vibrant context of 1960s New York. While much about Latin jazz and salsa has been written, this book focuses on the relatively unexplored New York charangas that were performing during the chachacha and pachanga craze of the early sixties. Indeed, many accounts cut straight from the 1950s and the mambo to the bugalu's development in the late 1960s with little mention of the chachacha and pachanga's popularity in the mid-twentieth century. Improvising Sabor addresses not only this lost and ignored history, but contends with issues of race, class, and identity while evaluating differences in style between players from prerevolution Cuban charangas and those of 1960s New York. Through comprehensive explorations and transcriptions of numerous musical examples as well as interviews with and commentary from Latin musicians, Improvising Sabor highlights a specific sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York. The distinctive styles generated by these musicians sparked compelling points of departure and influence.

This gorgeously designed retelling of The Nutcracker will make the perfect Christmas present for ballet fans everywhere! In snow white covered St. Petersburg, young dancer Stana's dreams have finally come true - she has been chosen to play the lead role in Tchaikovsky's new ballet, The Nutcracker. But with all eyes looking at her, can Stana overcome her nerves and dance like she's never danced before? From the author of the bestselling The Sinclair Mysteries, Katherine Woodfine, and Waterstone's Book Prize winner, Lizzy Stewart, this sumptuous and magical retelling of The Nutcracker will transport you on a journey fay beyond the page. Praise for Katherine Woodfine's The Sinclair's Mysteries series: 'A wonderful book, with a glorious heroine and a true spirit of adventure' Katherine Rundell, award-winning author of Rooftoppers 'Dastardliness on a big scale is uncovered in this well-plotted, evocative novel' The Sunday Times 'It's a dashing plot, an atmospheric setting and an extensive and imaginative cast. Katherine Woodfine handles it all with aplomb' The Guardian Praise for Lizzy Stewart's There's a Tiger in the Garden (Winner of the Waterstones Children's Book Prize 2017, Illustrated Books Category): 'A journey of discovery' The Guardian 'A stunning testament to the power of imagination' Metro

A reissue of a classic that represents the culmination of over 40 years in Schoenberg's life devoted to the teaching of musical principles to students and composers in Europe and America. For his classes, he developed a manner of presentation in which "every technical matter is discussed in a very fundamental way, so that at the same time it is both simple and thorough". This book can be used for analysis as well as for composition. On the one hand, it has the practical objective of introducing students to the process of composing in a systematic way, from the smallest to the largest forms on the other hand, the author analyzes in detail, with numerous illustrations, those particular sections in the works of the masters which relate to the compositional problem under discussion.

The newly emerged interdisciplinary field of Disability Studies offers a sociopolitical analysis of disability, focusing on its social construction, and shifting attention from biology to culture. In the past fifteen years, disability-related scholarly work has been undertaken in a variety of disciplines, and disability now occupies a central place in cultural analysis, along with well-established categories like race/ethnicity, gender, sexuality, and class. The Oxford Handbook of Disability Studies represents a comprehensive "state of current research" for the field of Disability Studies and Music. The forty-two chapters in the book span a wide chronological and geographical range, from the biblical, the medieval, and the Elizabethan, through the canonical classics of the eighteenth and nineteenth centuries, up to modernist styles and contemporary musical theater and popular genres, with stops along the way in post-Civil War America, Ghana and the South Pacific, and many other interesting times and places. Disability is a broad, heterogeneous, and porous identity, and that diversity is reflected in the variety of bodily conditions under discussion here, including autism and intellectual disability, deafness, blindness, and mobility impairment often coupled with bodily deformity. Cultural Disability Studies has, from its inception, been oriented toward physical and sensory disabilities, and has generally been less effective in dealing with cognitive and intellectual impairments and with the sorts of emotions and behaviors that in our era are often medicalized as "mental illness." In that context, it is notable that so many of these essays are centrally concerned with madness, that broad and ever-shifting cultural category. There is also in impressive diversity of subject matter including YouTube videos, Ghanaian drumming, Cirque du Soleil, piano competitions, castrati, medieval smoking songs, and popular musicals. Amid this diversity of time, place, style, medium, and topic, the chapters share two core commitments. First, they are united in their theoretical and methodological connection to Disability Studies, especially its central idea that disability is a social and cultural construction. Disability both shapes and is shaped by culture, including musical culture. Second, these essays individually and collectively make the case that disability is not something at the periphery of culture and music, but something central to our art and to our humanity.

Although fragments from music manuscripts have occupied a place of considerable importance since the very early days of modern musicology, a collective, up-to-date, and comprehensive discussion of the various techniques and approaches for their study was lacking. On-line resources have also become increasingly crucial for the identification, study, and textual/musical reconstruction of fragmentary sources. Disiecta Membra Musicae. Studies in Musical Fragmentology aims at reviewing the state of the art in the study of medieval music fragments in Europe, the variety of methodologies for studying the repertory and its transmission, musical palaeography, codicology, liturgy, historical and cultural contexts, etc. This collection of essays provides an opportunity to reflect also on broader issues, such as the role of fragments in last century's musicology, how fragmentary material shaped our conception of the written transmission of early European music, and how new fragments are being discovered in the digital age. Known fragments and new technology, new discoveries and traditional methodology alternate in this collection of essays, whose topics range from plainchant to ars nova and fifteenth- to sixteenth-century polyphony.

Based on his critically-acclaimed BBC Radio 3 programme The Listening Service, in which Tom Service takes an idea on an ear-opening and mind-expanding walk through the musical landscape every week, this book is a celebration of music's multi-dimensional power in our lives. With 101 short chapters based on the programmes and grouped thematically the book will open ears and imaginations to find answers to the questions we all have about why and how music - from Toots and the Maytals and J S Bach, Gustav Mahler and Miley Cyrus, to Anna Meredith and Mozart - works its magic over us. With direct links to the programmes using a QR code, the chapters draw on powerful and communicative anecdotes and analogies, as well as the latest scientific research, and above all, a spirit of discovery and connection across genres, cultures, and histories. At its heart is the conviction that music changes us.

Unfinished Music draws its inspiration from the riddling aphorism by Walter Benjamin that serves as its epigraph: "the work is the death mask of its conception." The work in its finished, perfected state conceals the enlivening process engaged in its creation. An opening chapter of this book examines some explosive ideas from the mind of J. G. Hamann, eccentric figure of the anti-rationalist Enlightenment, on the place of language at the seat of thought. These ideas are pursued as an entry into the no less radical mind of Carl Philipp Emanuel Bach, whose bold idiosyncrasies, like Hamann's, disrupted the discourse of Enlightenment aesthetics. Bach is a central player here, his late music the subject of fresh inquiry. In several chapters on the late music of Beethoven, Bach reappears, now something of a spiritual alter ego in the search for a new voice. The improvisatory as a mode of thought figures prominently here, and then inspires a new hearing of the envisioning of Chaos at the outset of Haydn's Creation, aligned with Herder's efforts to come to an understanding of logos at the origin of thought. The improvisatory is at the heart of a chapter on Beethoven's brazen cadenzas for the Concerto in D minor by Mozart, another ghost in Beethoven's machine.
Music seductively unfinished is the topic of other chapters: on some unstudied late sketches, finally rejected, for a famous quartet movement by Beethoven; on the enigmas set loose in several remarkable Mozart fragments; and on the romanticizing of fragment and its bearing on two important sonatas that Schubert left incomplete. In a final coming to terms with the imponderables of musical intuition, the author returns to Benjamin'sepigraph, drawing together his foundational essay on Goethe's Elective Affinities with Thomas Mann's Death in Venice, and with a draft for a famous passage in the andantino of Schubert's Sonata in A (1828). Unfinished Music explores with subtle insight the uneasy relationship between the finished work and the elusive, provocative traces of the profound labors buried in its past. The book will have broad appeal to the community of music scholars, theorists and performers, and to all those for whom music is integral to the history of ideas.

Famous for his painstaking attention to detail and for the craftsmanship and artistry he brought to his work, filmmaker Stanley Kubrick is by now long established as both the subject of an entire sub-field of scholarly inquiry, and as the object of all levels of cinema studies pedagogy. His oeuvre, developed over nearly 50 years, traverses an immensely broad variety of film genres and subjects and has long been studied and understood in terms of its narrative, thematic, and striking visual elements. However, unique and often startling encounters between music and the moving image are central trademarks of Kubrick's style; witness the powerful effects of Strauss's "Also Sprach Zarathustra" in 2001: A Space Odyssey and of Beethoven's 9th Symphony in A Clockwork Orange, each excerpt hand-picked by Kubrick himself. We'll Meet Again argues that some of the most compelling and understudied aspects of Stanley Kubrick's films are musically conceived. Author Kate McQuiston illustrates that, for Kubrick, music is neither post-production afterthought nor background nor incidental, but rather core to films' themes and meanings. The book is divided into three sections, the first of which identifies the building blocks in Kubrick's sonic world and illuminates the ways in which Kubrick uses them to substantiate his characters and to define character relationships. The second section delves into the effects of Kubrick's signature musical techniques, including the use of texture, recurrence, and inscription to render and reinforce psychological ideas and particular spectator responses. The third and final section presents case studies in which the history of the music Kubrick chooses plays a vital and dynamic role. Throughout the author's arguments, the book locates Kubrick as a force in music reception history by examining the relationship between his musical choices and popular culture.

This classic has outlived its original title, but not its usefulness.

Cutting-edge perspectives on a hot topic, with few competing titles on the market Contributor list includes some very well known professionals, as well as diverse academics from different disciplines Accessible and interdisciplinary introductory volume

This book looks at the role of popular music in constructing the myth of the First World War. Since the late 1950s over 1,500 popular songs from more than forty countries have been recorded that draw inspiration from the War. National Myth and the First World War in Modern Popular Music takes an inter-disciplinary approach that locates popular music within the framework of 'memory studies' and analyses how songwriters are influenced by their country's 'national myths'. How does popular music help form memory and remembrance of such an event? Why do some songwriters stick rigidly to culturally dominant forms of memory whereas others seek an oppositional or transnational perspective? The huge range of musical examples include the great chansonniers Jacques Brel and Georges Brassens; folk maestros including Al Stewart and Eric Bogle; the socially aware rock of The Kinks and Pink Floyd; metal legends Iron Maiden and Bolt Thrower and female iconoclasts Diamanda Galas and PJ Harvey.

ABRSM's official Music Theory Practice Papers 2021 are essential resources for candidates preparing for our online Music Theory exams. They provide authentic practice material and are a reliable guide as to what to expect in the exam. - Essential practice material for ABRSM Grade 1 Theory exams - Model answers also available

This monograph offers a unique analysis of social protest in popular music. It presents theoretical descriptions, methodological tools, and an approach that encompasses various fields of musicology, cultural studies, semiotics, discourse analysis, media studies, and political and social sciences. The author argues that protest songs should be taken as a musical genre on their own. He points out that the general approach, when discussing these songs, has been so far that of either analyzing the lyrics or the social context. For some reason, the music itself has been often overlooked. This book attempts to fill this gap. Its central thesis is that a complete overview of these repertoires demands a thorough interaction among contextual, lyrical, and musical elements together. To accomplish this, the author develops a novel model that systemizes and investigates musical repertoires. The model is then applied to four case studies, those, too, chosen among topics that are little (or not at all) frequented by scholars.

Discovering Music Theory is a suite of workbooks and corresponding answer books that offers all-round preparation for the updated ABRSM Music Theory exams from 2020, including the new online papers. This full-colour workbook will equip students of all ages with the skills, knowledge and understanding required for the ABRSM Grade 4 Music Theory exam. Written to make theory engaging and relevant to developing musicians of all ages, it offers: - straightforward explanations of all new concepts - progressive exercises to build skills and understanding, step by step - challenge questions to extend learning and develop music-writing skills - helpful tips for how to approach specific exercises - ideas for linking theory to music listening, performing and instrumental/singing lessons - clear signposting and progress reviews throughout - a sample practice exam paper showing you what to expect in the new style of exams from 2020 As well as fully supporting the ABRSM theory syllabus, Discovering Music Theory provides an excellent resource for anyone wishing to develop their music literacy skills, including GCSE and A-Level candidates, and adult learners.