Brazilian music has been central to Brazil's national brand in the U.S. and U.K. since the early-1960s. From bossa nova in 1960s jazz and film, through the 1970s fusion and funk scenes, the world music boom of the late 1980s and the bossa nova remix revival at the turn of the millennium, and on to Brazilian musical distribution and branding in the streaming music era, Bossa Mundo: Brazilian Music in Transnational Media Industries focuses on watershed moments of musical breakthrough, exploring what the music may have represented in a particular historical moment alongside its deeper cultural impact. Through a discussion of the political meaning of mass-mediated music, author K. E. Goldschmitt argues for a shift in scholarly focus-from viewing music as simply a representation of Otherness to taking into account the broader media environment where listeners and intermediaries often have conflicting priorities. Goldschmitt demonstrates that the mediation of Brazilian music in an increasingly crowded transnational marketplace has lasting consequences for the creative output celebrated by Brazil. Like other culturally rich countries in Latin America-such as Cuba, Mexico, and Argentina-Brazil has captured the imagination of people in many parts of the world through its music, driving tourism and international financial investment, while increasing the country's prominence on the world stage Nevertheless, stereotypes of Brazilian music persist, especially those that valorize racial difference. Featuring interviews with key figures in the transnational circulation of Brazilian music, and in-depth discussions of well-known Brazilian musicians alongside artists who redefine what it means to be a Brazilian musician in the twenty-first century, Bossa Mundo shows the pernicious effects of branding racial diversity on musicians and audiences alike.

The physics of music has fascinated scholars and scientists since ancient times, from Pythagoras' concept of celestial harmony, to the work of Galileo, Mersenne, Euler and Ohm, culminating in the nineteenth century in Helmholtz's definitive work, On the Sensations of Tone. Daniel Chandler Hewitt (1789-1869) was a piano maker who also devised improvements to the seraphine (a form of reed organ). This idiosyncratic work, first published in 1864, only a year after Helmholtz's German text (also reissued in this series in the 1875 English translation), discusses the mathematics of musical intervals according to Hewitt's 'Triune', or three-fold, system of calculation using his Musical Ratiometer (included at the end of the volume). Musical examples, gathered at the end of the work, illustrate his arguments and include a close analysis of the intervals and chord structures of the Moonlight and the Appassionata piano sonatas by Beethoven.

Henry Charles Banister (1831-97) is best-remembered for Music, his textbook on harmony published in 1872 which ran through many editions during his life, and for his biography of the composer Sir George Macfarren. In his capacity as a professor at the Royal Academy of Music and the Guildhall School of Music, a teacher at the Royal Normal College for the Blind, and a member of the National Society of Professional Musicians, he gave many lectures and papers to widely varying audiences. Three of these form this volume, first published in 1887. The first, given to the National Society in 1887, discusses the nature of music as a profession and his thoughts on the difference between the professional and the amateur. The second and third papers consider approaches to the study of the theory and structure of music, its appreciation as an art form and its role in society.

What does it mean to say that music is deeply moving? Or that music's aesthetic value derives from its deep structure? This study traces the widely employed trope of musical depth to its origins in German-language music criticism and analysis. From the Romantic aesthetics of E. T. A. Hoffmann to the modernist theories of Arnold Schoenberg, metaphors of depth attest to the cross-pollination of music with discourses ranging from theology, geology and poetics to psychology, philosophy and economics. The book demonstrates that the persistence of depth metaphors in musicology and music theory today is an outgrowth of their essential role in articulating and transmitting Germanic cultural values. While musical depth metaphors have historically served to communicate German nationalist sentiments, Watkins shows that an appreciation for the broad connotations of those metaphors opens up exciting new avenues for interpretation.

Michael Haneke's films subject us to extreme experiences of disturbance, desperation, grief, and violence. They are unsoftened by music, punctuated by accosting noises, shaped by painful silences, and charged with aggressive dialogue. The sound tracks are even more traumatic to hear than his stories are to see, but they also offer us the transformative possibilities of reawakened sonic awareness. Haneke's use of sound redefines cinema in ways that can help us re-hear everything-including our own voices, and everything around us-better. Though Haneke's films make exceptional demands on us, he is among the most celebrated of living auteurs: he is two-time receipt of the Palme D'Or at Cannes Film Festival (for The White Ribbon (2009) and Amour (2012)), and Academy Award winner of Best Foreign Language Film (for Amour), along with numerous other awards. The radical confrontationality of his cinema makes him an internationally controversial, as well as revered, subject. Hearing Haneke is the first book-length study of the sound tracks that define this living legacy. This book explores the haunting, subversive, and political significance of all aural elements through Haneke's major feature films (dialogue, sound effects, silences, and music), all of which are meticulously conducted by him. Many critics read Haneke as coolly dispassionate about showing scenes of humanity under threat, but Hearing Haneke argues that all facets of his sound tracks stress humane understanding and the importance of compassion. This book provides exceptionally detailed analyses of all Haneke's most celebrated films: including The Seventh Continent, Funny Games, Code Unknown, The Piano Teacher, Cache, The White Ribbon, and Amour. The writing brings together film theory, musicology, history, and cultural studies in ways that resonate broadly. Hearing Haneke will matter to anyone who cares about the power of art to inspire progressive change.

The last half-decade has seen the rapid and expansive development of video game music studies. As with any new area of study, this significant sub-discipline is still tackling fundamental questions concerning how video game music should be approached. In this volume, experts in game music provide their responses to these issues. This book suggests a variety of new approaches to the study of game music. In the course of developing ways of conceptualizing and analyzing game music it explicitly considers other critical issues including the distinction between game play and music play, how notions of diegesis are complicated by video game interactivity, the importance of cinema aesthetics in game music, the technicalities of game music production and the relationships between game music and art music traditions. This collection is accessible, yet theoretically substantial and complex. It draws upon a diverse array of perspectives and presents new research which will have a significant impact upon the way that game music is studied. The volume represents a major development in game musicology and will be indispensable for both academic researchers and students of game music.

COWBOYS AND INDIES is the story of the 'record men' - the mavericks and moguls who have shaped the music industry from the first sound machines of the 1850s through to today's digital streams. Men like John Hammond, who discovered Billie Holiday, Bob Dylan and Leonard Cohen; Sam Phillips and Berry Gordy, founders of the Sun and Motown labels; Chris Blackwell, who brought Bob Marley and reggae music into the mainstream; Geoff Travis who built Rough Trade and launched The Smiths; or genre-busting producer Rick Rubin, who recorded Run DMC, Red Hot Chili Peppers and Johnny Cash. Gareth Murphy has drawn on more than 100 interviews with music business legends, as well as extensive archive research, to bring us the behind-the-scenes stories of how music gets made and sold. He explains, too, how the industry undergoes regular seismic changes. We may think the digital revolution is a big deal, but in the 1920s the arrival of radio and the Wall Street Crash wiped out 95 per cent of record sales. But, as we all know, you can't stop the music ...

In recent years, academics and professionals in the social sciences have forged significant advances in quantitative research methodologies specific to their respective disciplines. Although new and sophisticated techniques for large-scale data analyses have become commonplace in general educational, psychological, sociological, and econometric fields, many researchers in music education have yet to be exposed to such techniques. Design and Analysis of Quantitative Research in Music Education is a comprehensive reference for those involved with research in music education and related fields, providing a foundational understanding of quantitative inquiry methods. Authors Peter Miksza and Kenneth Elpus update and expand the set of resources that music researchers have at their disposal for conceptualizing and analyzing data pertaining to music-related phenomena. This text is designed to familiarize readers with foundational issues of quantitative inquiry as a point of view, introduce and elaborate upon issues of fundamental quantitative research design and analysis, and expose researchers to new, innovative, and exciting methods for dealing with complex research questions and analyzing large samples of data in a rigorous and thorough manner. With this resource, researchers will be better equipped for dealing with the challenges of the increasingly information-rich and data-driven environment surrounding music education. An accompanying companion website provides valuable supplementary exercises and videos.

Twentieth- and Twenty-First-Century Song Cycles: Analytical Pathways Toward Performance presents analyses of fourteen song cycles composed after the turn of the twentieth century, with a focus on offering ways into the musical and poetic structure of each cycle to performers, scholars, and students alike. Ranging from familiar works of twentieth-century music by composers such as Schoenberg, Britten, Poulenc, and Shostakovich to lesser-known works by Van Wyk, Sviridov, Wheeler, and Sanchez, this collection of essays captures the diversity of the song cycle repertoire in contemporary classical music. The contributors bring their own analytical perspectives and methods, considering musical structures, the composers' selection of texts, how poetic narratives are expressed, and historical context. Informed by music history, music theory, and performance, Twentieth- and Twenty-First-Century Song Cycles offers an essential guide into the contemporary art-music song cycle for performers, scholars, students, and anyone seeking to understand this unique genre.

This book bridges the existing gap between film sound and film music studies by bringing together scholars from both disciplines who challenge the constraints of their subject areas by thinking about integrated approaches to the soundtrack. As the boundaries between scoring and sound design in contemporary cinema have become increasingly blurred, both film music and film sound studies have responded by expanding their range of topics and the scope of their analysis beyond those traditionally addressed. The running theme of the book is the disintegration of boundaries, which permeates discussions about industry, labour, technology, aesthetics and audiovisual spectatorship. The collaborative nature of screen media is addressed not only in scholarly chapters but also through interviews with key practitioners that include sound recordists, sound designers, composers, orchestrators and music supervisors who honed their skills on films, TV programmes, video games, commercials and music videos.

Music, Passion, and Cognitive Function examines contemporary cognitive theories of music, why they cannot explain music's power over us, and the origin and evolution of music. The book presents experimental confirmations of the theory in psychological and neuroimaging research, discussing the parallel evolution of consciousness, musical styles, and cultures since Homer and King David. In addition, it explains that 'in much wisdom is much grief' due to cognitive dissonances created by language that splits the inner world. Music enables us to survive in this sea of grief, overcomes discomforts and stresses of acquiring new knowledge, and unifies the soul, hence the power of music.

J. A. Fuller Maitland (1856 1936), whose Masters of German Music is also reissued in this series, was music critic of The Times for 22 years, was the editor of the second edition of Grove's Dictionary of Music and Musicians, prepared an edition of the Fitzwilliam Virginal Book, and also worked on Purcell and on folk song. This biography of Schumann, in the 'Great Musicians' series edited by Francis Hueffer, was published in 1884, 28 years after its subject's death. It is dedicated to Schumann's widow, Clara, who the author consulted, along with Joachim and others; but he also acknowledges that those hoping for an exhaustive life of Schumann would be disappointed: 'The time for writing such a life is not yet come.' Nevertheless, this book contains a survey of Schumann's compositions as well as his critical writings and a range of contemporary critical responses to his work.

The recent resurgence of experimental music has given rise to a more divergent range of practices than has previously been the case. The Ashgate Research Companion to Experimental Music reflects these recent developments by providing examples of current thinking and presenting detailed case studies that document the work of contemporary figures. The book examines fourteen current practitioners by interrogating their artistic practices through annotated interviews, contextualized by nine authored chapters which explore central issues that emerge from and inform these discussions. Whilst focusing on composition, the book also encompasses related aspects of performance, improvisation and sonic art. The interviews all explore how the selected artists work, focusing on the processes involved in developing their recent projects, set against more general aesthetic concerns. They aim to shed light on the disparate nature of current work whilst seeking to find possible points of contact. Many of the practitioners are active in areas that span disciplines, such as composition and improvisation, and the book explores the interaction of these activities in the context of their work. The other chapters consider a range of issues pertinent to recent developments in the genre, including: definitions of experimentalism and its relationship with a broader avant garde; experimentalism and cultural change; notation and its effect on composition; realising open scores; issues of notation and interpretation in live electronic music; performing experimental music; improvisation and technology; improvisation and social meaning; instrumentalizing objects; visual artists' relationships to experimental music; working across interdisciplinary boundaries; listening and the soundscape; working methods, techniques and aesthetics of recent experimental music.

Grime music has been central to British youth culture since the beginning of the 21st century. Performed by MCs and DJs, it is an Afrodiasporic form that developed on street corners, on pirate radio and at raves. Level Up: Live Performance and Creative Process in Grime Music offers the first long-form ethnographic study of grime practice; it questions how and why artists do what they do; and it asks what this can tell us about creative process and improvisation more widely. Based on research conducted from 2015 to 2020 in London's grime scene-facilitated by the author's long-standing role as a DJ and broadcaster-this book explores the form's emergence before taking a magnifying glass to the contemporary scene and its performance protocol, exploring the practice of key artists and their crews living and working in the city. The resultant model of creative interaction provides a comprehensive mapping of collective social learning in London's informal cityscape, offering new ways to conceptualise improvisatory practice within ensembles.

The Sami are Europe s only recognized indigenous people living across regions of Norway, Sweden, Finland and the Russian Kola peninsula. The subjects of a history of Christianization, land dispossession, and cultural assimilation, the Sami have through their self-organization since World War II worked towards Sami political self-determination across the Nordic states and helped forge a global indigenous community. Accompanying this process was the emergence of a Sami music scene, in which the revival of the distinct and formerly suppressed unaccompanied vocal tradition of joik was central. Through joiking with instrumental accompaniment, incorporating joik into forms of popular music, performing on stage and releasing recordings, Sami musicians have played a key role in articulating a Sami identity, strengthening Sami languages, and reviving a nature-based cosmology. Thomas Hilder offers the first book-length study of this diverse and dynamic music scene and its intersection with the politics of indigeneity. Based on extensive ethnographic research, Hilder provides portraits of numerous Sami musicians, studies the significance of Sami festivals, analyzes the emergence of a Sami recording industry, and examines musical projects and cultural institutions that have sought to strengthen the transmission of Sami music. Through his engaging narrative, Hilder discusses a wide range of issues revival, sovereignty, time, environment, repatriation and cosmopolitanism to highlight the myriad ways in which Sami musical performance helps shape notions of national belonging, transnational activism, and processes of democracy in the Nordic peninsula. Sami Musical Performance and the Politics of Indigeneity in Northern Europe will not only appeal to enthusiasts of Nordic music, but, by drawing on current interdisciplinary debates, will also speak to a wider audience interested in the interplay of music and politics. Unearthing the challenges, contradictions and potentials presented by international indigenous politics, Hilder demonstrates the significance of this unique musical scene for the wider cultural and political transformations in twenty-first century Europe and global modernity."

Essays in diatonic set theory, transformation theory, and neo-Riemannian theory -- the newest and most exciting fields in music theory today. The essays in Music Theory and Mathematics: Chords, Collections, and Transformations define the state of mathematically oriented music theory at the beginning of the twenty-first century. The volume includes essays in diatonic set theory, transformation theory, and neo-Riemannian theory -- the newest and most exciting fields in music theory today. The essays constitute a close-knit body of work -- a family in the sense of tracing their descentfrom a few key breakthroughs by John Clough, David Lewin, and Richard Cohn in the 1980s and 1990s. They are integrated by the ongoing dialogue they conduct with one another. The editors are Jack Douthett, a mathematician and music theorist who collaborated extensively with Clough; Martha M. Hyde, a distinguished scholar of twentieth-century music; and Charles J. Smith, a specialist in tonal theory. The contributors are all prominent scholars, teaching at institutions such as Harvard, Yale, Indiana University, and the University at Buffalo. Six of them (Clampitt, Clough, Cohn, Douthett, Hook, and Smith) have received the Society for Music Theory's prestigious PublicationAward, and one (Hyde) has received the ASCAP Deems Taylor Award. The collection includes the last paper written by Clough before his death, as well as the last paper written by David Lewin, an important music theorist also recently deceased. Contributors: David Clampitt, John Clough, Richard Cohn, Jack Douthett, Nora Engebretsen, Julian Hook, Martha Hyde, Timothy Johnson, Jon Kochavi, David Lewin, Charles J. Smith, and Stephen Soderberg.

Electro swing is a relatively recent musical style and scene which combines the music of the swing era with that of the age of electronic dance music. Chris Inglis considers key questions about electro swing’s place in contemporary society, including what it may mean for a contemporary genre to be so reliant upon the influences of the past; the different ways in which jazz may be presented to a modern audience; how one may go about defining jazz in today's postmodern world; and how this emergent genre may be analysed in terms of the wider issues of race and class consumption.

Building on several decades of research, this book develops a comprehensive music theory designed to make sense of several essential components of tonality. The book contributes to a wealth of methodologies in music theory, making it of broad interest to music scholars and students. Each chapter concludes with additional practice activities, allowing for easy adaptation to various pedagogical purposes.

Applies the notion of musical "voice" to diverse repertoires, ranging from the operas and cantatas of Handel to the autograph albums of nineteenth-century collector Charlotte de Rothschild. The concept of musical voice has been a subject of controversy in recent decades, as the primacy of the composer's place in the creation of the work has been called into question. The essays in Word, Image, and Song: Essays onMusical Voices take the notion of musical voice as a starting point, and apply it in varying ways to diverse repertoires and music-historical circumstances, ranging from the operas and cantatas of Handel to the autograph albums of nineteenth-century collector Charlotte de Rothschild. Rather than attributing interpretive control to the composer, performer, or audience alone, these essays present a range of interpretive strategies with respect to the various voices that one might hear and understand as emerging from a musical work: the composer's voice, the performer's voice, the patron's voice, the collector's voice, and the social or receptive voice. Contributors: Bathia Churgin, Rebecca Cypess, Roger Freitas, Philip Gossett, Ellen T. Harris, Joseph Kerman, Nathan Link, Daniel R. Melamed, Giovanni Morelli, Kristina Muxfeldt, Ruth Smith, Ruth A. Solie. Rebecca Cypess is Assistant Professor of Music at the Mason Gross School of the Arts at Rutgers, the State University of New Jersey. Beth L. Glixon is instructor in musicology at the University of Kentucky School of Music. Nathan Link is NEH Associate Professor of Music at Centre College.

This volume brings together analyses of works by thirteen Russian composers from across the twentieth century, showing how their approaches to tonality, modernism, and serialism forge forward-looking paths independent from their Western counterparts. Russian music of this era is widely performed, and much research has situated this repertoire in its historical and social context, yet few analytical studies have explored the technical aspects of these composers' styles. With a set of representative analyses by leading scholars in music theory and analysis, this book for the first time identifies large-scale compositional trends in Russian music since 1900. The chapters progress by compositional style through the century, and each addresses a single work by a different composer, covering pieces by Rachmaninoff, Myaskovsky, Prokofiev, Shostakovich, Mansurian, Roslavets, Mosolov, Lourie, Tcherepnin, Ustvolskaya, Denisov, Gubaidulina, and Schnittke. Musicians, scholars, and students will find here a starting point for research and analysis of these composers' works and gain a richer understanding of how to listen to and interpret their music.

New essays by noted authorities on music and related arts in early modern Italy, giving special attention to musical sources, poetry, performance, and visual arts. The rich cultural environment of early modern Italy inspired a vast array of musical innovations: this was the first age of the virtuoso performer, the era that witnessed the beginnings of opera, and a moment that saw the intersection and cross-fertilization of madrigals and songs of all sorts. Word, Image, and Song: Essays on Early Modern Italy presents a broad range of approaches to the study of music and related arts in that era. Topics include musical source studies, issues of performance, poetry and linguistics, influences on music from the classical tradition, and the interconnectedness of music and visual art. Their points of departure include well-known musical workssuch as Monteverdi's madrigals, librettos of seventeenth-century operas, the poetry of Giambattista Marino, and the paintings of Titian and his contemporaries. Contributors: Jennifer Williams Brown, Mauro Calcagno, Alan Curtis, Suzanne G. Cusick, Ruth I. DeFord, Dinko Fabris, Beth L. Glixon, Jonathan E. Glixon, Barbara Russano Hanning, Wendy Heller, Robert R. Holzer, Deborah Howard, Giuseppe Mazzotta, Margaret Murata, David Rosand, Susan ParkerShimp, Gary Tomlinson, Alvaro Torrente, Andrew H. Weaver. Rebecca Cypess is Assistant Professor of Music at the Mason Gross School of the Arts at Rutgers, the State University of New Jersey. Beth L. Glixon is Instructor in Musicology at the University of Kentucky School of Music. Nathan Link is NEH Associate Professor of Music at Centre College.

When Genres Collide is a provocative history that rethinks the relationship between jazz and rock through the lens of the two oldest surviving and most influential American popular music periodicals: Down Beat and Rolling Stone. Writing in 1955, Duke Ellington argued that the new music called rock 'n' roll "is the most raucous form of jazz, beyond a doubt." So why did jazz and rock subsequently become treated as separate genres? The rift between jazz and rock (and jazz and rock scholarship) is based on a set of received assumptions about their fundamental differences, but there are other ways popular music history could have been written. By offering a fresh examination of key historical moments when the trajectories and meanings of jazz and rock intersected, overlapped, or collided, it reveals how music critics constructed an ideological divide between jazz and rock that would be replicated in American musical discourse for decades to follow. Recipient of and Honorable Mention in the PROSE Award, Music & the Performing Arts 2018.

approaches "the brand new normal" as the digitalization itself. The collection of research and studies explores and questions contemporary novelties in media and art related to the transformative effects of the digitalization. Featuring a broad range of topics, covering creative industries, video-on-demand services and film industry, representation of reality television in quality television,adaptations from theater to digital platforms, transformation of gender representations indigital, VR (Virtual Reality), digital festivals, player experience and engagement in video games, NFT (Non-Fungible Token), social media and crisis communication, digital self-presentation, digitalization of theater stage, new music trends in digital era, and audience development in classical music, this book is designed for scholars, researchers, intellectuals, media professionals, and artists.