In the mid 1920s, Jerome Kern and Oscar Hammerstein II wrote a song called "Ol' Man River" that combined the seriousness of a Negro spiritual with the crowd-pleasing power of a Broadway anthem. Inspired, according to Kern, by the voice of the African American singer Paul Robeson, "Ol' Man River" went on to great success in the Broadway musical Show Boat and became a signature song for Robeson, who turned the tune towards his own goals as an activist. But the story of "Ol' Man River" goes deeper than the curiosity of a song recorded by so many in so many different ways. For at the heart of Oscar Hammerstein's lyric is a clear-eyed vision of the black experience in American history. Anyone-black or white-who thought they should sing "Ol' Man River" has had to deal with the charged racial content of the song. Who Should Sing "Ol' Man River"? traces this aspect of "Ol' Man River's" course through American history, an at-times high-stakes journey where the African American struggle for dignity and equality came down to the lyrics of a popular song. However beyond Robeson and Show Boat, "Ol' Man River" also had a long and rich life in the world of popular music. An astonishing variety of singers and musicians from across the musical spectrum-from pop to jazz, opera to doo wop, rhythm and blues to gospel to reggae-all chose to perform or record it. Who Should Sing "Ol' Man River"?: The Lives of an American Song traces out the performance history of this remarkable song by listening closely to over two hundred recorded and filmed versions dating from the song's debut in 1927 to the present. Many famous pop singers made "Ol' Man River" a signature song; among them Bing Crosby, Frank Sinatra, and Judy Garland: white performers who took up a lyric told from the black perspective. Important jazz artists such as Bix Biederbecke, Duke Ellington, Dave Brubeck, Count Basie, and Keith Jarrett all played it. Opera singers-black and white, male and female-took it up as well. And a slew of surprising names from the first decades of rock and roll also recorded this inescapable tune, among them Sam Cooke, Ray Charles, Aretha Franklin, the Temptations, Cher, and Rod Stewart.

Designed to coordinate page-by-page with Lesson Book 1B. Contains enjoyable games and quizzes that reinforce the principles presented in the Lesson Book. Students can increase their musical understanding while they are away from the keyboard.

From Afro Sheen to Theaster Gates and from Soul Train to Chance the Rapper, Black Chicago draws sustenance from a culture rooted in self-determination, aspiration, and hustle. In Energy Never Dies, Ayana Contreras embarks on a journey to share the implausible success stories and breathtaking achievements of Black Chicago's artists and entrepreneurs. Past and present generations speak with one another, maintaining a vital connection to a beautiful narrative of Black triumph and empowerment that still inspires creativity and pride. Contreras weaves a hidden history from these true stories and the magic released by undervalued cultural artifacts. As she does, the idea that the improbable is always possible emerges as an indestructible Afro-Optimism that binds a people together. Passionate and enlightening, Energy Never Dies uses the power of storytelling to show how optimism and courage fuel the dreams of Black Chicago.

A musical phrase, or, for that matter, a musical unit of any size or shape, becomes an image whenever we imagine it to be invested with a content whose origins lie outside music. Such a content, according to the theory developed here, constitutes the image's conventional significance; it accounts for whatever strikes us about the image as having a common and familiar ring. That being so, the origins in question must be coincident with the fundamental ideas--the archetypes--that have been traditionally represented as underlying and unifying Western culture. As the theoretical constructs they are, arehctypes are never encountered directly. It is in the form of their local variants that we make contact with the archetypes, and it is at this local level that the present book sets its sights: style, the typical or shared element in the musical imagery of a time and place, is studies as a function of Zeitgeist, the complex of beliefs, values, and ideals of a community. The approach is both thematic and historical, in keeping with a key objective of archetypal criticism. Far from repudiating the popular notion that music expresses the human emotions, this study attempts to recast emotion theory by examining musical images for kinds of behavior from which we may infer not only emotion (pathos, effectus) but also personality (ethos). Ethical and affective distinctions are very sharply drawn, in an effort to clarify and widen the vocabulary of musical commentary, as well as to provide cultural and historical backing for contents long considered the cliches of musical expression.

Bela Bartok (1881-1945) was one of the most important composers and musical thinkers of the 20th century. His contributions as a composer, as a performer and as the father of ethnomusicology changed the course of music history and of our contemporary perception of music itself. At the center of Bartok's oeuvre are his string quartets, which are generally acknowledged as some of the most significant pieces of 20th century chamber music. The String Quartets of Bela Bartok brings together innovative new scholarship from 14 internationally recognized music theorists, musicologists, performers, and composers to focus on these remarkable works from a range of theoretical and methodological perspectives. Focusing on a variety of aspects of the string quartets-harmony and tonality, form, rhythm and meter, performance and listening-it considers both the imprint of folk and classical traditions on Bartok's string quartets, and the ways in which they influenced works of the next generation of Hungarian composers. Rich with notated music examples the volume is complemented by an Oxford Web Music companion website offering additional notated as well as recorded examples. The String Quartets of Bela Bartok, reflecting the impact of the composer himself, is an essential resource for scholars and students across a variety of fields from music theory and musicology, to performance practice and ethnomusicology.

A compiled set of studies in the contrapuntal style of harmony.

Traditional music education centered around the ensemble classroom has often privileged reading music and instrumental technique over creative skills such as composition, improvisation, and learning by ear. As the technological landscape of students' everyday lives rapidly shifts, what schools teach rarely aligns with students' more creative day-to-day lives outside of the classroom. While administrators and state education standards often encourage incorporating creative technologies into the music curriculum, many music teachers lack the training to successfully utilize these tools and platforms. In Technology for Unleashing Creativity, author Steve Giddings provides a practical and easily accessible resource for in-service and pre-service K-12 teachers looking to make better use of technology in their teaching and help heighten students' creativity. One of few authors to tackle both issues simultaneously, Giddings offers a guide for inspiring creativity in students through tools like YouTube learning, notation technology, DAWs, electronic instruments, online pedagogical platforms, and more. A technology-driven approach to music education has never been timelier. COVID-19 has significantly disrupted the business-as-usual of educational institutions, and music educators especially have adapted to teaching remotely. Via practical tips, visual diagrams, and lesson plan ideas, Technology for Unleashing Creativity walks music teachers through the core aspects of using technology in their classrooms-in-person and remote-offering a definitive guide to creativity and technology in K-12 music education.

This volume of essays draws together recent work on historical music theory of the Renaissance. The collection spans the major themes addressed by Renaissance writers on music and highlights the differing approaches to this body of work by modern scholars, including: historical and theoretical perspectives; consideration of the broader cultural context for writing about music in the Renaissance; and the dissemination of such work. Selected from a variety of sources ranging from journals, monographs and specialist edited volumes, to critical editions, translations and facsimiles, these previously published articles reflect a broad chronological and geographical span, and consider Renaissance sources that range from the overtly pedagogical to the highly speculative. Taken together, this collection enables consideration of key essays side by side aided by the editor's introductory essay which highlights ongoing debates and offers a general framework for interpreting past and future directions in the study of historical music theory from the Renaissance.

This volume gathers together a cross-section of essays and book chapters dealing with the ways in which musicians and their music have been pressed into the service of political, nationalist and racial ideologies. Arranged chronologically according to their subject matter, the selections cover Western and non-Western musics, as well as art and popular musics, from the eighteenth century to the present day. The introduction features detailed commentaries on sources beyond those included in the volume, and as such provides an invaluable and comprehensive reading list for researchers and educators alike. The volume brings together for the first time seminal articles written by leading scholars, and presents them in such a way as to contribute significantly to our understanding of the use and abuse of music for ideological ends.

The study of musical composition has been marked by a didactic, technique-based approach, focusing on the understanding of musical language and grammar -harmony, counterpoint, orchestration and arrangement - or on generic and stylistic categories. In the field of the psychology of music, the study of musical composition, even in the twenty-first century, remains a poor cousin to the literature which relates to musical perception, music performance, musical preferences, musical memory and so on. Our understanding of the compositional process has, in the main, been informed by anecdotal after-the-event accounts or post hoc analyses of composition. The Act of Musical Composition: Studies in the Creative Process presents the first coherent exploration around this unique aspect of human creative activity. The central threads, or key themes - compositional process, creative thinking and problem-solving - are integrated by the combination of theoretical understandings of creativity with innovative empirical work.

Choral Sight Reading provides a practical and organic approach to teaching choral singing and sight-reading. The text is grounded in current research from the fields of choral pedagogy, music theory, music perception and cognition. Topics include framing a choral curriculum based on the Kodaly concept; launching the academic year for beginning, intermediate, and advanced choirs; building partwork skills; sight-reading; progressive music theory sequences for middle to college level choirs; teaching strategies; choral rehearsal plans as well as samples of how to teach specific repertoire from medieval to contemporary choral composers. This volume includes basic and advanced music theory concepts to develop fluent sight-reading skills for reading standard choral repertoire, providing examples for the process outlined in Chapters 6-8 of Volume 1 (Choral Artistry). This guide provides choral directors with a choral curriculum and choral rehearsal models that place performance, audiation, partwork, music theory, and sight-signing skills at the heart of the choral experience, through a 'sound thinking' approach to teaching that results in greater efficiency in creating independent choral singers with a well-rounded repertoire.

Rhythm and Transforms is a book that explores rhythm in music, its structure and how we perceive it. The book will be bought by engineers interested in acoustic signal processing as well as musicians, composers and computer scientists. Anyone interested in the scientific basis of music from psychologists to the designers of electronic musical instruments will be interested in this book.

In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what is the body expressed in electronic music then? The authors of this book reveal composers, performers, improvisers and listeners bodies, as well as the works and technologies figurative bodies as a rich source of expressive articulation. Bringing together humanities scholarship and musical arts contingent upon new media, the contributors offer inspiring thought and critical reflection for all those seriously engaged with the aesthetics of electronic music, interactive performance, and the body 's role in aesthetic experience and expression. Performativity is not only seen as being reclaimed in live electronic music, interactive arts, and installations; it is also exposed as embodied in the music and the listeners themselves.

Teaching Music for Social Justice offers a fresh, innovative approach to teaching general music. This book is a timely collection of lesson plans and units that artfully blend music making with relevant issues of social justice. Particularly accessible to middle and high school classroom music teachers, it includes a companion website with links to all of the music listening and videos. Authors Lisa C. DeLorenzo and Marissa Silverman, accomplished music educators with extensive careers thinking about the relationship between music education and social justice, have composed student-centered lessons with thoughtful discussion prompts, experiences with diverse genres and styles of music, and technology-integrated music making projects that will activate students' creativity and empathy. Unit topics-ranging from "War" to "Climate Change"-include cross-disciplinary lessons with the arts playing a central role in developing understanding. Well-researched introductory materials as well as "how-to" guides for topics, such as "composing in the classroom," make the text especially practical and approachable. This book is an essential resource, with ready-to-go lessons and classroom materials. Music teachers will now have a unique, new lens for engaging students in purposeful music making toward social justice.

Metaphysics and Music in Adorno and Heidegger explains how two notoriously opposed German philosophers share a rethinking of the possibility of metaphysics via notions of music and waiting. This is connected to the historical materialist project of social change by way of the radical Italian composer Luigi Nono.

Listen to Soul! Exploring a Musical Genre provides an overview of soul music for fans of the genre, with a focus on 50 must-hear singers, songs, and albums that define it. Listen to Soul! Exploring a Musical Genre provides both an overview and a critical analysis of what makes soul music in the United States. A list of 50 songs, albums, and musicians includes many of the best-known hits of the past and present as well as several important popular successes that are not necessarily on the "best-of" lists in other books. Like the other books in this series, this volume includes a background chapter followed by a chapter that contains 50 critical essays on must-hear albums, songs, and singers, approximately 1,500 words each. Chapters on the impact of soul music on popular culture and the legacy of the genre further explain the impact of these seminal compositions and musicians. This volume additionally includes a greater focus on soul music as a genre, making it a stand-out title on the topic for high school and college readers. Allows readers to quickly get a sense of the history of soul music in a broad overview Delves into critical analysis of 50 songs, albums, and musicians that define the genre Broadens the definition of what is considered soul music Discusses the impact on popular culture and legacy of soul music

This book is an intellectual and cultural history about one of the most striking phenomena in all of nineteenth-century culture-namely, the interaction of nationalism and music. Nearly all the nation-building movements that swept across Europe in that century found some of their most influential and lasting expressions through the art of nationalist composers who took an active part in those movements. The political, intellectual, and artistic story behind some of the greatest musical works of the time and the artists who created them is the book's focus. Beginning with a theoretical explanation of the relationship between nationalism and music, three composers then come forward to stand at the center of the analysis: Richard Wagner in Gemany, Bedrich Smetana in the Czech lands, and Edvard Grieg in Norway. Their political and artistic projects to create a national music for their countries are the topic of the second chapter. The third chapter explores in detail the essential role that folk music played in nationalism as an attempt to fuse artistically the urban and rural populations into one national whole. The fourth chapter discusses the conflicts within nationalist movements over foreign artistic influence on the national culture. The international dimensions of nationalist music are the subject of the fifth chapter, examining Wagner's, Smetana's, and Grieg's aspirations for their art to represent their nations to the world. Finally, the concluding chapter offers a sweeping overview of nationalist composers and their works for a probing historical summary of music's contribution to nation building. As one of the very few broad, comparative studies of nationalist music, Music Makes the Nation is an essential resource for students and scholars in history and musicology. In addition, as a groundbreaking analysis of the socio-political functions of nationalist music, the book will be of interest to those studying nationalism and political science.

Stereo is everywhere. The whole culture and industry of music and sound became organized around the principle of stereophony during the twentieth century. But nothing about this-not the invention or acceptance or ubiquity of stereo-was inevitable. Nor did the aesthetic conventions, technological objects, and listening practices required to make sense of stereo emerge fully formed, out of the blue. This groundbreaking book uncovers the vast amount of work that has been required to make stereo seem natural, and which has been necessary to maintain stereo's place as a dominant mode of sound reproduction for over half a century. The essays contained within this book are thematically grouped under (Audio) Positions, Listening Cultures, and Multichannel Sound and Screen Media; the cumulative effect is to advance research in music, sound, and media studies and to build new bridges between the fields. With contributions from leading scholars across several disciplines, Living Stereo re-tells the history of twentieth-century aural and musical culture through the lens of stereophonic sound.

This book presents a comprehensive view of children's musical artistry and how to develop it in both the music classroom and children's chorus. Presenting the musical mind as the gateway to children's artistry, and addressing the power of movement in its embodiment and advancement, author Mary Ellen Pinzino shows how song-rhythm, melody, and text, independently and together-influence children's developing artistry musically, expressively, and vocally at every level. Accordingly, she also offers a multitude of specific songs that inspire children's artistry, all in various tonalities and meters and on a continuum of increasing difficulty. Keeping the need for practical application in mind, Pinzino offers materials for implementation with children from kindergarten through seventh grade, as well as guidance for professional development. Content can be applied alongside any pedagogical methodology, as well as with older singers in the process of developing their own artistry. In short, this book makes the intangibles of children's artistry more tangible. It enables music teachers and choral conductors to draw artistry out of every child and draw every child into the choral art. It summons music teachers and choral conductors to bring artistry to the forefront of every music class and choral rehearsal-and to the forefront of the field of music education as a whole.

This book explores historical and philosophical connections between music, leisure, and education. Specifically, it considers how music learning, teaching, and participation can be reconceptualized in terms of leisure. Taking as its starting point "the art of living" and the ethical question of how one should live, the book engages a wide range of scholarship to problematize the place of non-professional music-making in historical and contemporary (Western) conceptions of the good life and the common good. Part I provides a general background on music education, school music, the work ethic, leisure studies, recreation, play, and conduct. Part II focuses on two significant currents of thought and activity during the Progressive Era in the United States, the settlement movement and the recreation movement. The examination demonstrates how societal concerns over conduct (the "threat of leisure") and differing views on the purpose of music learning and teaching led to a fracturing between those espousing generalist and specialist positions. The four chapters of Part III take readers through considerations of happiness (eudaimonia) and the good life, issues of work-life balance and the play spirit, leisure satisfaction in relation to consumerism, individualism, and the common good, and finally, parenting logics in relation to extracurriculars, music learning, and serious leisure.