Reform, Notation and Ottoman Music in Early 19th Century Istanbul: EUTERPE presents the first complete set of transcription and edition of Euterpe (1830) from Byzantine neumatic notation into the modified staff notation used by classical Turkish music and is accompanied by a substantial examination of the related historical, theoretical and musical topics. Through a series of Ottoman/Turkish classical vocal music compositions that can be dated to the 18th and 19th centuries, Euterpe and related sources reinforce a much broader picture of musical practice and transmission in which we clearly see that the Greek and Turkish traditions are linked. Reform, Notation and Ottoman Music in Early 19th Century Istanbul is presented in two parts: historical discussion and musical analysis, and complete transcription and edition of Euterpe. This book will appeal to music scholars and university students interested in minorities, cosmopolitanism in the Middle East and Balkans, the relationship between music and national identity, musical notation, classical Ottoman/Turkish music, Byzantine music, and, most significantly, ethnomusicology.

Created for introductory courses in basic music theory and harmonic practice, Part 1 of this self-paced, auto-instructional standalone text that comes in two volumes has become a "classic" in the field. Since the students work independently through the programmed format of the text, instructors can concentrate on the more creative aspects of their course. From the wealth of clearly laid-out lessons and exercises, students receive continual feedback and reinforcement as they work through the sequence at their own pace. Note: A set of musical examples on compact discs is available with each of the volumes if you order the ISBN's listed below, . ISBN 0205691056 / 9780205691050 Harmonic Materials in Tonal Music: A Programmed Course, Part 1 with Audio CD *Package consists of: 0205629717 / 9780205629718 Harmonic Materials in Tonal Music: A Programmed Course, Part 1 0205629725 / 9780205629725 Audio CD for Harmonic Materials in Tonal Music, Part 1 ISBN 020563818X / 9780205638185 Harmonic Materials in Tonal Music: A Programmed Course, Part 2 with CD *Package consists of 020562975X / 9780205629756 Harmonic Materials in Tonal Music: A Programmed Course, Part 2 0205629768 / 9780205629763 CD for Harmonic Materials in Tonal Music, Part 2

In recent years Hugo Riemann's ideas have thoroughly captured the music-theoretical imagination, both in the United States and abroad. Neo-Riemannian theory has proven particularly adept at explaining features of chromatic music where other theoretical approaches have failed, and thereby established itself as the leading theoretical approach of our time. The Oxford Handbook of Neo-Riemannian Music Theories brings together an international group of leading proponents of Riemannian and neo-Riemannian theory for a thoroughgoing exploration of the music-analytical, systematic, and historical aspects of this important new field. The volume elucidates key aspects of the field, draws connections between Riemann's original ideas and current thought, and suggests new applications and avenues for further study. A number of essays suggest connections to other fields of inquiry, such as cognitive and mathematical music theory, as well as applications in the field of metric or melodic analysis. The selection of essays is complemented by several of Hugo Riemann's key original texts, many of which appear in English translation for the first time, and is rounded off by a glossary of key concepts for easy reference.

This volume is the first book-length study of hooks in popular music. Hooks - those memorable musical moments for listeners such as a riff or catchy melodic phrase - are arguably the guiding principle of much modern popular music. The concept of the hook involves aspects of melody, rhythm, harmony, production, lyrical and cultural meaning - and how these interact within a song's topline and backing track. Hooks are also inherently related to the human capacities for memory and attention, and interact with our previous experiences with music. Understanding hooks in popular music requires a new interdisciplinary approach drawing from popular music studies, pop musicology, and music psychology, and this book draws from each of these disciplines to understand the hooks present in a broad range of popular music styles from the last thirty years.

In Western Civilization Mathematics and Music have a long and interesting history in common, with several interactions, traditionally associated with the name of Pythagoras but also with a significant number of other mathematicians, like Leibniz, for instance. Mathematical models can be found for almost all levels of musical activities from composition to sound production by traditional instruments or by digital means. Modern music theory has been incorporating more and more mathematical content during the last decades. This book offers a journey into recent work relating music and mathematics. It contains a large variety of articles, covering the historical aspects, the influence of logic and mathematical thought in composition, perception and understanding of music and the computational aspects of musical sound processing. The authors illustrate the rich and deep interactions that exist between Mathematics and Music.

First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

'Exhilarating' - Sunday Times 'Funny and moving' - Jarvis Cocker Music critic and writer Paul Morley weaves together memoir and history in a spiralling tale that establishes classical music as the most rebellious genre of all. Paul Morley had stopped being surprised by modern pop music and found himself retreating into the sounds of artists he loved when, as an emerging music journalist in the 70s, he wrote for NME. But not wishing to give in to dreary nostalgia, endlessly circling back to the bands he wrote about in the past, he went searching for something new, rare and wondrous - and found it in classical music. A soaring polemic, a grumpy reflection on modern rock, and a fan's love note, A Sound Mind rejects the idea that classical music is establishment; old; a drag. Instead, the book reveals this genre to be the most exciting and varied in music. A Sound Mind is a multi-layered memoir of Morley's shifting musical tastes, but it is also a compelling history of classical music that reveals the genre's rich and often deviant past - and, hopefully, future. Like a conductor, Morley weaves together timelines and timeframes in an orchestral narrative that declares the transformative and resilient power of classical music from Bach to Shostakovich, Brahms to Birtwistle, Mozart to Cage, travelling from eighteenth century salons to the modern age of Spotify. 'His passion for centuries of music - both celebrated and obscure - is infectious' - Irish Independent

Released in 1986, Hunters and Collectors' album Human Frailty is one of the most important Australian albums of the last two decades of the twentieth century. It was pivotal in the group's career and marked the group's move into pub rock. It is unashamedly concerned with love and desire. The album challenged traditional understandings of Australian masculinity while playing music to predominantly male audiences. No other Australian group would have dared, or indeed been able, to get their audience to roar 'You don't make me feel like a woman anymore,' the culminating line off Hunan Frailty's first track, and the first single taken from the album, "Say Goodbye". The second track on the album, "Throw Your Arms Around Me" has become an Australian standard, an anthem sung drunkenly more by women than men, in pubs, at weddings and similar occasions. Human Frailty is an album that transcended the critical categories of its time.

A Key Stage 3 book designed for pupils who find music theory difficult to understand and remember. The content is differentiated at three levels to cater for differing abilities and experience, and a corresponding teacher's resource pack is also available.

This book provides a broad introduction to the scientific and psychological study of music, exploring how music is processed by our brains, affects us emotionally, shapes our personal and cultural identities, and can be used in therapeutic and educational contexts. Why are some people tone deaf and others musical savants? What do our musical preferences say about our personality and the culture in which we were raised? Why do certain songs remind us so strongly of particular people, places, or events? How can music be therapeutically used to help those with autism, Parkinson's, and other medical conditions? The Science and Psychology of Music: From Beethoven at the Office to Beyonce at the Gym answers these and other questions. This book provides a broad and accessible introduction to the fascinating field of music psychology. Despite its name, music psychology includes a number of fields, including neuroscience, psychology, social psychology, sociology, and health. Through a collection of thematically organized chapters, readers will discover how our brains recognize elements of music, how music can affect us and shape our identities, and the many real-world applications for such information. Explores a topic that is of great interest to both psychology students and the general public through accessible and engaging content Provides a conceptual framework for readers and through a multi-part format allows them to focus their attention on their particular areas of interest Furthers readers' understanding of how music can affect our wellbeing as it includes both our physical and psychological health Reflects the subject knowledge of contributing experts in a wide variety of academic disciplines

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

This pathbreaking study reveals Purcell's extensive use of symmetry and reversal in his much-loved trio sonatas, and shows how these hidden structural processes make his music multilayered and appealing. Purcell's trio sonatas are among the cornerstones of Baroque chamber music. The composer himself unassumingly described them as "a just imitation of the most famed Italian masters." However, analysis of their underlying structuresreveals that Purcell's modesty hides a highly original blend of Italian models, complex English traditional compositional devices, and his own near obsession with compositional and contrapuntal technique. Alon Schab'spathbreaking Sonatas of Henry Purcell: Rhetoric and Reversal begins with an overview of the two sets of sonatas and their sources, their movement types, and some of the basic compositional and rhetorical procedures they demonstrate. The book's main part highlights several covert structures that are not necessarily heard but are consistent and played an important part in the compositional process. Symmetry, both temporal and spatial, governs much ofthese underlying structures. Beneath the surface of his studies in Italian style, Purcell created intricate correspondences between the micro and macro levels of the works, as well as unities of proportions and, above all, impressive mirrorlike structures. Schab's book opens an important window to seventeenth-century compositional technique and offers further evidence of Purcell's use of advanced compositional techniques in works that aimed to be pleasurable for the amateur and excitingly thought-provoking for the professional. Alon Schab is a lecturer at the University of Haifa.

In this newly revised book On Sonic Art, Trevor Wishart takes a wide-ranging look at the new developments in music-making and musical aesthetics made possible by the advent of the computer and digital information processing. His emphasis is on musical rather than technical matters. Beginning with a critical analysis of the assumptions underlying the Western musical tradition and the traditional acoustic theories of Pythagoras and Helmholtz, he goes on to look in detail at such topics as the musical organization of complex sound-objects, using and manipulating representational sounds and the various dimensions of human and non-human utterance. In so doing, he seeks to learn lessons from areas (poetry and sound-poetry, film, sound effects and animal communication) not traditionally associated with the field of music.
About the Author
Trevor Wishart is a composer, living and working in the North of England. His musical works cover a wide range, from environmental music events staged in spe

For courses in Music Theory A text/workbook combination that gives students the tools to understand harmonic structures With an emphasis on learning by doing, The Practice of Harmony, Seventh Edition takes students from music fundamentals through harmony in common practice to some of the more important harmonic procedures of the 20th century. Its approach is "additive" - enabling students to use what was learned in one chapter to understand material in the next - to minimize rote memorization, since students repeatedly use the concepts throughout the semester. The text begins with an overview of music fundamentals; the middle addresses the use of harmony in common practice; and the concluding section offers a basic glimpse of the harmonic practices of the 20th century. The authors intentionally avoid elaborate descriptions of their conceptual framework and refrain from specifying instructional methods, thereby allowing instructors a wide spectrum of teaching approaches in the classroom. NOTE: This ISBN is for a Pearson Books a la Carte edition: a convenient, three-hole-punched, loose-leaf text. In addition to the flexibility offered by this format, Books a la Carte editions offer students great value, as they cost significantly less than a bound textbook.

Prince's position in popular culture has undergone only limited academic scrutiny. This book provides an academic examination of Prince, encompassing the many layers of his cultural and creative impact. It assesses Prince's life and legacy holistically, exploring his multiple identities and the ways in which they were manifested through his recorded catalogue and audiovisual personae. In 17 essays organized thematically, the anthology includes a diverse range of contributions - taking ethnographic, musicological, sociological, gender studies and cultural studies approaches to analysing Prince's career.

In addition, "The Tone Clock" contains a broad selection of Peter Schat's polemical writings, embracing historical, political, aesthetic and environmental perspectives. His book is not just of interest to composers, but it also provides a valuable insight for anyone interested in the development of twentieth-century music.
Peter Schat, a former pupil of Pierre Boulez, exposes more than a new theory of music in "The Tone Clock." Although he is a long-experienced serialist composer, in devising and using his tone clock system he has reached the clarity and simplicity which comprise two of his major compositional aims. His book, profusely illustrated with clearly analysed musical examples, will enable other composers to achieve similar aims in their own way, while remaining faithful to their own musical personalities.
A former pupil of Pierre Boulez, Peter Schat is a well-known Dutch contemporary serialist composer.

An appreciation of music depends on several factors: the ability to understand differences in musical style, past and present; the reasoning behind the exploration, development and acceptance of new resources for music; the performer's attitudes toward interpretation; and the investigations and general critical writings of scholars.
With 56 articles by musicologists, composers, performers, music sociologists and educators from around the world, the "Companion" presents the most comprehensive survey of current musical thought.
The "Companion" sheds light on all aspects of music scholarship and practice. Its volumes provide a fascinating cross-section of ideas which will undoubtedly stimulate much study and debate. Compiled by leading figures of the international music community under a prestigious editorial team, the "Companion" reflects today's attitudes and practices in one, unified source.
The "Companion" is organized in four parts, which examine cultural, technological, structural and performance practice viewpoints. "Part One" examines the relationship between people and music; the second presents a unique exploration and analysis of music and modern technology. In the third part, the structure of music is explained, including the very latest research in core concepts. The final section covers the complex issues of interpretation, looking at how present-day performers and scholars should approach the instruments and performers of the past.
Written in an accessible style, the "Companion" brings a wider understanding of music to it readers, and addresses key curriculum questions for the future. The extensive index, glossary, and bibliographies encourage the readerto explore music from a variety of angles, and to develop a detailed knowledge of this fascinating discipline. The "Companion" will be an invaluable textfor both music enthusiasts and amateur music-makers.

It has often been claimed, and frequently denied, that music derives some or all of its artistic value from the relations in which it stands to the emotions. This book presents and subjects to critical examination the chief theories about the relationship between the art of music and the emotions.

eBook available with sample pages: 0203420217

This book deals with the complex cognitive processes involved in understanding two "horizontal" aspects of music perception, melody and rhythm, both separately and together. Focusing on the tonal framework for pitch material in melodies, the first section provides evidence that mere exposure to music organized in a particular way is sufficient to induce the auditory system to prepare itself to receive further input conforming to the patterns already experienced. Its chapters also offer evidence concerning elaborations of those basic schemes that come about through specialized training in music. Continuing themes from the first section -- such as the hypothesis that melodies must be treated as integral wholes and not mere collections of elements -- the second section discusses the integration of melody and rhythm. In these chapters there is an underlying concern for clarifying the relation -- central to aesthetic questions -- between physical patterns of sound energy in the world and our psychological experience of them. The chapters in the third section provide excellent examples of the new, scientific literature that attempts to objectively study early musical abilities. Their data establish that infants and young children are far more perceptive and skilled appreciators of music than was thought a decade ago.

This volume brings together articles written between 1909 and 1983 on the history, definitions, and scope of ethnomusicology, providing multiple perspectives of the changing ways in which ethnomusicologists have viewed themselves and others during the first century of ethnomusicological activity.

Experiencing Music Composition in Grades K-2 is designed to help teachers and students create original music through materials and activities that are enticing and accessible. The text offers an innovative approach to composition teaching and learning to promote the development of the compositional capacities of feelingful intention, musical expressivity, and artistic craftsmanship. With instructional materials aligned to real world tasks from the genres of songwriting/choral music, composition and visual media, instrumental music, electronic music and digital media, and music theater, program activities easily fit into existing curricular frames. Students will transition from participation in teacher-facilitated whole class lessons to more independent compositional work using Sketchpages to guide their critical and creative thinking. These unique graphic organizers blend elements of the composer's notebook with doodle space to help students plan compositions, track their thinking through the compositional process, and document their analysis of completed works. They can also be projected in full color from the website for the book.

A performance culture of illness and wellness In southern Uganda, ritual healing traditions called kusamira and nswezi rely on music to treat sickness and maintain well-being. Peter J. Hoesing blends ethnomusicological fieldwork with analysis to examine how kusamira and nswezi performance socializes dynamic processes of illness, wellness, and health. People participate in these traditions for reasons that range from preserving ideas to generating strategies that allow them to navigate changing circumstances. Indeed, the performance of kusamira and nswezi reproduces ideas that remain relevant for succeeding generations. Hoesing shows the potential of this social reproduction of well-being to shape development in a region where over 80 percent of the population relies on traditional healers for primary health care.Comprehensive and vivid with eyewitness detail, Kusamira Music in Uganda offers insight into important healing traditions and the overlaps between expressive culture and healing practices, the human and other-than-human, and Uganda's past and future.