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Books > Music > Theory of music & musicology > General
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Agit-disco
(Paperback)
Stefan Szczelkun, Anthony Iles
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R398
Discovery Miles 3 980
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Ships in 12 - 17 working days
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Taking its cue from a mix-tape culture that figured as a
circulation of desire and communicative enthusiasm, the Agit-Disco
project, initiated in 2007, now transmutes from an on-line project
and Cd-r distribution process into book form. Agit-Disco brings
together the music selections of its invited participants and
covers a range of genres and styles that are offered, here, as a
collective response to the remit: politics and music minus the
propaganda. The Agit-Disco selector is responding to living
self-knowledges; it is the report of a participant where music is
often part of the formation of an oppositional or radical self. Or
even just the survival of the human spirit and hunger for freedom.
Coming with the original selector commentaries this book may yet
well be further realised in the pulsing disco darkness. Agit-Disco
Selectors: DJ Krautpleaser, Johnny Spencer, Tom Vague, Martin
Dixon, Peter Haining, Stewart Home, Tom Jennings, Howard Slater,
Mel Croucher, Simon Ford, Room 13 - Lochyside Scotland, Sian
Addicott, Peter Conlin, Louise Carolin, Andy T, Sarah Falloon,
Micheline Mason, Roger McKinley, Stefan Szczelkun, Neil
Transpontine, Luca Parsi, John Eden, Tracey Moberley.
American roots music, also known as Americana music, can be
challenging to categorize, spanning the genres of jazz, bluegrass,
country, blues, rock and roll, and an assortment of variations in
between. In The Downhome Sound, Mandi Bates Bailey explores the
messages, artists, community, and appeal of this seemingly
disparate musical collective. To understand the art form's intended
meanings and typical audiences, she analyzes lyrics and interviews
Americana artists, journalists, and festival organizers to uncover
a desire for inclusion and diversity. Bailey also conducts an
experiment to assess listener reception relative to more commercial
forms of music. The result is an in-depth study of the political
and cultural influence of Americana and its implications for social
justice.
John Taverner's lectures on music constitute the only extant
version of a complete university course in music in early modern
England. Originally composed in 1611 in both English and Latin,
they were delivered at Gresham College in London between 1611 and
1638, and it is likely that Taverner intended at some point to
publish the lectures in the form of a music treatise. The lectures,
which Taverner collectively titled De Ortu et Progressu Artis
Musicae ("On the Origin and Progress of the Art of Music"),
represent a clear attempt to ground musical education in humanist
study, particularly in Latin and Greek philology. Taverner's
reliance on classical and humanist writers attests to the
durability of music's association with rhetoric and philology, an
approach to music that is too often assigned to early Tudor
England. Taverner is also a noteworthy player in the
seventeenth-century Protestant debates over music, explicitly
defending music against Reformist polemicists who see music as an
overly sensuous activity. In this first published edition of
Taverner's musical writings, Joseph M. Ortiz comprehensively
introduces, edits, and annotates the text of the lectures, and an
appendix contains the existing Latin version of Taverner's text. By
shedding light on a neglected figure in English Renaissance music
history, this edition is a significant contribution to the study of
musical thought in Renaissance England, humanism, Protestant
Reformism, and the history of education.
This Woman's Work: Essays on Music is edited by Kim Gordon and
Sinead Gleeson and features contributors Anne Enright, Fatima
Bhutto, Jenn Pelly, Rachel Kushner, Juliana Huxtable, Leslie
Jamison, Liz Pelly, Maggie Nelson, Margo Jefferson, Megan Jasper,
Ottessa Moshfegh, Simone White, Yiyun Li and Zakia Sewell.
Published to challenge the historic narrative of music and music
writing being written by men, for men, This Woman's Work seeks to
confront the male dominance and sexism that have been hard-coded in
the canons of music, literature, and film and has forced women to
fight pigeon-holing or being side-lined by carving out their own
space. Women have to speak up, to shout louder to tell their story
- like the auteurs and ground-breakers featured in this collection,
including: Anne Enright on Laurie Anderson; Megan Jasper on her
ground-breaking work with Sub Pop; Margo Jefferson on Bud Powell
and Ella Fitzgerald; and Fatima Bhutto on music and dictatorship.
This Woman's Work also features writing on the experimentalists,
women who blended music and activism, the genre-breakers, the vocal
auteurs; stories of lost homelands and friends; of propaganda and
dictatorships, the women of folk and country, the racialised tropes
of jazz, the music of Trap and Carriacou; of mixtapes and violin
lessons.
Venerated for his lyrics, Bob Dylan in fact is a songwriting
musician with a unique mastery of merging his words with music and
performance. Larry Starr cuts through pretention and myth to
provide a refreshingly holistic appreciation of Dylan's music.
Ranging from celebrated classics to less familiar compositions,
Starr invites readers to reinvigorate their listening experiences
by sharing his own-sometimes approaching a song from a fresh
perspective, sometimes reeling in surprise at discoveries found in
well-known favorites. Starr breaks down often-overlooked aspects of
the works, from Dylan's many vocal styles to his evocative
harmonica playing to his choices as a composer. The result is a
guide that allows listeners to follow their own passionate love of
music into hearing these songs-and personal favorites-in new ways.
Reader-friendly and revealing, Listening to Bob Dylan encourages
hardcore fans and Dylan-curious seekers alike to rediscover the
music legend.
This edited volume of case studies presents a selective history of
French music and culture, but one with a dynamic difference.
Eschewing a traditional chronological account, the book explores
the nature of relationships between one main period, broadly the
'long' modernist era between 1860-1960, and its own historical
'others', referencing topics from the Romantic, classical, baroque,
renaissance and medieval periods. It probes the emergent interplay,
intertextualities and scope for reinterpretation across time and
place. Notions of cultural meaning are paramount, especially those
pertaining to French identity, national and individual. While
founded on historical musicology, the approach benefits from
interdisciplinary association with philosophy, political history,
literature, fine art, film studies and criticism. Attention is paid
to French composers' celebrations and remakings of their
predecessors. Editions of and writings about earlier music are
examined, together with the cultural reception of performances of
past repertoire. Organized into two parts, each of the eleven
chapters characterizes a specific cultural network or temporal
interplay, which may result in synthesis, disjunction, or
historical misreading. The interwar years and those surrounding the
Second World War prove particularly rich sources of enquiry. This
volume aims to attract a wide readership of musicologists and
musicians, as well as cultural historians, other humanities
scholars and concert-goers.
This monograph offers a comprehensive study of the topos of the
malmariee or the unhappily married woman within the
thirteenth-century motet repertory, a vocal genre characterized by
several different texts sounding simultaneously over a foundational
Latin chant. Part I examines the malmariee motets from three
vantage points: (1) in light of contemporaneous canonist views on
marriage; (2) to what degree the French malmariee texts in the
upper voices treat the messages inherent in the underlying Latin
chant through parody and/or allegory; and (3) interactions among
upper-voice texts that invite additional interpretations focused on
gender issues. Part II investigates the transmission profile of the
motets, as well as of their refrains, revealing not only
intertextual refrain usage between the motets and other genres, but
also a significant number of shared refrains between malmariee
motets and other motets. Part II furthermore offers insights on the
chronology of composition within a given intertextual refrain
nexus, and examines how a refrain's meaning can change in a new
context. Finally, based on the transmission profile, Part II argues
for a lively interest in the topos in the 1270s and 1280s, both
through composition of new motets and compilation of earlier ones,
with Paris and Arras playing a prominent role.
This book examines the origin, content, and development of the
musical thought of Heinrich Schenker and Arnold Schoenberg. One of
the premises is that Schenker's and Schoenberg's inner musical
lives are inseparable from their inner spiritual lives. Curiously,
Schenker and Schoenberg start out in much the same
musical-spiritual place, yet musically they split while spiritually
they grow closer. The reception of Schenker's and Schoenberg's work
has sidestepped this paradox of commonality and conflict, instead
choosing to universalize and amplify their conflict. Bringing to
light a trove of unpublished material, Arndt argues that Schenker's
and Schoenberg's conflict is a reflection of tensions within their
musical and spiritual ideas. They share a particular conception of
the tone as an ideal sound realized in the spiritual eye of the
genius. The tensions inherent in this largely psychological and
material notion of the tone and this largely metaphysical notion of
the genius shape both their musical divergence on the logical
(technical) level in theory and composition, including their
advocacy of the Ursatz versus twelvetone composition, and their
spiritual convergence, including their embrace of Judaism. These
findings shed new light on the musical and philosophical worlds of
Schenker and Schoenberg and on the profound artistic and spiritual
questions with which they grapple.
The idea of a global history of music may be traced back to the
Enlightenment, and today, the question of a conceptual framework
for a history of music that pays due attention to global
relationships in music is often raised. But how might a historical
interpretation of those relationships proceed? How should it
position, or justify, itself? What would 'Western music' look like
in an account of music history that aspires to be truly global? The
studies presented in this volume aim to promote post-European
historical thinking. They are based on the idea that a global
history of music cannot be one single, hegemonic history. They
rather explore the paradigms and terminologies that might describe
a history of many different voices. The chapters address historical
practices and interpretations of music in different parts of the
world, from Japan to Argentina and from Mexico to India. Many of
these narratives are about relations between these cultures and the
Western tradition; several also consider socio-political and
historical circumstances that have affected music in the various
regions. The book addresses aspects that Western musical
historiography has tended to neglect even when looking at its own
culture: performance, dance, nostalgia, topicality, enlightenment,
the relationships between traditional, classical, and pop musics,
and the regards croises between European, Asian, or Latin American
interpretations of each other's musical traditions. These studies
have been derived from the Balzan Musicology Project Towards a
Global History of Music (2013-2016), which was funded by the
International Balzan Foundation through the award of the Balzan
Prize in Musicology to the editor, and designed by music historians
and ethnomusicologists together. A global history of music may
never be written in its entirety, but will rather be realised
through interaction, practice, and discussion, in all parts of the
world.
Music-Dance explores the identity of choreomusical work, its
complex authorship and its modes of reception as well as the
cognitive processes involved in the reception of dance performance.
Scholars of dance and music analyse the ways in which a musical
score changes its prescriptive status when it becomes part of a
choreographic project, the encounter between sound and motion on
stage, and the intersection of listening and seeing. As well as
being of interest to musicologists and choreologists considering
issues such as notation, multimedia and the analysis of
performance, this volume will appeal to scholars interested in
applied research in the fields of cognition and neuroscience. The
line-up of authors comprises representative figures of today's
choreomusicology, dance historians, scholars of twentieth-century
composition and specialists in cognitive science and performance
studies. Among the topics covered are multimedia and the analysis
of performance; the notational practice of choreographers and the
parallel attempts of composers to find a graphic representation for
musical gestures; and the experience of dance as a paradigm for a
multimodal perception, which is investigated in terms of how the
association of sound and movement triggers emotions and specific
forms of cognition.
In 1877, Ruskin accused Whistler of 'flinging a pot of paint in the
public's face'. Was he right? After all, Whistler always denied
that the true function of art was to represent anything. If a
painting does not represent, what is it, other than mere paint,
flung in the public's face? Whistler's answer was simple: painting
is music - or it is poetry. Georges Braque, half a century later,
echoed Whistler's answer. So did Braque's friends Apollinaire and
Ponge. They presented their poetry as music too - and as painting.
But meanwhile, composers such as Satie and Stravinsky were
presenting their own art - music - as if it transposed the values
of painting or of poetry. The fundamental principle of this
intermedial aesthetic, which bound together an extraordinary
fraternity of artists in all media in Paris, from 1885 to 1945, was
this: we must always think about the value of a work of art, not
within the logic of its own medium, but as if it transposed the
value of art in another medium. Peter Dayan traces the history of
this principle: how it created our very notion of 'great art', why
it declined as a vision from the 1960s and how, in the 21st
century, it is fighting back.
In an extraordinary story unfolding across two hundred years,
Kristina Gaddy uncovers the banjo's key role in Black spirituality,
ritual and rebellion. Through meticulous research in diaries,
letters, archives and art, she traces the banjo's beginnings from
the seventeenth century, when enslaved people of African descent
created it from gourds or calabashes and wood. Gaddy shows how the
enslaved carried this unique instrument as they were transported
and sold by slaveowners throughout the Americas, to Suriname, the
Caribbean and the colonies that became US states, including
Louisiana, South Carolina, Maryland and New York. African Americans
came together at rituals where the banjo played an essential part.
White governments, rightfully afraid that the gatherings could
instigate revolt, outlawed them without success. In the
mid-nineteenth century, Blackface minstrels appropriated the
instrument for their bands, spawning a craze. Eventually the banjo
became part of jazz, bluegrass and country, its deepest history
forgotten.
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
In recent years, empathy has received considerable research
attention as a means of understanding a range of psychological
phenomena, and it is fast drawing attention within the fields of
music psychology and music education. This volume seeks to promote
and stimulate further research in music and empathy, with
contributions from many of the leading scholars in the fields of
music psychology, neuroscience, music philosophy and education. It
exposes current developmental, cognitive, social and philosophical
perspectives on research in music and empathy, and considers the
notion in relation to our engagement with different types of music
and media. Following a Prologue, the volume presents twelve
chapters organised into two main areas of enquiry. The first
section, entitled 'Empathy and Musical Engagement', explores
empathy in music education and therapy settings, and provides
social, cognitive and philosophical perspectives about empathy in
relation to our interaction with music. The second section,
entitled 'Empathy in Performing Together', provides insights into
the role of empathy across non-Western, classical, jazz and popular
performance domains. This book will be of interest to music
educators, musicologists, performers and practitioners, as well as
scholars from other disciplines with an interest in empathy
research.
In recent years, scholars and musicians have become increasingly
interested in the revival of musical improvisation as it was known
in the Renaissance and Baroque periods. This historically informed
practice is now supplanting the late Romantic view of improvised
music as a rhapsodic endeavour-a musical blossoming out of the
capricious genius of the player-that dominated throughout the
twentieth century. In the Renaissance and Baroque eras, composing
in the mind (alla mente) had an important didactic function. For
several categories of musicians, the teaching of counterpoint
happened almost entirely through practice on their own instruments.
This volume offers the first systematic exploration of the close
relationship among improvisation, music theory, and practical
musicianship from late Renaissance into the Baroque era. It is not
a historical survey per se, but rather aims to re-establish the
importance of such a combination as a pedagogical tool for a better
understanding of the musical idioms of these periods. The authors
are concerned with the transferral of historical practices to the
modern classroom, discussing new ways of revitalising the study and
appreciation of early music. The relevance and utility of such an
improvisation-based approach also changes our understanding of the
balance between theoretical and practical sources in the primary
literature, as well as the concept of music theory itself.
Alongside a word-centred theoretical tradition, in which rules are
described in verbiage and enriched by musical examples, we are
rediscovering the importance of a music-centred tradition,
especially in Spain and Italy, where the music stands alone and the
learner must distil the rules by learning and playing the music.
Throughout its various sections, the volume explores the path of
improvisation from theory to practice and back again.
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.
Migration studies is an area of increasing significance in
musicology as in other disciplines. How do migrants express and
imagine themselves through musical practice? How does music help
them to construct social imaginaries and to cope with longings and
belongings? In this study of migration music in postsocialist
Albania, Eckehard Pistrick identifies links between sound, space,
emotionality and mobility in performance, provides new insights
into the controversial relationship between sound and migration,
and sheds light on the cultural effects of migration processes.
Central to Pistrick's approach is the essential role of
emotionality for musical creativity which is highlighted throughout
the volume: pain and longing are discussed not as a traumatising
end point, but as a driving force for human action and as a source
for cultural creativity. In addition, the study provides a
fascinating overview about the current state of a rarely documented
vocal tradition in Europe that is a part of the mosaic of
Mediterranean singing traditions. It refers to the challenges
imposed onto this practice by heritage politics, the dynamics of
retraditionalisation and musical globalisation. In this sense the
book constitutes an important study to the dynamics of
postsocialism as seen from a musicological perspective. Winner of
the 2017 Stavro Skendi Book Prize for Achievement in Albanian
Studies, Society for Albanian Studies Dr. Pistrick's book, in the
committee's judgment, impressively connects ethnomusicology,
anthropology and migration studies. Linking sound with space and
emotionality, it offers a new understanding of the role of the oral
tradition within Albanian communities, in particular its ability to
deal creatively with painful experiences and the realities of
migration. Association for Slavic, East European & Eurasian
Studies
From Rolling Stone, the definitive and lavishly illustrated
companion book to one of the most popular and hotly debated lists
in the world of musicWhen Rolling Stone publishes a list, the world
listens. The 500 Greatest Albums of All Time list was first
established in 2003 and the lineup was updated in 2012, polling the
industry's most celebrated artists, producers, industry executives,
and journalists to create the definitive ranking. As a companion to
the original 2003 list, Rolling Stone and Wenner Books published
the bestselling 500 Greatest Albums coffee table book. In 2020
Rolling Stone started from scratch with a completely new 500
Greatest Albums list, voted on by the biggest names in
music-including Beyonce, Billie Eilish, and Taylor Swift, to name a
few. As expected, the new list caused a huge splash across the
music and entertainment industries, sparking major conversation and
debate around the list, and generating more than 125 million page
views on RollingStone.com in the first month of launch.In
partnership with Abrams, Rolling Stone has created the definitive
companion book to reflect the all-new 2020 list, telling the
stories behind all 500 albums through incredible Rolling Stone
photography, original album art, Rolling Stone's unique critical
commentary, breakout pieces on the making of key albums, archival
interview content, and a celebrity introduction.
Aimed at lay, student, and academic readers alike, this book
concerns the imagination and, specifically, imagination in music.
It opens with a discussion of the invalidity of the idea of the
creative genius and the connected view that ideas originate just in
the individual mind. An alternative view of the imaginative process
is then presented, that ideas spring from a subconscious dialogue
activated by engagement in the world around. Ideas are therefore
never just of our own making. This view is supported by evidence
from many studies and corresponds with descriptions by artists of
their experience of imagining. The third subject is how
imaginations can be shared when musicians work with other artists,
and the way the constraints imposed by trying to share subconscious
imagining result in clearly distinct forms of joint working. The
final chapter covers the use of the musical imagination in making
meanings from music. The evidence is that music does not
communicate meanings directly, and so composers or performers
cannot be looked to as authorities on its meaning. Instead, music
is commonly heard as analogous to human experience, and listeners
who perceive such analogies may then imagine their own meanings
from the music.
Since rock's beginnings, there have been groupies. These chosen few
women who bed, but not often wed, the musicians of their dreams are
almost as much a part of music history as the musicians themselves.
Pamela Des Barres, the world's foremost supergroupie, here offers
an all-access backstage pass to the world of rock stars and the
women who love them. Having had her own affairs with legends such
as Keith Moon and Jimmy Page--as documented in her bestselling
memoir "I'm with the Band"--Pamela now turns the spotlight onto
other women who have found their way into the hearts and bedrooms
of some of the world's greatest musicians. In "Let's Spend the
Night Together, "she tells, in their own words, the stories of
these amazing women who went way beyond the one-night stand. Here
you'll get to know 24 outrageous groupies, including - Tura Satana,
Miss Japan Beautiful, who taught Elvis how to dance and gave him
lessons in lovemaking - Cassandra Peterson, aka Elvira, Mistress of
the Dark, who tangled with Tom Jones in Sin City - Soulful Miss
Mercy, who discovered that not only does the rest of the world
listen to Al Green while making love--so does Al Green - Cynthia
Plaster Caster, who redefined art and made history when Jimi
Hendrix plunged his member into her plaster mold - The mysterious
Miss B, who reveals Kurt Cobain's penchant for lip gloss and
pantyhose - and over a dozen more
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