Ferramonti di Tarsia was the largest internment camp in Southern Italy, both in terms of its size and number of internees - mainly Jews from Germany, Poland, Yugoslavia. An almost forgotten chapter of the Italian history, it served as an absurd and ephemeral meeting place of cultures, languages, religions, and traditions. Both as a fascist camp (1940-1943) and as a DP-camp under British mandate (1943-1945), Ferramonti experienced an intensive musical life, whose features and peculiarities are reconstructed in this book on the basis of personal and administrative sources. Musical practices and cultural behaviors proved fundamental for inmates' survival and preservation of their individual and collective identities.

Over the past 30 years, musicologists have produced a remarkable new body of research literature focusing on the lives and careers of women composers in their socio-historical contexts. But detailed analysis and discussion of the works created by these composers are still extremely rare. This is particularly true in the domain of music theory, where scholarly work continues to focus almost exclusively on male composers. Moreover, while the number of performances, broadcasts, and recordings of women's compositions has unquestionably grown, they remain significantly underrepresented in comparison to music by male composers. Addressing these deficits is not simply a matter of rectifying a scholarly gender imbalance: the lack of knowledge surrounding the music of women composers means that scholars, performers, and the general public remain unfamiliar with a large body of exciting repertoire. Analytical Essays on Music by Women Composers: Concert Music from 1960-2000 is the first to appear in an exciting a four volume series devoted to the work of women composers across Western art music history. Each chapter, many by leading music theorists, opens with a brief biographical sketch of the composer before presenting an in-depth critical-analytic exploration of a single representative composition, linking analytical observations with questions of meaning and sociohistorical context. Chapters are grouped thematically by analytical approach into three sections, each of which places the analytical methods used in the essays that follow into the context of late twentieth-century ideas and trends. Featuring rich analyses and detailed study by the most reputed music theorists in the field, along with brief biographical sketches for each composer, this collection brings to the fore the essential repertoire of a range of important composers, many of whom otherwise stand outside the standard canon.

Taking a cue from Erving Goffman's classic work, Asylums, Tia DeNora develops a novel interdisciplinary framework for music, health and wellbeing. Considering health and illness both in medical contexts and in the often-overlooked realm of everyday life, DeNora argues that these identities are by no means mutually exclusive. Moreover, she suggests that the promotion of health and more specifically, mental health, involves a great deal more than a concern with medication, genetic predispositions, clinical and neuro-scientific procedures. Adopting a holistic, interactionist focus, Music Asylums reconnects states of wellness and wellbeing to encounters with others and - critically - to opportunities for aesthetic experience. Building on DeNora's earlier work on music as a technology of self in everyday life, the book presents music as an active ingredient of action, identity, capacity and consciousness. From there, it suggests that access to, and evaluation of, music is an important ethical matter. Intended for scholars and practitioners in psychiatry and psychology, palliative care, socio-music studies, music psychology and the allied health professions, Music Asylums showcases music's role in the existential project of being and staying well, mentally and physically, from moment-to-moment and across all realms of social life.

Heinrich Schenker's theoretical and analytical works claim to resubstantiate the unique artistic presence of the canonic work, and thus reject those musical disciplines such as psychoacoustics and systematic musicology which derive from the natural sciences. In this respect his writing reflects the counter-positivism endemic to the German academic discourse of the first decades of the twentieth century. The rhetoric of this stance, however, conceals a sophisticated programme wherein Schenker situates his project in relation to these sciences, arguing his reading of the musical text as a synthesis of a descriptive psychology and an explanatory historiography (which itself embeds both paleographic and philological assumptions). This book rereads Schenker's project as an attempt to reconstruct music theory as a discipline against the background of the empirical musical sciences of the later nineteenth century.

Sound Inventions is a collection of 34 articles taken from Experimental Musical Instruments, the seminal journal published from 1984 through 1999. In addition to the selected articles, the editors have contributed introductory essays, placing the material in cultural and temporal context, providing an overview of the field both before and after the time of original publication. The Experimental Musical Instruments journal contributed extensively to a number of sub-fields, including sound sculpture and sound art, sound design, tuning theory, musical instrument acoustics, timbre and timbral perception, musical instrument construction and materials, pedagogy, and contemporary performance and composition. This book provides a picture of this important early period, presenting a wealth of material that is as valuable and relevant today as it was when first published, making it essential reading for anyone researching, working with or studying sound.

The Rolling Stones' Beggars Banquet is one of the seminal albums in rock history. Arguably it not only marks the advent of the 'mature' sound of the Rolling Stones but lays out a new blueprint for an approach to blues-based rock music that would endure for several decades. From its title to the dark themes that pervade some of its songs, Beggars Banquet reflected and helped define a moment marked by violence, decay, and upheaval. It marked a move away from the artistic sonic flourishes of psychedelic rock towards an embrace of foundational streams of American music - blues, country - that had always underpinned the music of the Stones but assumed new primacy in their music after 1968. This move coincided with, and anticipated, the 'roots' moves that many leading popular music artists made as the 1960s turned toward a new decade; but unlike many of their peers whose music grew more 'soft' and subdued as they embraced traditional styles, the music and attitude of the Stones only grew harder and more menacing, and their status as representatives of the dark underside of the 60s rock counterculture assumed new solidity. For the Rolling Stones, the 1960s ended and the 1970s began with the release of this album in 1968.

Jewish Contiguities and the Soundtrack of Israeli History revolutionizes the study of modern Israeli art music by tracking the surprising itineraries of Jewish art music in the move from Europe to Mandatory Palestine and Israel. Leaving behind cliches about East and West, Arab and Jew, this book provocatively exposes the legacies of European antisemitism and religious Judaism in the making of Israeli art music.
Shelleg introduces the reader to various aesthetic dilemmas involved in the emergence of modern Jewish art music, ranging from auto-exoticism through the hues of self-hatred to the disarticulation of Jewish musical markers. He then considers part of this musics' translocation to Mandatory Palestine, studying its discourse with Hebrew culture, and composers' grappling with modern and Zionist images of the self. Unlike previous efforts in the field, Shelleg unearths the mechanism of what he calls "Zionist musical onomatopoeias," but more importantly their dilution by the non-western Arab Jewish oral musical traditions (the same traditions Hebrew culture sought to westernize and secularize).
And what had begun with composers' movement towards the musical properties of non-western Jewish musical traditions grew in the 60s and 70s to a dialectical return to exilic Jewish cultures. In the aftermath of the Six-Day War, which reaffirmed Zionism's redemptive and expansionist messages, Israeli composers (re)embraced precisely the exilic Jewish music that emphasized Judaism's syncretic qualities rather than its territorial characteristics. In the 70s, therefore, while religious Zionist circles translated theology into politics and territorial maximalism, Israeli composers deterritorialized the national discourse by a growing return to the spaces shared by Jews and non-Jews, devoid of Zionist appropriations."

"Inklings" nannte sich eine Gruppe von Schriftstellern und Geisteswissenschaftlern in Oxford, deren bekannteste Mitglieder J.R.R. Tolkien und C.S. Lewis waren. Die Inklings-Gesellschaft e.V. widmet sich seit 1983 dem Studium und der Verbreitung der Werke dieser und ihnen nahestehender Autoren sowie der Analyse des Phantastischen in Literatur, Film und Kunst allgemein. Ihre Jahrestagungen werden in Jahrbuchern dokumentiert. Dieser Band enthalt Beitrage zum Thema "Die Musik und die Phantastik" sowie mehrere Rezensionen aktueller, relevanter Sekundarliteratur. "Inklings" was the name of a group of Oxford scholars and writers; its best-known members were J.R.R. Tolkien and C.S. Lewis. The German Inklings-Gesellschaft, founded in 1983, is dedicated to the discussion and dissemination of the works of these authors and of writers commonly associated with them and to the study of the fantastic in literature, film and the arts in general. The proceedings of the annual Inklings conferences are published in yearbooks. This volume contains papers discussing the role of music in fantasy as well as several reviews of recent relevant publications.

*** 'A fantastical journey through what might have been... Exciting and compelling' -CHRIS HAWKINS, BBC 6 MUSIC 'A detailed researcher and writer... Ingenious' -RECORD COLLECTOR This is the story of the great lost Beatles album. The end of the Beatles wasn't inevitable. It came through miscommunication, misunderstandings and missed opportunities to reconcile. But what if it didn't end? What if just one of those chances was taken, and the Beatles carried on? What if they made one last, great album? In Like Some Forgotten Dream, Daniel Rachel - winner of the prestigious Penderyn Music Book Prize - looks at what could have been. Drawing on impeccable research, Rachel examines the Fab Four's untimely demise - and from the ashes compiles a track list for an imagined final album, pulling together unfinished demos, forgotten B-sides, hit solo songs, and arguing that together they form the basis of a lost Beatles masterpiece. Compelling and convincing, Like Some Forgotten Dream is a daring re-write of Beatles history, and a tantalising glimpse of what might have been. Praise for Daniel Rachel: Walls Come Tumbling Down: 'Superlative...brilliant' - Q Magazine 'Triumphant' - The Guardian 'Brilliant' - Mojo Isle of Noises: 'In depth, scholarly' - Q Magazine 'Fascinating' - The Guardian / NME 'Fantastic, insightful interviews' - Noel Gallagher Don't Look Back in Anger: 'A-grade, A-list' - The Sunday Times 'A rollicking read' - Mail on Sunday 'Remarkable' - Art Review 'Book of the Week' - The Guardian

This book analyses religion and change in relation to music within the context of contemporary progressive Judaism. It argues that music plays a central role as a driving force for religious change, comprising several elements seen as central to contemporary religiosity in general: participation, embodiment, experience, emotions and creativity. Focusing on the progressive Anglo-Jewish milieu today, the study investigates how responses to these processes of change are negotiated individually and collectively and what role is allotted to music in this context. Building on ethnographic research conducted at Leo Baeck College in London (2014-2016), it maps how theologically unsystematic life-views take form through everyday musical practices related to institutional religion, identifying three theoretically relevant processes at work: the reflexive turn, the turn within and the turn to tradition.

It all started in London. More than fifty years ago, a generation of teens created something that would change the face of music forever. London, Reign Over Me immerses us in the backroom clubs, basement record shops, and late-night faint radio signals of 1960s Britain, where young hopefuls like Peter Frampton, Dave Davies, and Mick Jagger built off American blues and jazz to form a whole new sound. Author Stephen Tow weaves together original interviews with over ninety musicians and movers-and-shakers of the time to uncover the uniquely British story of classic rock's birth. Capturing the stark contrast of bursting artistic energy with the blitzkrieg landscape leftover from World War II, London, Reign Over Me reveals why classic rock 'n' roll could only have been born in London. A new sound from a new generation, this music helped spark the most important cultural transformation of the twentieth century. Key interviews include: * Jon Anderson (Yes) * Ian Anderson (Jethro Tull) * Rod Argent (The Zombies) * Chris Barber (Chris Barber Jazz Band) * Joe Boyd (Producer/manager) * Arthur Brown (Crazy World of Arthur Brown) * David Cousins (The Strawbs) * Dave Davies (The Kinks) * Spencer Davis (Spencer Davis Group) * Judy Dyble (Fairport Convention) * Ramblin' Jack Elliott (Solo folk/blues artist) * Peter Frampton (Humble Pie, solo artist) * Roger Glover (Deep Purple) * Steve Howe (Yes) * Neil Innes (Bonzo Dog Band; Monty Python) * Kenney Jones (The Small Faces; The Who) * Greg Lake (King Crimson; Emerson, Lake & Palmer) * Manfred Mann (Manfred Mann) * Terry Marshall (Marshall Amplification) * Dave Mason (Traffic) * Phil May (The Pretty Things) * John Mayall (The Bluesbreakers) * Jim McCarty (The Yardbirds) * Ian McLagan (The Small Faces) * Jacqui McShee (The Pentangle) * Peter Noone (Herman's Hermits) * Carl Palmer (Atomic Rooster; Emerson, Lake & Palmer) * Jan Roberts (Eel Pie Island Documentary Project) * Paul Rodgers (Free) * Peggy Seeger (Solo folk artist) * Hylda Sims (Club owner) * Keith Skues (DJ: Radio Caroline, Radio London, Radio One) * Jeremy Spencer (Fleetwood Mac) * John Steel (The Animals) * Al Stewart (Solo folk artist) * Dick Taylor (The Pretty Things) * Ray Thomas (The Moody Blues) * Richard Thompson (Fairport Convention) * Rick Wakeman (The Strawbs, Yes) * Barrie Wentzell (Photographer: Melody Maker)

Rick Soshensky presents a groundbreaking introduction to music's power to heal and transform, weaving collections of uplifting case studies from music therapy practices with ideas from spiritual traditions, philosophies, psychological theorists, and music therapy theorists and researchers. Going beyond just theoretical and clinical information, The Music Therapy Studio: How Music Heals and Transforms Lives centers the stories and experiences of people with disabilities-marginalized people for whom the world allows little time or place but whose extraordinary musical journeys teach us about the unseen depths and indomitably of the human spirit. In conversational tone, Soshensky introduces the concept of the music therapy studio and investigates core concepts in music-centered approaches to music therapy: the experience of music as a creative art with clients has intrinsic value that supersedes diagnostic labeling and behavioral goal-setting. Through the music therapy studio, Soshensky finds hidden potential for connection and produces touching moments of music and meaning through the healing process. The result is unique and inspiring text that leads us towards a deeper understanding and appreciation of music therapy and music's spiritual benefits.

Rick Soshensky presents a groundbreaking introduction to music's power to heal and transform, weaving collections of uplifting case studies from music therapy practices with ideas from spiritual traditions, philosophies, psychological theorists, and music therapy theorists and researchers. Going beyond just theoretical and clinical information, The Music Therapy Studio centers the stories and experiences of people with disabilities-marginalized people for whom the world allows little time or place but whose extraordinary musical journeys teach us about the unseen depths and indomitably of the human spirit. In conversational language, Soshensky uses these stories to introduce the concept of the music therapy studio and to investigate core concepts in music-centered approaches to music therapy, where the experience of music as a creative art with clients has intrinsic value that supersedes diagnostic labeling and behavioral goal-setting. The result is a unique and inspiring book that leads us towards a deeper understanding and appreciation of music therapy and music's spiritual benefits.

For decades now, scholars of music theory have firmly established the supranational importance of the pedagogical tradition that flourished in the Neapolitan conservatories from the 17th to the 19th century. Beyond its potential in today's teaching practice, many questions remain open about the didactic tools peculiar to this tradition. As is well known, Neapolitan maestri did not produce theoretical treatises, but drafted short exercises such as partimenti and solfeggi to be realized extempore, which were at the core of their composition teaching. But what about the mechanisms of creation and transmission of these tools? And to what extent were Neapolitan methods imitated or adapted across Europe? This volume brings together contributions from an international conference (Milan - Bern, 2017) addressing these issues.

The Creative Electronic Music Producer examines the creative processes of electronic music production, from idea discovery and perception to the power of improvising, editing, effects processing, and sound design. Featuring case studies from across the globe on musical systems and workflows used in the production process, this book highlights how to pursue creative breakthroughs through exploration, trial and error tinkering, recombination, and transformation. The Creative Electronic Music Producer maps production's enchanting pathways in a way that will fascinate and inspire students of electronic music production, professionals already working in the industry, and hobbyists.

The first study to explore the crucial influence of Kurt Weill on operas and musicals by Marc Blitzstein and Leonard Bernstein. Theodor Adorno famously proclaimed that the model of Kurt Weill could not be repeated. Yet Weill's stage works set an inescapable precedent for composers on both sides of the Atlantic. Rebecca Schmid explores how Weill's formal innovations in particular laid the groundwork for operas and musicals by Marc Blitzstein and Leonard Bernstein, although both composers resisted or downplayed his aesthetic contribution to American tradition. Comparative analysis based on Harold Bloom's Anxiety of Influence and other modes of intertextuality reveals that the principles of Weill's opera reform would catalyze an indigenous movement in sophisticated, socially engaged music theatre. Weill, Blitzstein, and Bernstein: A Study of Influence focuses on works that represent different phases of Weill's mission to renew the genre of opera, evolving from Die Dreigroschenoper to the musical play Lady in the Dark and the Broadway Opera Street Scene. Blitzstein and Bernstein in turn defied formal boundaries with The Cradle Will Rock, Regina, Trouble in Tahiti, Candide, and West Side Story - part of a short-lived movement in mid-twentieth century America that coincided with a renaissance for Weill's German-period works following the premiere of Blitzstein's translation, The Threepenny Opera, under Bernstein's baton. The unpublished A Pray by Blecht, for which Bernstein rejoined Stephen Sondheim and Jerome Robbins, his collaborators on West Side Story, deepens the connection of Bernstein's aesthetic to Weill.

Compositional Process in Elliott Carter's String Quartets is an interdisciplinary study examining the evolution and compositional process in Elliott Carter's five string quartets. Offering a systematic and logical way of unpacking concepts and processes in these quartets that would otherwise remain opaque, the book's narrative reveals new aspects of understanding these works and draws novel conclusions on their collective meaning and Carter's place as the leading American modernist. Each of Carter's five string quartets is driven by a new idea that Carter was exploring during a particular period, which allows for each quartet to be examined under a unique lens and a deeper understanding of his oeuvre at large. Drawing on key ideas from a variety of subjects including performance studies, philosophy, music cognition, musical meaning and semantics, literary criticism, and critical theory, this is an informative volume for scholars and researchers in the areas of music theory and musicology. Analyses are supplemented with sketch study, correspondence, text manuscripts, and other archival sources from the Paul Sacher Stiftung, the Library of Congress, and the New York Public Library.

Christians and Christianity have been central to Hip Hop since its inception. This book explores the intersection of Christians and Hip Hop and the multiple outcomes of this intersection. It lays out the ways in which Christians and Hip Hop overlap and diverge. The intersection of Christians and Hip Hop brings together African diasporic cultures, lives, memories and worldviews. Moving beyond the focus on rappers and so-called "Christian Hip Hop," each chapter explores three major themes of the book: identifying Hip Hop, irreconcilable Christianity, and boundaries.There is a self-identified Christian Hip Hop (CHH) community that has received some scholarly attention. At the same time, scholars have analyzed Christianity and Hip Hop without focusing on the self-identified community. This book brings these various conversations together and show, through these three themes, the complexities of the intersection of Christians and Hip Hop. Hip Hop is more than rap music, it is an African diasporic phenomenon. These three themes elucidate the many characteristics of the intersection between Christians and Hip Hop and our reasoning for going beyond "Christian Hip Hop." This collection is a multi-faceted view of how religious belief plays a role in Hip Hoppas' lives and community. It will, therefore, be of great interest to scholars of Religion and Hip Hop, Hip Hop, African Diasporas, Religion and the Arts, Religion and Race and Black Theology as well as Religious Studies more generally.

This volume brings together the work of social scientists and music scholars examining the role of migrant and migrant descended communities in the production and consumption of popular music in Europe and North America. The contributions to the collection include studies of language and local identity in hip hop in Liege and Montreal; the politics of Mexican folk music in Los Angeles; the remaking of ethnic boundaries in Naples; the changing meanings of Tango in the Argentine diaspora and of Alevi music among Turks in Germany; the history of Soca in Brooklyn; and the recreation of 'American' culture by the children of immigrants on the Broadway stage. Taken together, these works demonstrate how music affords us a window onto local culture, social relations and community politics in the diverse cities of immigrant receiving societies. Music is often one of the first arenas in which populations encounter newcomers, a place where ideas about identity can be reformulated and reimagined, and a field in which innovation and hybridity are often highly valued. This book highlights why it is a subject worthy of more attention from students of racial and ethnic relations in diverse societies. It was originally published as a special issue of Ethnic and Racial Studies.

From Music to Sound is an examination of the six musical histories whose convergence produces the emergence of sound, offering a plural, original history of new music and showing how music had begun a change of paradigm, moving from a culture centred on the note to a culture of sound. Each chapter follows a chronological progression and is illustrated with numerous musical examples. The chapters are composed of six parallel histories: timbre, which became a central category for musical composition; noise and the exploration of its musical potential; listening, the awareness of which opens to the generality of sound; deeper and deeper immersion in sound; the substitution of composing the sound for composing with sounds; and space, which is progressively viewed as composable. The book proposes a global overview, one of the first of its kind, since its ambition is to systematically delimit the emergence of sound. Both well-known and lesser-known works and composers are analysed in detail; from Debussy to contemporary music in the early twenty-first century; from rock to electronica; from the sound objects of the earliest musique concrete to current electroacoustic music; from the Poeme electronique of Le Corbusier-Varese-Xenakis to the most recent inter-arts attempts. Covering theory, analysis and aesthetics, From Music to Sound will be of great interest to scholars, professionals and students of Music, Musicology, Sound Studies and Sonic Arts. Supporting musical examples can be accessed via the online Routledge Music Research Portal.

In the wake of World War II, the arts and culture of Europe became a site where the devastating events of the 20th century were remembered and understood. Exploring one of the most integral elements of the cinematic experience-music-the essays in this volume consider the numerous ways in which post-war European cinema dealt with memory, trauma and nostalgia, showing how the music of these films shaped the representation of the past. The contributors consider films from the United Kingdom, Poland, the Soviet Union, France, Italy, Germany, Sweden, Austria, and the Netherlands, providing a diverse and well-rounded understanding of film music in the context of historical memory. Memory is often underrepresented within scholarly musical studies, with most of these applications found in the disciplines of ethnomusicology, popular music studies, music cognition, and psychology and music therapy. Likewise, trauma has mainly been studied in relation to music in only a few historical contexts, while nostalgia has attracted even less academic attention. In three parts, this volume addresses each area of study as it relates to the music of European cinema from 1945 to 1989, applying an interdisciplinary approach to investigate how films use music to negotiate the precarious relationships we maintain with the past. Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War offers compelling arguments as to what makes music such a powerful medium for memory, trauma and nostalgia.

Ever hear of a butt splice? A cover? An iron mother? A biscuit? These were terms used in the heyday of vinyl records, from 1949 to the mid-1980s. This colorful and almost forgotten language was once used by record producers, label owners, disc jockeys, jukebox operators, record distributors, and others in the music industry. Their language is collected in this dictionary. Each entry offers both an explanation of a term's meaning as well as its context and use in the history of the record business.

Starting in 1945 and continuing for the next twenty years, dozens of African American rhythm and blues artists made records that incorporated West Indian calypso. Some of these recordings were remakes or adaptations of existing calypsos, but many were original compositions. Several, such as "Stone Cold Dead in de Market" by Ella Fitzgerald and Louis Jordan or "If You Wanna Be Happy" by Jimmy Soul, became major hits in both the rhythm and blues and pop music charts. While most remained obscurities, the fact that over 170 such recordings were made during this time period suggests that there was sustained interest in calypso among rhythm and blues artists and record companies during this era. Rhythm and Blues Goes Calypso explores this phenomenon starting with a brief history of calypso music as it developed in its land of origin, Trinidad and Tobago, the music's arrival in the United States, a brief history of the development of rhythm and blues, and a detailed description and analysis of the adaptation of calypso by African American R&B artists between 1945 and 1965. This book also makes musical and cultural connections between the West Indian immigrant community and the broader African American community that produced this musical hybrid. While the number of such recordings was small compared to the total number of rhythm and blues recordings, calypso was a persistent and sometimes major component of early rhythm and blues for at least two decades and deserves recognition as part of the history of African American popular music.

Artistic creation has proven remarkably resistant to philosophical analysis. Artists have long struggled to explain how they do what they do, and philosophers have struggled along with them. This study does not attempt to offer a comprehensive account of all creativity or all art. Instead it tries to identify an essential feature of an activity that has been cloaked in mystery for as long as history records. Jeff Mitscherling and Paul Fairfield argue that the process by which art is created has a good deal in common with the experience of the audience of a work, and that both experiences may be described phenomenologically in ways that show surprising affinities with what artists themselves often report.

Activism through Music during the Apartheid Era and Beyond documents the grassroots activism of Sharon Katz and the Peace Train against the backdrop of enormous diversity and the volatile social and political climate in South Africa in the early 1990s. Among the intersections of race, healing and the "soft power" of music, Katz offers a vision of the possibilities of national identity and belonging as South Africans grappled with the transition from apartheid to democracy. Through extensive fieldwork across two countries (South Africa and the United States) and drawing on personal experiences as a South African of color, Ambigay Yudkoff reveals a compelling narrative of multigenerational collaboration. This experience creates a sense of community fostering relationships that develop through music, travel, performances, and socialization. In South Africa and the United States, and recently in Cuba and Mexico, the Peace Train's journey in musical activism provides a vehicle for racial integration and intercultural understanding.