Award-winning music educator Merlin B. Thompson invites today's teachers to link their teaching with notions of humanity and create success by building on what students naturally bring to their own musical journey. Filled with over fifty practical and inspirational teaching tips, More than Music Lessons is a must-read for every genre of music studio teacher: vocal/instrumental, academic, traditional, individual/group, Suzuki, exam-based, and online. A four-part framework gets right to the heart of the matter: -Parents - understanding the complexity of parental involvement and students' home life -Practicing - an adventure in autonomy, fluency, purpose, relatedness, reflection, and listening -Projects - amplifying students' musical persona with non-performance projects. -Character - engaging students' inborn authentic character to ensure meaningful musical participation Grounded in research yet enriched with real-life experiences and frequently asked questions, More than Music Lessons offers a comprehensive view of student-centered teaching, where teachers share rather than direct students' musical explorations. This book provides resources for teachers who work with diverse student demographics and sheds light on how teachers may thoughtfully incorporate students' sense of self, personal and world views, culture, individuality, and spirituality as anchors for their unfolding and unique musical journeys. More than Music Lessons will help studio teachers support and inspire their students for a lifetime of genuine and joyful music making.

In this book, John Haines presents a detailed survey of songs performed in Vulgar Latin and early Romance languages from around 500 to 1200. The first part of the book discusses this enormous body of neglected songs according to the categories of lament, love song, epic and devotional song. Medieval sources - mostly condemnations - ranging from sermons to chronicles attest to the long life and popularity of this music performed all throughout this period, and predominantly by women. Performance contexts range from the burial of the dead to the nursing of infants. The study argues for the reinstatement of female vernacular song in the mainstream of medieval music historiography and ends with a discussion of the neglected medieval lullaby. The second part of the book presents an edition and informative commentary of the dozen surviving witnesses with musical notation in the early Romance period prior to 1200.

Setting opera within a variety of contexts - social, aesthetic, historical - Lindenberger illuminates a form that has persisted in recognizable shape for over four centuries. The study examines the social entanglements of opera, for example the relation of Mozart's Abduction from the Seraglio and Verdi's Il trovatore to its initial and later audiences. It shows how modernist opera rethought the nature of theatricality and often challenged its viewers by means of both musical and theatrical shock effects. Using recent experiments in neuroscience, the book demonstrates how different operatic forms developed at different periods to create new ways of exciting a public. Lindenberger considers selected moments of operatic history from Monteverdi's Orfeo to the present to study how the form has communicated with its diverse audiences. Of interest to scholars and operagoers alike, this book advocates and exemplifies opera studies as an active, emerging area of interdisciplinary study.

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.

Children create music in individually unique ways, but also using common processes. Each creating process component stated in the United States' National Music Standards (imagine, plan and make, evaluate and refine, and present; NCCAS, 2014) is explored in this text using children's creations from China, India, Ireland, Mexico, and the United States as examples. What can the characteristics of music created by children from five diverse locations teach us about creating music? How do the sounds surrounding children in their schools, homes, and communities affect the music they create and what can be learned from this? How do children's similar creating processes inform how we teach music? These questions are investigated as the children's music compositions and improvisations are shared and examined. As this narrative unfolds, readers will become acquainted with the children, their original music, and what the children say about their music and its creation. What we learn from this exploration leads to teaching strategies, projects, lesson plans, and mentoring recommendations that will help music educators benefit from these particular children's creations.

Transformation of the Industry in a Brand New Normal: Media, Music, and Performing Arts is a collection of contemporary research and interpretation that aims to discover the industrial transformation in media, music, and performing arts. Featuring coverage of a broad range of topics, including film studies, narrative theory, digital streaming platforms, subscription video-on-demand services, marketing, promotional strategies of video games, distant music practices, music ecosystems, contemporary orchestras, alternative music scenes, new voice-over techniques, changing conservatory education methods, and visual arts, this manuscript of selected chapters is designed for academics, researchers, media professionals, and students who intend to enhance their understanding of transformation in media, music, and performing arts.

The term 'lyric' has evolved, been revised, redefined and contested over the centuries. In this fascinating introduction, Scott Brewster: traces the history of the term from its classical origins through the early modern, Romantic and Victorian periods and up to the twenty-first century demonstrates the influence of lyric on poetic practice, literature, music and other popular cultural forms uses three aspects -- the lyric 'self', love and desire and the relationship between lyric, poetry and performance -- as focal points for further discussion not only charts the history of lyric theory and practice but re-examines assumptions about the lyric form in the context of recent theoretical accounts of poetic discourse. Offering clarity and structure to this often intense and emotive field, Lyric offers essential insights for students of literature, performance, music and cultural studies.

Drawing on the analogy between musical meaning-making and human subjectivity, this book develops the concept of the acoustic self, exploring the ways in which musical characterization and structure are related to issues of subject-representation in the modernist English novel. The volume is framed around three musical topics-the fugue, absolute music, and Gesamtkunstwerk-arguing that these three modes of musicalization address modernist dilemmas around selfhood and identity. Varga reflects on the manifestations of the acoustic self in examples from the works of E.M. Forster, Aldous Huxley, and Virginia Woolf, and such musicians as Bach, Beethoven, Handel, and Wagner. An additional chapter on jazz and electronic music supplements these inquiries, pursuing the acoustic self beyond modernism and thereby inciting further discussion and theorization of musical intermediality, as well as recent sonic practices. Probing the analogies in the complex interrelationship between music, representation, and language in fictional texts and the nature of human subjectivity, this book will appeal to students and scholars interested in the interface of language and music, in such areas as intermediality, multimodality, literary studies, critical theory, and modernist studies.

- First volume in almost 10 years to bring together a broad collection on world music analysis, capturing where the field is now - Wide-reaching scope makes this the perfect first stop for anyone interested in world music analysis, and could make it a good focus for seminars at graduate or advanced undergraduate level.

Artistic Practice as Research in Music: Theory, Criticism, Practice brings together internationally renowned scholars and practitioners to explore the cultural, institutional, theoretical, methodological, epistemological, ethical and practical aspects and implications of the rapidly evolving area of artistic research in music. Through various theoretical positions and case studies, and by establishing robust connections between theoretical debates and concrete examples of artistic research projects, the authors discuss the conditions under which artistic practice becomes a research activity; how practice-led research is understood in conservatoire settings; issues of assessment in relation to musical performance as research; methodological possibilities open to music practitioners entering academic environments as researchers; the role of technology in processes of musical composition as research; the role and value of performerly knowledge in music-analytical enquiry; issues in relation to live performance as a research method; artistic collaboration and improvisation as research tools; interdisciplinary concerns of the artist-researcher; and the relationship between the affordances of a musical instrument and artistic research in musical performance. Readers will come away from the book with fresh insights about the theoretical, critical and practical work being done by experts in this exciting new field of enquiry.

Russian music today has a firm hold around the world in the repertoire of opera houses, ballet companies, and orchestras. The music of Pyotr Tchaikovsky, Nikolai Rimsky-Korsakov, Sergey Rachmaninov, Sergey Prokofiev, and Dmitri Shostakovich is very much today's lingua franca both in the concert hall and on the soundtracks of international blockbusters from Hollywood. Meanwhile, the innovations of Modest Musorgsky, Alexander Borodin, and Igor Stravinsky have played their crucial role in the development of Western music, influencing the work of virtually every notable composer of the past century. Historical Dictionary of Russian Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 600 cross-referenced entries for each of Russia's major performing organizations and performance venues, and on specific genres such as ballet, film music, symphony and church music. This book is an excellent resource for students, researchers, and anyone wanting to know more about Russian Music.

Introduction to Digital Music with Python Programming provides a foundation in music and code for the beginner. It shows how coding empowers new forms of creative expression while simplifying and automating many of the tedious aspects of production and composition. With the help of online, interactive examples, this book covers the fundamentals of rhythm, chord structure, and melodic composition alongside the basics of digital production. Each new concept is anchored in a real-world musical example that will have you making beats in a matter of minutes. Music is also a great way to learn core programming concepts such as loops, variables, lists, and functions, Introduction to Digital Music with Python Programming is designed for beginners of all backgrounds, including high school students, undergraduates, and aspiring professionals, and requires no previous experience with music or code.

Through a transnational, comparative and multi-level approach to the relationship between youth, migration, and music, the aesthetic intersections between the local and the global, and between agency and identity, are presented through case studies in this book. Transglobal Sounds contemplates migrant youth and the impact of music in diaspora settings and on the lives of individuals and collectives, engaging with broader questions of how new modes of identification are born out of the social, cultural, historical and political interfaces between youth, migration and music. Thus, through acts of mobility and environments lived in and in-between, this volume seeks to articulate between musical transnationalism and sense of place in exploring the complex relationship between music and young migrants and migrant descendant's everyday lives.

This book is a comprehensive examination of the conception, perception, performance, and composition of time in music across time and culture. It surveys the literature of time in mathematics, philosophy, psychology, music theory, and somatic studies (medicine and disability studies) and looks ahead through original research in performance, composition, psychology, and education. It is the first monograph solely devoted to the theory of construction of musical time since Kramer in 1988, with new insights, mathematical precision, and an expansive global and historical context. The mathematical methods applied for the construction of musical time are totally new. They relate to category theory (projective limits) and the mathematical theory of gestures. These methods and results extend the music theory of time but also apply to the applied performative understanding of making music. In addition, it is the very first approach to a constructive theory of time, deduced from the recent theory of musical gestures and their categories. Making Musical Time is intended for a wide audience of scholars with interest in music. These include mathematicians, music theorists, (ethno)musicologists, music psychologists / educators / therapists, music performers, philosophers of music, audiologists, and acousticians.

Today, jazz history is dominated by iconic figures who have taken on an almost God-like status. From Satchmo to Duke, Bird to Trane, these legendary jazzmen form the backbone of the jazz tradition. Jazz icons not only provide musicians and audiences with figureheads to revere but have also come to stand for a number of values and beliefs that shape our view of the music itself. Jazz Icons explores the growing significance of icons in jazz and discusses the reasons why the music's history is increasingly dependent on the legacies of 'great men'. Using a series of individual case studies, Whyton examines the influence of jazz icons through different forms of historical mediation, including the recording, language, image and myth. The book encourages readers to take a fresh look at their relationship with iconic figures of the past and challenges many of the dominant narratives in jazz today.

In 1972, a group of creative Brazilian musicians and poets informally led by singer-songwriter Milton Nascimento recorded a landmark double-LP titled Clube da Esquina (Corner Club). The album saw highly original songs by Milton, already an award-winning international star, sharing vinyl with those of Lo Borges, an unknown eighteen-year-old from Belo Horizonte, the capital of the state of Minas Gerais. There, where the street "corner" still exists, grew their collective also known as the Corner Club, as the artists collaborated on many subsequent albums boasting innovative blends of pop, jazz, rock, folk, classical influences, and, before Brazil's return to civilian rule in 1985, poignant protest songs aimed at a cruel dictatorship. Drawing on a thirty-year relationship with Minas Gerais that includes interviews with Corner Club members and extensive research of Portuguese language sources, Jonathon Grasse presents an analysis of the artists, songs, and ideas comprising the LP that helps define this Brazilian generation. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

The first posthumous collection from the writings of Stanley Cavell, shedding new light on the distinctive vision and intellectual trajectory of an influential American philosopher. For Stanley Cavell, philosophy was a matter of responding to the voices of others. Throughout his career, he articulated the belief that words spring to life in concrete circumstances of speech: the significance and power of language depend on the occasions that elicit it. When Cavell died in 2018, he left behind some of his own most powerful language-a plan for a book collecting numerous unpublished essays and lectures, as well as papers printed in niche journals. Here and There presents this manuscript, with thematically relevant additions, for the first time. These writings, composed between the 1980s and the 2000s, reflect Cavell's expansive interests and distinctive philosophical method. The collection traverses all the major themes of his immense body of work: modernity, psychoanalysis, the human voice, moral perfectionism, tragedy, skepticism. Cavell's rich and cohesive philosophical vision unites his wide-ranging engagement with poets, critics, psychoanalysts, social scientists, and fellow philosophers. In Here and There, readers will find dialogues with Shakespeare, Thoreau, Wittgenstein, Freud, Heidegger, Walter Benjamin, Wallace Stevens, Veena Das, and Peter Kivy, among others. One of the collection's most striking features is an ensemble of five pieces on music, constituting Cavell's first discussion of the subject since the mid-1960s. Edited by philosophers who have been invested in Cavell's work for decades, Here and There not only gathers the strands of a writing life but also maps its author's intellectual journeys. In these works, Cavell models what it looks like to examine seriously one's own passions and to forge new communities through unexpected conversations.

Although philosophers have examined and commented on music for centuries, Martin Heidegger, one of the greatest philosophers of the 20th century, had frustratingly little to say about music-directly, at least. This volume, the first to tackle Heidegger and music, features contributions from philosophers, musicians, educators, and musicologists from many countries throughout the world, aims to utilize Heidegger's philosophy to shed light on the place of music in different contexts and fields of practice. Heidegger's thought is applied to a wide range of musical spheres, including improvisation, classical music, electronic music, African music, ancient Chinese music, jazz, rock n' roll, composition, and musical performance. The volume also features a wide range of philosophical insights on the essence of music, music's place in society, and the promise of music's ability to open up new ways of understanding the world with the onset of the technological and digital musical age. Heidegger and Music breaks new philosophical ground by showcasing creative vignettes that not only push Heidegger's concepts in new directions, but also get us to question the meaning of music in various contexts.

Modern scholars have often portrayed the method of hexachordal solmization - the sight-singing method introduced by the 11th-century monk Guido of Arezzo - as the diatonic foundation of early music. Stefano Mengozzi challenges this view by examining a representative sample of the primary sources of solmization theory from Guido of Arezzo to Gioseffo Zarlino. These texts show that six-syllable solmization was only an option for sight-singing that never imposed its operational 'sixth-ness' onto the diatonic system, already grounded on the seven pitch letters. It was primarily through the agency of several 'classicizing' theorists of the humanist era that the six syllables came to be mistakenly conceived as a fundamental diatonic structure - a 'hexachord' built from the 'tetrachord' of the Ancient Greeks. The book will be of particular interest to readers seeking to deepen their knowledge of medieval and Renaissance musical thought with an eye to major intellectual trends of the time.

In The New Guitarscape, Kevin Dawe argues for a re-assessment of guitar studies in the light of more recent musical, social, cultural and technological developments that have taken place around the instrument. The author considers that a detailed study of the guitar in both contemporary and cross-cultural perspectives is now absolutely essential and that such a study must also include discussion of a wide range of theoretical issues, literature, musical cultures and technologies as they come to bear upon the instrument. Dawe presents a synthesis of previous work on the guitar, but also expands the terms by which the guitar might be studied. Moreover, in order to understand the properties and potential of the guitar as an agent of music, culture and society, the author draws from studies in science and technology, design theory, material culture, cognition, sensual culture, gender and sexuality, power and agency, ethnography (real and virtual) and globalization. Dawe presents the guitar as an instrument of scientific investigation and part of the technology of globalization, created and disseminated through corporate culture and cottage industry, held close to the body but taken away from the body in cyberspace, and involved in an enormous variety of cultural interactions and political exchanges in many different contexts around the world. In an effort to understand the significance and meaning of the guitar in the lives of those who may be seen to be closest to it, as well as providing a critically-informed discussion of various approaches to guitar performance, technologies and techniques, the book includes discussion of the work of a wide range of guitarists, including Robert Fripp, Kamala Shankar, Newton Faulkner, Lionel Loueke, Sharon Isbin, Steve Vai, Bob Brozman, Kaki King, Fred Frith, John 5, Jennifer Batten, Guthrie Govan, Dominic Frasca, I Wayan Balawan, Vicki Genfan and Hasan Cihat A-rter.

American composer Morton Feldman is increasingly seen to have been one of the key figures in late-twentieth-century music, with his work exerting a powerful influence into the twenty-first century. At the same time, much about his music remains enigmatic, largely due to long-standing myths about supposedly intuitive or aleatoric working practices. In Composing Ambiguity, Alistair Noble reveals key aspects of Feldman's musical language as it developed during a crucial period in the early 1950s. Drawing models from primary sources, including Feldman's musical sketches, he shows that Feldman worked deliberately within a two-dimensional frame, allowing a focus upon the fundamental materials of sounding pitch in time. Beyond this, Feldman's work is revealed to be essentially concerned with the 12-tone chromatic field, and with the delineation of complexes of simple proportions in 'crystalline' forms. Through close reading of several important works from the early 1950s, Noble shows that there is a remarkable consistency of compositional method, despite the varied experimental notations used by Feldman at this time. Not only are there direct relations to be found between staff-notated works and grid scores, but much of the language developed by Feldman in this period was still in use even in his late works of the 1980s.

This great anthology of music literature makes available to all music lovers a wonderful storehouse of hitherto inaccessible treasure. The volume includes the development of Oriental, Medieval, and Renaissance music from the beginning to 1600. Its more than 200 representative examples are individually complete compositions, each of sufficient length to illustrate clearly a form or style. The authors provide an explanatory commentary with bibliography, English translations of foreign texts, and an index. The "Library Journal" says of it, "in short, Volume 1 of the music historian's classic dreams No competitors on the market. Highly recommended."

This collection of essays by the music critic Francis Hueffer (1843 1889) is a lively, contemporary account of musical life in Victorian England. First published in 1889, it records the influence of leading foreign composers on English music. Ranging from the music of Handel, Gluck and Haydn to Weber, Rossini, and Mendelssohn, composers who have had a lasting influence on the British musical world, Hueffer, who did not live to see the publication of his book, offers a panoramic view of the rapid development of musical culture in England during the nineteenth century. Starting with a historical introduction to the roles played by the Royal Academy and the Royal College of Music, and moving on to the specific contributions of 'new' composers including Berlioz, Wagner and Liszt, this book is a valuable guide to the history and criticism of music in Victorian England as it was understood at the time.