DIY House Shows and Music Venues in the US is an interdisciplinary study of house concerts and other DIY (‘do-it-yourself’) music venues in the US, such as warehouses, all-ages clubs and guerrilla shows, with its primary focus on West Coast American DIY locales. Focusing on DIY houses, music venues, social spaces, and local and translocal cultural geographies, the author examines how American DIY communities constitute themselves in relation to their social and spatial environment. The ethnographic approach shows the inner-workings of American DIY culture, and how the particular people within particular places strive to achieve a social ideal of an "intimate" community.

A defense of Schenkerian analysis of tonality in music. A wide range of music -- from Bach to Mozart and Brahms -- is marked by its use of some form of what is generally called "tonality": the tendency of music to focus melodically on some stable pitch or tonic and for its harmony to use functional triads. Yet few terms in music theory are more enigmatic than that seemingly simple word "tonality." Matthew Brown's Explaining Tonality: Schenkerian Theory and Beyond considers a number of disparate ways in which functional tonality has been understood. In particular, it focuses on the comprehensive theory developed by Heinrich Schenker in his monumental three-part treatise Neue musikalische Theorien und Phantasien [1906-1935]. Schenker systematically investigated the ways in which lines and chords behave both locally within individual tonal phrases and globally across entire compositions. Explaining Tonality shows why Schenker was able to elucidate tonal relationships so successfully and the many advantages that his explanations have over those of his rivals. In addition, it proposes some ways in which Schenker's approach can be extended to tonal features in works from before Bach [such as Monteverdi] and after Brahms [such as Debussy, Stravinsky, and much popular music of today]. Along the way, the book explores six methodological criteria that help in building, testing, and evaluatinga plausible theory of tonality or, indeed, any other musical phenomenon: accuracy, scope, fruitfulness, consistency, simplicity, and coherence. It reveals how understanding the tonality of a piece can shed light on other aspects of musical composition. And, in conclusion, it describes some ways in which Schenkerian theory might fruitfully develop in the future. Matthew Brown is Professor of Music Theory at the Eastman School of Music, Universityof Rochester, and author of Debussy's "Iberia" [Oxford University Press].

Musica Naturalis delivers the first systematic account of speculative music theory as a discursive horizon for literary poetics. The title refers to the late medieval French poet Eustache Deschamps, whose 1392 treatise on verse writing, L'Art de Dictier, famously casts verse as "natural music" in explicit distinction to song, which Deschamps defines as "artificial." Philipp Jeserich links the significance of the speculative branch of medieval musicology to literary theory and literary production, opening up a field of study that has been largely neglected. Beginning with Augustine and Boethius, he traces the discourse of speculative music theory to the late fifteenth century, giving attention to medieval Latin and vernacular sources. Ultimately, Jeserich calls for the conservatism of Deschamps' poetics and develops a new perspective on the poetics and poetry of the Grands rhetoriqueurs. Given Jeserich's reliance on the intellectual inheritance of late medieval French poetics and poetry, this book will appeal to English-speaking specialists of Old and Middle French, as well as scholars of the French Renaissance. It will also interest English language medievalists of several other disciplines: intellectual historians and specialists of English, as well as scholars of Italian and Iberian literature.

This book explores the relationships between rock and roll, social protest, and authenticity to consider how rock and roll could function as social protest music. The author begins by discussing the nature and origins of rock and roll and the nature of social protest and social protest music within the wider context of the evolution of the commercial music industry and the social and technological infrastructure developed for the mass dissemination of popular music. This discussion is followed by an examination of the causes of the public disapproval originally expressed toward rock and roll, and how they illuminate its social protest and subversive quality. By further investigating the nature of authenticity and its relationship to social protest and to commercialization, the author considers how social protest and commercialization are antithetical. This conclusion, if correct, has broad implications for human culture in advanced industrial society.

This book introduces the topics of Enlightenment, Counter-Enlightenment, and social demography in Western art musics and demonstrates their historical and sociological importance. The essays in this book explore the concepts of "existential irony" and "sanctification," which have been mentioned or discussed by music scholars, historians, and musicologists only either in connection with specific composers' works (Shostakovich's, in the case of "existential irony") or very parenthetically, merely in passing in the biographies of composers of "classical" musics. This groundbreaking work illustrates their generality and sociological sources and correlates in contemporary Western art musics.

This book collects research contributions concerning quantitative approaches to characterize originality and universality in language. The target audience comprises researchers and experts in the field but the book may also be beneficial for graduate students. Creativity might be considered as a morphogenetic process combining universal features with originality. While quantitative methods applied to text and music reveal universal features of language and music, originality is a highly appreciated feature of authors, composers, and performers. In this framework, the different methods of traditional problems of authorship attribution and document classification provide important insights on how to quantify the unique features of authors, composers, and styles. Such unique features contrast, and are restricted by, universal signatures, such as scaling laws in word-frequency distribution, entropy measures, long-range correlations, among others. This interplay between innovation and universality is also an essential ingredient of methods for automatic text generation. Innovation in language becomes relevant when it is imitated and spread to other speakers and musicians. Modern digital databases provide new opportunities to characterize and model the creation and evolution of linguistic innovations on historical time scales, a particularly important example of the more general problem of spreading of innovations in complex social systems. This multidisciplinary book combines scientists from various different backgrounds interested in quantitative analysis of variations (synchronic and diachronic) in language and music. The aim is to obtain a deeper understanding of how originality emerges, can be quantified, and propagates.

This book comprises twelve articles which cover a range of topics from musical instrument acoustics to issues in psychoacoustics and sound perception as well as neuromusicology. In addition to experimental methods and data acquisition, modeling (such as FEM or wave field synthesis) and numerical simulation plays a central role in studies addressing sound production in musical instruments as well as interaction of radiated sound with the environment. Some of the studies have a focus on psychoacoustic aspects in regard to virtual pitch and timbre as well as apparent source width (for techniques such as stereo or ambisonics) in music production. Since musical acoustics imply subjects playing instruments or singing in order to produce sound according to musical structures, this area is also covered including a study that presents an artificial intelligent agent capable to interact with a real ('analog') player in musical genres such as traditional and free jazz.

Discovering Music Theory is a suite of workbooks and corresponding answer books that offers all-round preparation for the updated ABRSM Music Theory exams from 2020, including the new online papers. This full-colour workbook will equip students of all ages with the skills, knowledge and understanding required for the ABRSM Grade 3 Music Theory exam. Written to make theory engaging and relevant to developing musicians of all ages, it offers: - straightforward explanations of all new concepts - progressive exercises to build skills and understanding, step by step - challenge questions to extend learning and develop music-writing skills - helpful tips for how to approach specific exercises - ideas for linking theory to music listening, performing and instrumental/singing lessons - clear signposting and progress reviews throughout - a sample practice exam paper showing you what to expect in the new style of exams from 2020 As well as fully supporting the ABRSM theory syllabus, Discovering Music Theory provides an excellent resource for anyone wishing to develop their music literacy skills, including GCSE and A-Level candidates, and adult learners.

This book explores the power music has to address health inequalities and the social determinants of health and wellbeing. It examines music participation as a determinant of wellbeing and as a transformative tool to impact on wider social, cultural and environmental conditions. Uniquely, in this volume health and wellbeing outcomes are conceptualised on a continuum, with potential effects identified in relation to individual participants, their communities but also society at large. While arts therapy approaches have a clear place in the text, the emphasis is on music making outside of clinical contexts and the broader roles musicians, music facilitators and educators can play in enhancing wellbeing in a range of settings beyond the therapy room. This innovative edited collection will be of great interest to scholars and practitioners of music, social services, medical humanities, education and the broader health field in the social and medical sciences.

Psychedelic music is a fascinating yet under-researched field of study. This thought-provoking collection offers a broad introduction to the fi eld of psychedelic music studies, bringing together scholarly work on psychedelic music in genres like rock, folk, electronic dance music and pop. Through an expanded purview on psychedelic music, an emerging trend in research, the collection affords students and academics alike an introduction to a rich, multi-faceted field. The contributing authors explore a range of different facets of musical psychedelia: its transgressive and transcendent aspects, its foregrounding of timbre and texture, the way it changes our perception of time, its influence on “non-psychedelic� music, key composition and production techniques that composers and musicians use in its creation, how it is mediated by different places and spaces, and the interplay between psychedelic visual and sonic aesthetics. This interdisciplinary work reveals both commonalities in musical psychedelic experiences and the contestation inherent in a fi eld of study that juxtaposes music of different genres and eras with a variety of theoretical approaches and methodologies. In broadening the scope of psychedelic music research, the collection not only makes for varied and absorbing reading on the subject level but also stimulates reflexive thought about interdisciplinary research.

This book discusses the myriad ways in which Beethoven begins his works and the structural, rhetorical, and emotional implications of these beginnings for listeners. Examining the opening moments of nearly 200 compositions, it offers a new method of analysis of Beethoven's music. At the same time, it sets Beethoven's work in context through a close study of beginnings in the compositions of the Classical Era.

This essay collection, devoted to exploring the richness of Christian musical traditions in the Americas, reflects the distinctive critical perspectives of the Society for Christian Scholarship in Music, an association of scholars dedicated to exploring the intersections of Christian faith and musical scholarship. Now in our sixteenth year, we seek to celebrate our work in the world and bring it to a larger audience by offering a cross- section of the most outstanding scholarship from an international array of writers. The proposed collection follows a first collection published to celebrate the fifteenth anniversary of the Society (Exploring Christian Song, M. Jennifer Bloxam and AndrewShenton, editors, Lexington Books, 2017). That first volume focused on Christian song in a variety of different contexts. Our proposed collection surveys a broad geographical areaand demonstrates the enormous diversity of music-making and scholarship within that area. While there are some studies that focus on a single country or region and its sacred music (see the literature survey below), this will be the first collection to present a representative cross-section of the range of sacred music in the Americas and the approaches to studying them in context. The essays in this collection are ecumenical, reflecting the breadth of Christian traditions. The essays include several by distinguished senior scholars in the field (including David Music, Baylor University; and Jeff Warren, Quest University, Canada). Several essays are by noted specialists in the field (including Jesse Karlsberg, Emory University; and Cathy Ann Elias, DePaul University), and several by younger scholars (including Hannah Denecke, Florida State University; and Natasha Walsh, York University, Canada). SCSM is particularly keen to promote the work of students. The work of these rising stars thus appears alongside the work of veteran scholars working in the area of Christian sacred music, ensuring a stimulating mix of subjects, viewpoints, and methodologies.

A uniquely complete and up-to-date collection of the surviving remains of ancient Greek music (fifth century BC to third or fourth century AD) as preserved in ancient notation on inscriptions, papyri, and medieval manuscripts. Each item is accompanied, where feasible, with a transcription into modern musical notation and an explanatory commentary. Good-quality photographs are provided in most cases.

Peter Kivy presents a selection of his new and recent writings on the philosophy of music, a subject to which he has for many years been one of the most eminent contributors. In his distinctively elegant and informal style, Kivy explores such topics as musicology and its history, the nature of musical works, and the role of emotion in music, in a way that will attract the interest of philosophical and musical readers alike.

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

In The Sonic Persona, Holger Schulze undertakes a critical study of some of the most influential studies in sound since the 19th century in the natural sciences, the engineering sciences, and in media theory, confronting them with contemporary artistic practices, with experimental critique, and with disturbing sonic experiences. From Hermann von Helmholtz to Miley Cyrus, from FLUXUS to the Arab Spring, from Wavefield Synthesis to otoacoustic emissions, from premillennial clubculture to postdemocratic authoritarianism, from signal processing to human echolocation: This book presents a fundamental critique concerning recent sound theories and their anthropological concepts - and proposes an alternate, a more plastic, a visceral framework for research in the field of a cultural anthropology of sounding and listening. This anthropology of sound takes its readers and listeners on a research expedition to the multitude of alien humanoids and their surprising sonic personae: in dynamic and generative tension between predetermined auditory dispositives, miniscule and not seldomly ignored sound practices, and idiosyncratic sensory corpuses: a critique of the senses. I'm going to prove the impossible really exists.

Inspired by its use in literary theory, film criticism and the discourse of games design, Salome Voegelin's illuminating new book adapts and develops possible world theory in relation to sound. David K Lewis' Possible World is juxtaposed with Maurice Merleau-Ponty's life-world, to produce a meeting of the semantic and the phenomenological at the place of listening. The central tenet of this book is that at present traditional musical compositions and contemporary sonic outputs are approached and investigated through separate and distinct critical languages and histories. As a consequence, no continuous and comparative study of the field is possible. In Sonic Possible Worlds, Voegelin proposes a new analytical framework that can access and investigate works across genres and times, enabling a comparative engagement where composers such as Henry Purcell and Nadia Boulanger encounter sound art works by Shilpa Gupta and Christina Kubisch and where the soundscape compositions of Chris Watson and Francisco Lopez resound in the visual worlds of Louise Bourgeois.

The ability to improvise a fugue is considered by many to be the summit of practical musicianship. Such skill, combining harmony, counterpoint, form, and style simultaneously, is best learned through the study of figured-bass fugue. The Langloz Manuscript, originating in the era of J.S. Bach, is the largest extant collection of figured-bass fugues. Published here for the first time, this edition of the manuscript includes detailed explanatory notes and illustrates how the art of extemporised fugue was developed in the eighteenth century.

Listening to the sound practices of bands and musicians such as the Asian Dub Foundation or M.I.A., and spanning three decades of South Asian dance music production in the UK, Transcultural Sound Practices zooms in on the concrete sonic techniques and narrative strategies in South Asian dance music and investigates sound as part of a wider assemblage of cultural technologies, politics and practices. Carla J. Maier investigates how sounds from Hindi film music tunes or bhangra tracks have been sampled, cut, looped and manipulated, thus challenging and complicating the cultural politics of sonic production. Rather than conceiving of music as a representation of fixed cultures, this book engages in a study of music that disrupts the ways in which ethnicity has been written into sound and investigates how transcultural sound practices generate new ways of thinking about culture.

The Traditional Tunes of the Child Ballads begins where Francis Child's The English and Scottish Popular Ballads leaves off. Bronson has collected all available tunes for each of Child's ballads, annotated and organized them, with notes describing the history and development of each tune and tune family. This is an indispensable text for ballad scholars, performers, and students of the ballad tradition.

The German-Jewish emigre composer Stefan Wolpe was a vital figure in the history of modernism, with affiliations ranging from the Bauhaus, Berlin agitprop and the kibbutz movement to bebop, Abstract Expressionism and Black Mountain College. This is the first full-length study of this often overlooked composer, launched from the standpoint of the mass migrations that have defined recent times. Drawing on over 2000 pages of unpublished documents, Cohen explores how avant-garde communities across three continents adapted to situations of extreme cultural and physical dislocation. A conjurer of unexpected cultural connections, Wolpe serves as an entry-point to the utopian art worlds of Weimar-era Germany, pacifist movements in 1930s Palestine and vibrant art and music scenes in early Cold War America. The book takes advantage of Wolpe's role as a mediator, bringing together perspectives from music scholarship, art history, comparative literature, postcolonial studies and recent theories of cosmopolitanism and diaspora.

Pyotr Ilyich Tchaikovsky remains to this day one of the most-performed Russian composers. Based on recent studies and source editions, this book demonstrates the close interrelationship between Tchaikovsky's life and his work. The author portrays the versatility of the musician who died at the mere age of 53 under controversial circumstances in St. Petersburg. About the German edition of this book: "[...] Constantin Floros devotes himself initially to the biography and then to the compositional oeuvre, divided according to genre and supplemented by concrete illustrations, thus giving greater significance to the music." (Forum Musikbibliothek 27, 2006) "[...] the music gets more weight of its own in the more detailed analyses - illustrated with revealing note citations - which yet always remain readily accessible." (Steffen A. Schmidt, Das Orchester 02/2007)

Since the publication of the first edition of A Spectrum of Voices there have been significant advances in voice studies. Prominent members of the new generation of voice teachers join their voices with now-canonized teachings. Asking questions about technology, pedagogy, and stylistic changes within the field, Elizabeth L. Blades brings the wisdom from the past and present to voice students at all levels. A Spectrum of Voices draws from the brilliance and combined experience of an elite group of exemplary voice teachers, presenting interviews from more than twenty-five notable teachers, six of them new to this second edition. Voice teachers offer valuable insight into their teaching philosophies, the types of auxiliary training they recommend to their students, and how they structure their lessons. This second edition also addresses significant technological advances of the past twenty years, especially the impact on vocal performance and pedagogy. A quick-and-handy reference for the studio teacher, this book also serves as a text for vocal pedagogy courses and as an essential supplement for physiology and vocal mechanics, teachers and students of singing, music educators, and musical theater performers.