Finding the Beat explores humankind’s ability, propensity, and enjoyment in finding the beat in live and recorded experiences of music-making through the lens of entrainment, the human capacity to perceive a beat and to synchronize to it. Anyone who has attended a concert, gone to a club, or watched a sporting event has witnessed and/or participated in tapping, clapping, or dancing along with a piece, song, or chant. It doesn’t matter who or where you are in the world—as humans we spend a lot of time taking pleasure in matching our bodily movements with a perceived beat. Drawing upon diverse examples from the North American and British rock repertoire, Nathan Hesselink demonstrates that listeners are gripped in deep, compelling, and socially meaningful ways when musicians play with or against expectations set up by entrainment. Via musicology, music theory, popular music studies, ethnomusicology, and cognitive neuroscience, he illustrates the creative, aesthetic, and participatory pleasure and wonder afforded by our collective ability to find the beat.

Distinguished music theorist and composer David Lewin (1933-2003) applies the conceptual framework he developed in his earlier, innovative Generalized Musical Intervals and Transformations to the varied repertoire of the twentieth century in this stimulating and illustrative book. Analyzing the diverse compositions of four canonical composers--Simbolo from Dallapiccola's Quaderno musicale di Annalibera; Stockhausen's Klavierstuck III; Webern's Op. 10, No. 4; and Debussy's Feux d'articifice --Lewin brings forth structures which he calls "transformational networks" to reveal interesting and suggestive aspects of the music. In this complementary work, Lewin stimulates thought about the general methodology of musical analysis and issues of large-scale form as they relate to transformational analytic structuring. Musical Form and Transformation, first published in 1993 by Yale University Press, was the recipient of an ASCAP Deems Taylor Award.

Immersion is the new orthodoxy. Within the production, curation and critique of sound art, as well as within the broader fields of sound studies and auditory culture, the immersive is routinely celebrated as an experiential quality of sound, the value of which is inherent yet strengthened through dubious metaphysical oppositions to the visual. Yet even within the visual arts an acoustic condition grounded in Marshall McLuhan's metaphorical notion of acoustic space underwrites predispositions towards immersion. This broad conception of an acoustic condition in contemporary art identifies the envelopment of audiences and spectators who no longer perceive from a distance but immanently experience immersive artworks and environments. Immanence and Immersion takes a critical approach to the figures of immersion and interiority describing an acoustic condition in contemporary art. It is argued that a price paid for this predisposition towards immersion is often the conceptual potency and efficacy of the work undertaken, resulting in arguments that compound the marginalisation and disempowerment of practices and discourses concerned with the sonic. The variously phenomenological, correlational and mystical positions that support the predominance of the immersive are subject to critique before suggesting that a stronger distinction between the often confused concepts of immersion and the immanence might serve as a means of breaking with the figure of immersion and the circle of interiority towards attaining greater conceptual potency and epistemological efficacy within the sonic arts.

How do musical analysis and performance relate? In a unique collaborative approach to this question, theorist-pianist Daphne Leong partners with internationally renowned performers to interpret twentieth-century repertoire. Imaginative explorations of music by Ravel, Schoenberg, Bartok, Schnittke, Milhaud, Messiaen, Babbitt, Carter, and Morris illuminate focal issues such as the role of embodiment, the affordances of a score, the cultural understanding of notation, the use of metaphor, and - to round out the viewpoints of theorist and performers with those of composer and listeners - the role of structure in audience reception. Each exploration engages deeply with musical structure, redefined to encompass the creative activity of composers, performers, analysts, and listeners. Performances, demonstrations, and interviews online complement the book's written text; practical application and pedagogical guidance round out theoretical and analytical content. The collaborations themselves demonstrate different dimensions of knowledge at the intersection of analysis and performance, and illustrate Leong's theory of the things and people that facilitate cross-disciplinary collaboration in music. They also exemplify the antagonisms and synergies that emerge when theorists and performers meet. Both flexibly and rigorously conceived, Performing Knowledge is a brave crossing of disciplinary divides between scholarship and practice, a work of analysis shaped by the voices of performers.

In the first book to examine the overlooked relationship between musical improvisation and philosophical hermeneutics, Sam McAuliffe asks: what exactly is improvisation? And how does it relate to our being-in-the-world? Improvisation in Music and Philosophical Hermeneutics answers these questions by investigating the underlying structure of improvisation. McAuliffe argues that improvising is best understood as attending and responding to the situation in which one find itself and, as such, is essential to how we engage with the world. Working within the hermeneutic philosophical tradition - drawing primarily on the work of Martin Heidegger, Hans-Georg Gadamer, and Jeff Malpas - this book provides a rich and detailed account of the ways in which we are all already experienced improvisers. Given the dominance of music in discussions of improvisation, Part I of this book uses improvised musical performance as a case study to uncover the ontological structure of improvisation: a structure that McAuliffe demonstrates is identical to the structure of hermeneutic engagement. Exploring this relationship between improvisation and hermeneutics, Part II offers a new reading of Gadamer's philosophical hermeneutics, examining the way in which Gadamer's accounts of truth and understanding, language, and ethics each possess an essentially improvisational character. Working between philosophy and music theory, Improvisation in Music and Philosophical Hermeneutics unveils the hermeneutic character of musical performance, the musicality of hermeneutic engagement, and the universality of improvisation.

A History of Western Choral Music explores the various genres, key composers, and influential works essential to the development of the western choral tradition. Author Chester L. Alwes divides this exploration into two volumes which move from Medieval music and the Renaissance era up to the 21st century. Volume II begins at the transition from the Classical era to the Romantic, with an examination of the major genres common to both periods. Exploring the oratorio, part song, and dramatic music, it also offers a thorough discussion of the choral symphony from Beethoven to Mahler, through to the present day. It then delves into the choral music of the twentieth century through discussions of the major compositional approaches and philosophies that proliferated over the course of the century, from impressionism to serialism, neo-classicism to modernism, minimalism, and the avant-garde. It also considers the emerging tendency towards nationalistic composition amongst composers such as Bartok and Stravinsky, and discusses in great detail the contemporary music of the United States, and Great Britain. Framing discussion within the political, religious, cultural, philosophical, aesthetic, and technological contexts of each era, A History of Western Choral Music offers readers specialized insight into major composers and works while providing a cohesive understanding of choral music's place in Western history.

This book looks at the historic and contemporary links between music's connection to emotions and men's supposed discomfort with their own emotional experience. Looking at music tastes and distaste, it demonstrates how a sociological analysis of music and gender can actually lead us to think about emotions and gender inequalities in different ways.

Following methods known to have been adopted by Bach himself, the exercises provided in chorale harmonization are graded in such a way as to encourage the student to develop both technique and imagination within a closely-defined framework. The instrumental counterpoint section is based on Bach's two-and three-part Inventions. By close analysis the author helps the reader to recognize the procedures Bach adopted in various musical situations. The exercises are taken largely from Bach's keyboard works.

The idea of American musical theatre conjures up images of bright lights and big city, but its lifeblood is found in local and amateur productions at schools, community theatres, summer camps, and more. In Beyond Broadway, author Stacy Wolf considers the widespread presence and persistence of musical theatre in U.S. culture, and examines it as a live, pleasurable, participatory experience of creating, watching, and listening. Why does local musical theatre flourish in America? Why do so many Americans passionately engage in a century-old artistic practice that requires intense, person-to-person collaboration? Why do audiences flock to see musicals in their hometowns? How do corporations like Disney and Music Theatre International enable musical theatre's energetic movement through American culture? Touring from Maine to California, Wolf visits elementary schools, a middle school performance festival, afterschool programs, high schools, summer camps, state park outdoor theatres, community theatres, and dinner theatres, and conducts over 200 interviews with practitioners and spectators, licensors and Disney creatives. In Beyond Broadway, Wolf tells the story of musical theatre's abundance and longevity in the U.S. as a thriving, joyful activity that touches millions of lives.

When the story of modernity is told from a theological perspective, music is routinely ignored-despite its pervasiveness in modern culture and the manifold ways it has been intertwined with modernity's ambivalent relation to the Christian God. In conversation with musicologists and music theorists, this collection of essays shows that the practices of music and the discourses it has generated bear their own kind of witness to some of the pivotal theological currents and counter-currents shaping modernity. Music has been deeply affected by these currents and in some cases may have played a part in generating them. In addition, Jeremy Begbie argues that music is capable of yielding highly effective ways of addressing and moving beyond some of the more intractable theological problems and dilemmas which modernity has bequeathed to us. Music, Modernity, and God includes studies of Calvin, Luther, and Bach, an exposition of the intriguing tussle between Rousseau and the composer Rameau, and an account of the heady exaltation of music to be found in the early German Romantics. Particular attention is paid to the complex relations between music and language, and the ways in which theology, a discipline involving language at its heart, can come to terms with practices like music, practices which are coherent and meaningful but which in many respects do not operate in language-like ways.

With a discography of over 1000 songs, 20 musicals and three motion pictures, the Lebanese singer and performer, Fairouz, is an artist of pan-Arab appeal, who has connected with listeners from diverse backgrounds and geographies for over four often tumultuous decades. In this book, Dima Issa explores the role of Fairouz's music in creating a sense of Arab identity amidst changing political, economic context. Based on two years of research including 60 interviews, it takes an ethnographic approach, focussing on audience reception of Fairouz's music among the Arab diasporas of London and Doha. It shows that for discussants, talking about Fairouz meant discussing diasporic life, bringing to the surface notions of Arabness and authenticity, presence and absence, naturalization and citizenship, and the issue of gender. Conversations with the research respondents shed light on the idea of iltizam (commitment), or how members of the Arab diaspora hold on to attributes that they feel define and differentiate them from others.

Fifth-century Athenian musical and political theorist Damon was the first to study music's psychological, behavioural, and political effects, profoundly influencing debates on music theory throughout antiquity. Considered by Isokrates to be the most intelligent Athenian of his age, Damon worked alongside Perikles during the most vibrant decades of Athens' democracy. Probably using fourth-century BC sources, Olympiodoros records that 'Damon taught Perikles the songs through which Perikles harmonized the city'. However, musical and political entanglements caused this teacher-theorist to be ostracized from Athens for ten years, at the height of Perikles' power. Reconstructing Damon is the first comprehensive study of the most important theorist of music and poetic meter in ancient Athens, detailing his extensive influence, and providing the first systematic collection, translation, and critical examination of all ancient testimonia for him. In doing so, this volume makes an important contribution to a number of key fields, including classical Greek music and music theory, fifth-century philosophy (particularly the sophists), political history including the growth of democracy, and the life and career of Perikles.

A New Yorker Best Book of the Year The remarkable life of violinist and teacher Shinichi Suzuki, who pioneered an innovative but often-misunderstood philosophy of early childhood education-now known the world over as the Suzuki Method. The name Shinichi Suzuki is synonymous with early childhood musical education. By the time of his death in 1998, countless children around the world had been taught using his methods, with many more to follow. Yet Suzuki's life and the evolution of his educational vision remain largely unexplored. A committed humanist, he was less interested in musical genius than in imparting to young people the skills and confidence to learn. Eri Hotta details Suzuki's unconventional musical development and the emergence of his philosophy. She follows Suzuki from his youth working in his father's Nagoya violin factory to his studies in interwar Berlin, the beginnings of his teaching career in 1930s Tokyo, and the steady flourishing of his practice at home and abroad after the Second World War. As Hotta shows, Suzuki's aim was never to turn out disciplined prodigies but rather to create a world where all children have the chance to develop, musically and otherwise. Undergirding his pedagogy was an unflagging belief that talent, far from being an inborn quality, is cultivated through education. Moreover, Suzuki's approach debunked myths of musical nationalism in the West, where many doubted that Asian performers could communicate the spirit of classical music rooted in Europe. Suzuki touched the world through a pedagogy founded on the conviction that all children possess tremendous capacity to learn. His story offers not only a fresh perspective on early childhood education but also a gateway to the fraught history of musical border-drawing and to the makings of a globally influential life in Japan's tumultuous twentieth century.

The most wide-ranging and provocative look at punk rock as a social change movement told through firsthand accounts. Punk rock has been on the frontlines of activism since exploding on the scene in the 1970's. Punk Revolution! is the most wide-ranging and provocative look at punk rock as a social change movement over the past forty-five years, told through firsthand accounts of roughly 250 musicians and activists. John Malkin brings together a wide cast of characters that include major punk & post-punk musicians (members of The Ramones, Bad Religion, Crass, Dead Kennedys, Patti Smith's band, Gang of Four, Sex Pistols, Iggy & the Stooges, Bikini Kill, Talking Heads, The Slits, and more), important figures influenced by the punk movement (Noam Chomsky, Kalle Lasn, Keith McHenry, Marjane Satrapi, Laurie Anderson, Kenneth Jarecke), and underground punk voices. These insightful, radical, and often funny conversations travel through rebellions against Margaret Thatcher, Ronald Reagan, Donald Trump, and Vladimir Putin and to punk activism that has taken on nuclear war, neoliberalism, modern warfare, patriarchy, white supremacy, the police, settler colonialism, and more. The result is a fresh and unique history of punk throughout the ages.

Music has long played a prominent role in cultural diplomacy, but until now no resource has comparatively examined policies that shape how non-western countries use music for international relations. Ethnomusicology and Cultural Diplomacy, edited by scholars David G. Hebert and Jonathan McCollum, demonstrates music's role in international relations worldwide. Specifically, this book offers "insider" views from expert contributors writing about music as a part of cultural diplomacy initiatives in Afghanistan, Uzbekistan, Iran, Syria, Japan, China, India, Vietnam, Ethiopia, South Africa, and Nigeria. Unique features include the book's emphasis on diverse legal frameworks, decolonial perspectives, and cultural policies that serve as a basis for how nations outside "the west" use music in their relationships with Europe and North America.

An engaging study -- the first ever -- of the principles used by noted scholars to unravel the masterpieces of Schoenberg, Stravinsky, and other modernists. For the past forty years, pitch-class set theory has served as a frame of reference for the study of atonal music, through the efforts of Allen Forte, Milton Babbitt, and others. It has also been the subject of sometimes furious debates between music theorists and historically oriented musicologists, debates that only helped heighten its profile. Today, as oppositions have become less clear-cut, and other analytical approaches to music are gaining prominence, the time has come for a history of pitch-class set theory, its dissemination, and its role in the reception of the music of Schoenberg, Stravinsky, and other modernist composers. Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts combines thorough discussions of musical concepts with an engaging historical narrative. Pitch-class theory is treated here as part of the musical and cultural landscape of the United States. The theory's remarkable rise to authority is related to the impact of the computer on the study of music in the 1960s, and to the American university in its double role as protector of high culture and provider of mass education. Michiel Schuijer teaches at the Conservatory of Amsterdam and the University of Amsterdam. His research focuses on topics at the interface between music theory and historical musicology.

What made Bowie special? What made him the cultural icon he is today? And what made millions of people around the world tune into his peculiar wavelength and find exactly what they'd been looking for all along? These are the questions asked by Simon Critchley in this keen-eyed, moving and textured tribute to Bowie. Each of the two dozen deceptively short chapters looks at Bowie from a new angle, slowly unfolding the enigma that was his artistic life into a celebration of what made him unique. From the author's earliest childhood exposure to the bizarre musical and sexual contours of Ziggy Stardust right through to the supernova glow of Blackstar, and covering everything in between, Critchley traces the development of Bowie's music and lyrics to tell the story of how he tapped into zeitgeist - and into our hearts. Growing up in working-class suburban England, the young Critchley was instantly drawn to this creature from another planet, 'so sexual, so knowing, so strange'. Now a celebrated philosopher who Jonathan Lethem has called 'a figure of quite startling brilliance', Critchley draws on a plethora of cultural and philosophical touchpoints, as well as his own intensely personal response to the music, to paint an essential portrait of Bowie as songwriter, poet, performer and icon.

Carl Schachter is one of the most pre-eminent practitioners in the world of the Schenkerian approach to the music of the eighteenth and nineteenth centuries, which focuses on the linear organization of music, and which now dominates discussions of the standard repertoire in university courses and in professional journals. This volume gathers some of his finest essays, including those on rhythm in tonal music, Schenkerian theory, and text setting, as well as a pair of analytical monographs on Bach's Fugue in B-flat major from Volume 1 of the Well-Tempered Clavier and Chopin's Fantasy, Op. 49.

In a stretch of just seven years, the Beatles recorded hundreds of songs which tower above those of their worthy peers as both the product of cultural leadership and an artistic reflection of their turbulent age, the1960s. Walter Everett and Tim Riley's What Goes On: The Beatles, Their Music, and Their Time blends historical narrative, musicology, and music analysis to tell the full story of the Beatles and how they redefined pop music. The book traces the Beatles' development chronologically, marking the band's involvement with world events such as the Vietnam War, strides in overcoming racial segregation, gender stereotyping, student demonstrations, and the generation gap. It delves deeply into their body of work, introducing the concepts of musical form, instrumentation, harmonic structure, melodic patterns, and rhythmic devices in a way that is accessible to musicians and non-musicians alike. Close readings of specific songs highlight the tensions between imagination and mechanics, songwriting and technology, and through the book's musical examples, listeners will learn how to develop strategies for creating their own rich interpretations of the potential meanings behind their favorite songs. Videos hosted on the book's companion website offer full definitions and performance demonstrations of all musical concepts discussed in the text, and interactive listening guides illustrate track details in real-time listening. The unique multimedia approach of What Goes On reveals just how great this music was in its own time, and why it remains important today as a body of singular achievement.

In this volume fifteen musicologists from five countries present new findings and observations concerning the production, distribution and use of music manuscripts and prints in seventeenth-century Europe. A special emphasis is laid on the Duben Collection, one of the largest music collections of seventeenth-century Europe, preserved at the Uppsala University Library. The papers in this volume were initially presented at an international conference at Uppsala University in September 2006, held on the occasion of the launching of The Duben Collection Database Catalogue on the Internet. For the first time, the entire collection had been made acessible worldwide, covering a vast number of musical and philological aspects of all items in the collection.

Among major 20th-century composers whose music is poorly understood, Sergei Prokofiev stands out conspicuously. The turbulent times in which Prokofiev lived and the chronology of his travels-he left Russia in the wake of Revolution, and returned at the height of the Stalinist purges-have caused unusually polarized appraisals of his music. While individual, distinctive, and instantly recognizable, Prokofiev's music was also idiosyncratically tonal in an age when tonality was largely passe. Prokofiev's output therefore has been largely elusive and difficult to assess against contemporary trends. More than sixty years after the composer's death, editors Rita McAllister and Christina Guillaumier offer Rethinking Prokofiev as an assessment that redresses this enigmatic composer's legacy. Often more political than artistic, these appraisals have depended not only upon the date of publication but also the geographical location of the writer. Commissioned from some of the most distinguished and rising scholars in the field, this collection highlights the background and context of Prokofiev's work. Contributors delve into the composer's relationship to nineteenth-century Russian traditions, Silver-Age and Symbolist composers and poets, the culture of Paris in the 1920s and '30s, and to his later Soviet colleagues and younger contemporaries. They also investigate his reception in the West, his return to Russia, and the effect of his music on contemporary popular culture. Still, the main focus of the book is on the music itself: his early, experimental piano and vocal works, as well as his piano concertos, operas, film scores, early ballets, and late symphonies. Through an empirical examination of his characteristic harmonies, melodies, cadences, and musical gestures-and through an analysis of the newly uncovered contents of his sketch-books-contributors reveal much of what makes Prokofiev an idiosyncratic genius and his music intriguing, often dramatic, and almost always beguiling.

Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music presents an approach to conceptualizing and utilizing technology as a tool for music learning. Designed for use by pre- and in-service music teachers, it provides the essential understandings required to become an adaptive expert with music technology, creating and implementing lessons, units, and curriculum that take advantage of technological affordances to assist students in developing their musicianship. Author William I. Bauer makes connections among music knowledge and skill outcomes, the research on human cognition and music learning, best practices in music pedagogy, and technology. His essential premise is that music educators and students benefit through use of technology as a tool to support learning in the three musical processes - creating, performing, and responding to music. The philosophical and theoretical rationales, along with the practical information discussed in the book, are applicable to all experience levels. However, the technological applications described are focused at a beginning to intermediate level, relevant to both pre-service and in-service music educators and their students. This expanded second edition features an all-new student-friendly design and updated discussions of recent technological developments with applications for music teaching and learning. The revamped companion website also offers a new teacher's guide, with sample syllabi and lessons for each chapter.

Music as Prayer explores the spiritual and theological character of church music. Author Thomas H. Troeger-a theologian, preacher, poet and flutist-traces how making and listening to music can be an act of prayer, a way of sensing the irrepressible resilience of the divine vitalities, in down-to-earth language that everyone can enjoy. The book employs a wide range of perspectives: from scientific observations about the affect of music on the brain, to the insights of early church fathers about the place of music in worship, to the compositions of great composers and their reflections upon their art, to the Bible and theologians, to organists, choir directors and instrumentalists, to hymnists and poets. Listening to the wisdom of these varied tribes, Troeger finds them to be a cloud of witnesses, a choir giving testimony to how music puts the human heart in touch with the spirit in times of sorrow and seeking, in times of joy and gratitude. The book is addressed to listeners and performers alike, instrumentalists and singers, clergy and seminarians, worship committees and congregation members, scholars and teachers of liturgy and sacred music. It helps musicians and clergy to develop a mutual understanding of the theological and spiritual dimensions of their collaborative work. As a whole, the book celebrates the ministry of making music that awakens people to those gifts of the spirit that sustain hope, promote healing, and enliven a visionary faith in the possibility of a transformed world.

In the late 1920s, Hollywood's conversion from silent to synchronized-sound film production not only instigated the convergence of the film and music industries but also gave rise to an extraordinary period of song use in American cinema. Saying It With Songs considers how the increasing interdependence of Hollywood studios and Tin Pan Alley music publishing firms influenced the commercial and narrative functions of popular songs in a variety of film genres. Whereas most scholarship on film music of the period focuses on adaptations of Broadway musicals, Saying It With Songs examines the functions of songs in a variety of non-musical genres, including melodramas, romantic comedies, Westerns, prison dramas, and action-adventure films, and shows how filmmakers tested and refined their approach to songs in order to reconcile the tension produced by three competing forces: the spectacle of song performance, the classical norms of storytelling, and the established conventions of background orchestral scoring inherited from the period of silent cinema. By 1931, a so-called "song glut" led the studios to curtail their use of popular music in favor of a growing alternative - the classical film score - but popular songs continued to fulfill critical functions of narration in Hollywood films of subsequent decades. Written in language accessible to film and music scholars as well as general readers, Saying It With Songs illuminates the seminal origins of the popular song score aesthetic of American cinema.