First Published in 2007. Routledge is an imprint of Taylor & Francis, an informa company.

Why does music move us? Lawrence Kramer suggests we should ask this old question in a different way: what is responsible for our response to music, and to what is our response responsible? The essays in this outstanding collection explore this question amongst many others, and by finding cultural meaning in music they exemplify the critical turn in musicology. Sixteen essays have been selected, most of them previously published, from the late 1980s to the present day. These are prefaced by an excellent introduction which traces the intellectual development of critical musicology and discusses the part these essays have had to play in that movement.

The members of Led Zeppelin are major deities in the pantheon of rock gods. The first and heaviest of the heavy metal monsters, they violently shook the foundations of rock music and took no prisoners on the road. Their tours were legendary, their lives were exalted--and in an era well known for sex and drugs, the mighty Zeppelin set an unattainable standard of excess and mythos for any band that tried to follow them. They were power, they were fantasy, they were black magic. No band ever flew as high as Led Zeppelin or suffered so disastrous a fall. And only some of them lived to tell the tale.

"Hammer of the Gods" is the "New York Times" bestselling epic saga of the hard reign of Page, Plant, Jones, and Bonham--a spellbinding, electrifying, no-holds-barred classic of rock 'n' roll history that has now been updated to include the continuing adventures of the band.

Music and the Poetics of Production in the Bolivian Andes is a musical ethnography of a Quechua-speaking community of northern PotosA , in the Bolivian Andes. Based on extensive fieldwork, it explores how music permeates the lives of this group of herders and agriculturalists, and how it is deeply interwoven with agricultural and social (re)production. In this harsh highland environment, persuading the earth to bear fruit is a perpetual challenge, and music emerges as an especially critical and dynamic medium; one that provides rich insights into broader social processes and values. Music and dance orchestrate the seasonal transformation of the landscape, coordinate processes of life and death, and articulate relations with outside social groups and the spirit realm. Through rich and evocative ethnography, the book delves into the powerful meanings ascribed to sound; charts unfamiliar aesthetic territories; suggests how modernity can contribute to indigeneity; and reveals remarkable musical perspectives on llama husbandry and potato cultivation. As we follow the lives, shifting fortunes and musical year of this, in many ways, fragile community, a seasonally shifting array of musical instruments, genres, dances and tunings is introduced. The book is accompanied by downloadable resources, photographs, musical transcriptions and explanatory diagrams.

Elements of Music, Fourth Edition, is an introduction to music fundamentals for music majors and non-majors. Organized into brief, digestible, self-contained lessons, each of which is followed by exercises and in-class activities, the text offers instructors flexibility in how they teach music fundamentals. Unmatched concision and clarity make learning fundamentals simple. Throughout the text, a core repertoire introduces students to fundamental concepts, helping students connect fundamentals to music they enjoy. And with the new Oxford fourth edition, the text offers more resources than ever for students to complete fundamentals work online.

The musical and cultural impact of the Fab Four in FloridaIn 1964, Beatlemania flooded the United States. The Beatles appeared live on the Ed Sullivan Show and embarked on their first tour of North America-and they spent more time in Florida than anywhere else. Good Day Sunshine State dives into this momentous time and place, exploring the band's seismic influence on the people and culture of the state. Bob Kealing sets the historical stage for the band's arrival-a nation dazed after the assassination of John F. Kennedy and on the precipice of the Vietnam War; a heavily segregated, conservative South; and in Florida, recent events that included the Cuban Missile Crisis and the arrest and imprisonment of Martin Luther King Jr. in St. Augustine. Kealing documents the culture clashes and unexpected affinities that emerged as the British rockers drew crowds, grew from fluff story to the subject of continual news coverage, and basked in the devotion of a young and idealistic generation. Through an abundance of letters, memorabilia, and interviews with journalists, fellow musicians, and fans, Kealing takes readers behind the scenes into the Beatles' time in locations such as Miami Beach, where they wrote new songs and met Muhammad Ali. In the tropical environs of Key West, John Lennon and Paul McCartney experienced milestone moments in their friendship. And the band dodged the path of Hurricane Dora to play at the Gator Bowl in Jacksonville, where they famously refused to perform until the city agreed to integrate the audience. Kealing highlights the hopeful futures that the Beatles helped inspire, including stories of iconic rock-and-rollers such as Tom Petty who followed the band's lead in their own paths to stardom. This book offers a close look at an important part of the musical and cultural revolution that helped make the Fab Four a worldwide phenomenon.

This volume showcases key theoretical ideas and practical considerations in the growing area of scholarship on musical gesture. The book constructs and explores the relations between music and gesture from a range of differing perspectives, identifying theoretical approaches and examining the nature of certain types of gesture in musical performance. The twelve chapters in this volume are organized into a heuristic progression from theory to practice, from essay to case study. Theoretical considerations about the interpretation of musical gestures are identified and phrased in terms of semiotics, the mimetic hypothesis, concepts of musical force, immanence, quotation and topic, and the work of musical gestures. The lives of musical gestures in performance are revealed through engaging with their rhythmic properties as well as inquiring into the breathing of pianists, the nature of clarinettists' bodily movements, and the physical acts and personae of individual artists, specifically Keith Jarrett and Robbie Williams. The reader is encouraged to listen to the various resonances and tensions between the chapters, including the importance given to bodies, processes, motions, expressions, and interpretations of musical gesture. The book will be of significance to musicologists, theorists, semioticians, analysts, composers and performers, as well as scholars working in different research communities with an interest in the study of gesture.

Here, Holmboe discusses many issues facing the composer, performer and listener, giving especial attention to the most basic questions about musical experience. Vagn Holmboe [1909-96], was one of the most important composers of his era, and arguably the most important Danish composer after Carl Nielsen. A composer for over 60 years, and a teacher for more than 30, he wrote over 300 compositions in nearly every musical genre, music criticism, many other articles and two other books. Here, in a volume intended for the general reader, he discusses the nature of music, from the point of view of the composer, the performer and the listener. Where do musical ideas come from? What are composers' working methods, and how much are they really aware of them? What is the role of performers, and what sort of freedom do they have in interpreting music?What do listeners do in listening to music? What, essentially, is the musical experience? Professor Paul Rapoport contributes a lengthy introduction to this book, although, as he points out, `this is not a book about Vagn Holmboe nor a book addressed solely to musicians ... Holmboe's prose, like his music, is addressed to his fellow human beings, whoever and wherever they may be'.

Whilst E.T.A. Hoffmann (1776-1822) is most widely known as the author of fantastic tales, he was also prolific as a music critic, productive as a composer, and active as a conductor. This book examines Hoffmann's aesthetic thought within the broader context of the history of ideas of the late-eighteenth and early-nineteenth centuries, and explores the relationship between his musical aesthetics and compositional practice. The first three chapters consider his ideas about creativity and aesthetic appreciation in relation to the thought of other German romantic theorists, discussing the central tenets of his musical aesthetic - the idea of a 'religion of art', of the composer as a 'genius', and the listener as a 'passive genius'. In particular the relationship between the multifaceted thought of Hoffmann and Friedrich Schleiermacher is explored, providing some insight into the way in which diverse intellectual traditions converged in early-nineteenth-century Germany. In the second half of the book, Hoffmann's dialectical view of music history and his conception of romantic opera are discussed in relation to his activities as a composer, with reference to his instrumental music and his two mature, large-scale operas, Aurora and Undine. The author also addresses broader issues pertaining to the ideological and historical significance of Hoffmann's musical and literary oeuvre.

Arnold Schoenberg's theory of music has been much discussed but his approach to music theory needs a new historical and theoretical assessment in order to provide a clearer understanding of his contributions to music theory and analysis. Norton Dudeque's achievement in this book involves the synthesis of Schoenberg's theoretical ideas from the whole of the composer's working life, including material only published well after his death. The book discusses Schoenberg's rejection of his German music theory heritage and past approaches to music-theory pedagogy, the need for looking at musical structures differently and to avoid aesthetic and stylistic issues. Dudeque provides a unique understanding of the systematization of Schoenberg's tonal-harmonic theory, thematic/motivic-development theory and the links with contemporary and past music theories. The book is complemented by a special section that explores the practical application of the theoretical material already discussed. The focus of this section is on Schoenberg's analytical practice, and the author's response to it. Norton Dudeque therefore provides a comprehensive understanding of Schoenberg's thinking on tonal harmony, motive and form that has hitherto not been attempted.

The confluence between music and literature, long hymned as sister arts, is a newly burgeoning field of critical inquiry. This collection of interdisciplinary essays provides an introduction to the field, mapping the contours of research and investigating the mutual aesthetic influence of the two arts and their common historical ground.

This book concerns the cadences which reach their conclusion by jumping from scale degree 3 down to 1 or to 1-7-1. The chronological history commences in Gregorian Chant, where the falling third is often preceded by scale degree 4, forming the striking figure 4-3-1. The cadences move, along with the borrowed chant melodies, into the polyphony of the late 14th, 15th and 16th centuries. Here, melodic figures with the shape of 4-3-1, but on any scale degree, become a significant element of style. At cadence the unbroken melodic progression 4-3-1-7-1 may lie entirely in the upper voice, or 4-3-1 may occur in a lower voice followed by 7-1 in the upper. The general effect of the falling third changes as the surrounding musical elements change and as polyphony itself evolves through time. The cadences are reborn in recitative, first in an unbroken form with 4-3-1-7-1 in the voice, later in a broken form with 4-3-1 in the voice, 7-1 in the instrumental continuo part. Many evolving rhythmic, harmonic, melodic, and other elements are important in the cadences, but two are especially significant, for they lead to difficult problems for later performers. These concern (1) the structure in which the accompaniment's V chord is notated directly below the voice's first or single scale degree 1, and (2) the possibility of an appoggiatura on scale degree 2 between the two notes of the falling third. The book suggests some new and unexpected solutions to both these problems and concludes with a brief history of the 4-3-1 figure. The book includes many musical examples by composers such as Dunstable, Dufay, Josquin, Palestrina, A. Scarlatti, J.S. Bach, Handel, Telemann, Haydn, Mozart, Schubert, Mendelssohn and Rossini.

From the storied ache of mbube harmonies of the '40s to the electronic boom of kwaito and the amapiano and house explosion of the '00s, this book explores vignettes taken from across South Africa's popular music history. There are moments in time where music can be a mighty weapon in the fight for freedom. Disguised in a danceable hook or shouted for the world to hear, artists have used songs to deliver important truths and bring listeners together in the face of a segregated reality. In the grip of the brutal apartheid era, South Africa crafted its own idiosyncratic popular musical vernacular that operated both as sociopolitical tool and realm of escape. In a country with 11 official languages, music had the power to unite South Africans in protest. Artists bloomed a new idyll from the branches of countless storied musical traditions, and in turn found themselves banned or exiled-the profoundly foolish epiphany that music can exist both within the pleasure of itself and for serving a far greater purpose.

In the year following its 1787 Prague premiere, Don Giovanni was performed in Vienna. Everyone, according to the well-known account by Da Ponte, thought something was wrong with it. In response, Mozart made changes, producing a Vienna 'version' of the opera, cutting two of the original arias but inserting three newly-composed pieces. The dilemma faced by musicians and scholars ever since has been whether to preserve the opera in these two 'authentic' forms, or whether to fashion a hybrid text incorporating the best of both. This study presents new evidence about the Vienna form of the opera, based on the examination of late eighteenth-century manuscript copies. The Prague Conservatory score is identified as the primary exemplar for the Viennese dissemination of Don Giovanni, which is shown to incorporate two quite distinct versions, represented by the performing materials in Vienna (O.A.361) and the early Lausch commercial copy in Florence. To account for this phenomenon, seen also in early sources of the Prague Don Giovanni and Cosi fan tutte, a general theory of transmission for the Mozart Da Ponte operas is proposed, which clarifies the relationship between the fluid text produced by re-creation (performing) and the static text generated by replication (copying). Aspects of the compositional history of Don Giovanni are uncovered. Evidence to suggest that Mozart first considered an order in which Donna Elvira's scena precedes the comic duet 'Per queste tue manine' is assessed. The essential truth of Da Ponte's account - that the revision of the opera in Vienna was an interactive process, involving the views of performers, the reactions of audiences and the composer's responses - seems to be fully borne out. The final part of the study investigates the late eighteenth-century transmission of Don Giovanni. The idea that hybrid versions gained currency only in the nineteenth century or in the lighter Singspiel tradition is challenged. IAN WOODFIELD is Professor and Director of Research at the School of Music and Sonic Arts, Queen's University Belfast.

This monograph examines the place of repetition in perceived musical structure and in theories of music. Following a preface and introduction, there are four main chapters: 'Theory', 'Analysis', 'Metatheory and Meta-analysis', and 'Cognition and Metacognition'. Chapter 2 (Theory) sets out the principles underlying the creation and cognition of musical structure developed by the author in earlier studies, in the dual context of David Lewin's mathematically based theory of musical intervals and transformations and Gilles Fauconnier's concept of mental spaces (which was formulated in the context of cognitive science). Chapter 3 (Analysis) shows the theory in operation in relation to the first movement of Mozart's piano sonata K.333. It indicates how structural issues may be related to considerations of aesthetic response and musical 'worth' through comparison with J.C. Bach's Sonata op. 5 no. 3. Chapter 4 (Metatheory and Meta-analysis) uses the new theory to interrogate the propositions underpinning set theory and transformations, offering a psychomusicological critique and potential development of, for example, the work of Forte, Morris, Isaacson and Straus. This enables issues raised earlier in relation to the work of Lewin to be addressed. In conclusion, in Chapter 5 (Cognition and Metacognition), the matter of cognitive preferences and constraints is considered in relation to repetition in music, which permits a final investigation of different approaches to musical analysis to be undertaken. In summary, by synthesising the findings of diverse earlier work in the context of the new theory, it proves possible to move thinking forward on a number of fronts, and to indicate potential directions for future empirical and analytical developments.

Nicholas Kenyon explores the enduring appeal of the classical canon at a moment when we can access all music-across time and cultures "Nicholas Kenyon is an amiable and enthusiastic guide to a thousand years of classical music."-Neil Fisher, The Times "A wonderfully engaging survey. . . . It is what every music lover needs close by. . . . We are left in no doubt about music's extraordinary power."-Ian Thomson, Financial Times Immersed in music for much of his life as writer, broadcaster, and concert presenter, former director of the BBC Proms Nicholas Kenyon has long championed an astonishingly wide range of composers and performers. Now, as we think about culture in fresh ways, Kenyon revisits the stories that make up the classical tradition and foregrounds those that are too often overlooked. This inclusive, knowledgeable, and enthusiastic guide highlights the achievements of the women and men, amateurs and professionals, who bring music to life. Taking us from pianist Myra Hess's performance in London during the Blitz, to John Adams's composition of a piece for mourners after New York's 9/11 attacks, to Italian opera singers singing from their balconies amidst the 2020 pandemic, Kenyon shows that no matter how great the crisis, music has the power to bring us together. His personal, celebratory account transforms our understanding of how classical music is made-and shows us why it is more relevant than ever.

Music may not be an obvious area for a criminologist's attention, but there are many areas appropriate for analysis in the relationship between sound, music, rights and harm. The Use and Abuse of Music: Criminal Records explores how music is utilised to include, exclude, dominate and silence. Analysing the connection between music and crime from an expressly critical criminological perspective, the book is divided into three main parts. Firstly, focusing on the concept of 'harmful' or deviant music, genres such as UK drill music and heavy metal are examined to highlight the connections between certain genres and criminalisation. Moving away from specifics of genre, the second section considers the use of music in war and conflict. Finally, the book reflects on the censorship and silencing of subcultures and individuals through music, highlighting the inequalities surrounding who is permitted to make noise which is often exemplified by racist, sexist and prejudicial actions. This illuminating exploration of the deviant and transgressive nature of music is ideal for researchers, scholars and students working within the fields of criminology, sociology and musicology.

Charles Avison's Essay on Musical Expression, first published in 1752, is a major contribution to the debate on musical aesthetics which developed in the course of the 18th century. Considered by Charles Burney as the first essay devoted to 'musical criticism' proper, it established the primary importance of 'expression' and reconsidered the relative importance of harmony and melody. Immediately after its publication it was followed by William Hayes's Remarks (1753), to which Avison himself retorted in his Reply. Taken together these three texts offer a fascinating insight into the debate that raged in the 18th century between the promoters of the so-called 'ancient music' (such as Hayes) and the more 'modern' musicians. Beyond matters of taste, what was at stake in Avison's theoretical contribution was the assertion that the individual's response to music ultimately mattered more than the dry rules established by professional musicians. Avison also wrote several prefaces to the published editions of his own musical compositions. This volume reprints these prefaces and advertisements together with his Essay to provide an interesting view of eighteenth-century conceptions of composition and performance, and a complete survey of Avison's theory of music.

...revisit the people and places and deepen your enjoyment of the sublime BBC tv series "Wayfaring Stranger" ...in these pages revisit people and places you loved in the BBC tv series "Wayfaring Stranger" ... by the authors as featured in the acclaimed BBC tv series "Wayfaring Stranger" Throughout the eighteenth and nineteenth centuries, a steady stream of Scots migrated to Ulster and eventually onward across the Atlantic to resettle in the United States. Many of these Scots-Irish immigrants made their way into the mountains of the southern Appalachian region. They brought with them a wealth of traditional ballads and tunes from the British Isles and Ireland, a carrying stream that merged with sounds and songs of English, German, Welsh, African American, French, and Cherokee origin. Their enduring legacy of music flows today from Appalachia back to Ireland and Scotland and around the globe. In Wayfaring Strangers, Fiona Ritchie and Doug Orr guide readers on a musical voyage across oceans, linking people and songs through centuries of adaptation and change. From ancient ballads at the heart of the tradition to instruments that express this dynamic music, Ritchie and Orr chronicle the details of an epic journey.

Analysing over 100 recordings from 1945-1975, this book examines twentieth-century baroque performance practice as evinced in all the commercially available recordings of J.S. Bach's Passions, Brandenburg Concertos and Goldberg Variations. Dorottya Fabian presents a qualitative, style-orientated history of the early music movement in its formative years through a comparison of the performance style heard in these recordings with the scholarly literature on Bach performance practice. Issues explored in the book include the availability of resources, balance, tempo, dynamics, ornamentation, rhythm and articulation. During the decades following the Second World War, the early music movement was more concerned with the revival of repertoire than with the revival of performance style which meant that its characteristics and achievements differed essentially from those of the later 1970s and 1980s. Period practice techniques were not practised even by ensembles using eighteenth-century instruments. Yet, as this survey reveals, several recordings of the period provide unexpectedly stylish interpretations using metre and pulse to punctuate the music. Such metric performance and appropriate articulation helped to clarify structure and texture and assisted in the creation of a musical discourse - the pre-eminent goal of baroque compositions.

Fifty years after the concerts captured on the legendary album 1969: The Velvet Underground Live comes this illuminating biography of Lou Reed. As band leader of the Velvet Underground and later a successful solo artist, Reed was much more than what the general public came to know as the grumpy New Yorker in black who sang "Walk on the Wild Side." To his dedicated admirers, he was one of the most innovative and intelligent songwriters of modern times--a natural outsider who lived a tumultuous and tortured life. In the course of his deep research into Reed's life, from a humble upbringing on Long Island to death from liver disease in 2013, Howard Sounes interviewed more than 140 people who knew the artist intimately--some of whom have not spoken publicly about him before. With new revelations from former wives and lovers, family members, fellow band members and celebrities, and music industry figures, this book offers an updated, unfettered look at Reed's creative process, his mental health problems, his bisexuality, his three marriages, and his addictions to drugs and alcohol. Featuring previously unpublished photographs of some of Reed's most private moments, this is the definitive account of one of rock 'n' roll's most complicated and brilliant prophets.

Regarded as one of the most important English music treatises in the seventeenth century, Thomas Campion's A New Way of Making Fowre Parts in Counterpoint reveals progressive ideas about the latent theory of inversions, the fundamental bass, cadences and tonality, and the major-minor octave scale. In this first accurate modern edition of Campion's treatise, Christopher Wilson provides a fully annotated text and a substantial introduction which highlights the historical significance of 'A New Way...' both in its close relationship with Coprario's 'Rules how to Compose' (which is included as an appendix together with commentary and notes) and its unusual debt to German rather than Italian music theory. Wilson presents a persuasive case for viewing the treatise as essentially a very early modern harmony tutor.and its unusual debt to German rather than Italian music theory.

Aaron Copland is one of America's best-known composers and writers on twentieth century music. This volume brings together for the first time the best of his published essays on music, with previously unpublished material from his diaries, letters, and writings to present a complete picture of Copland as a cultural critic.

Traditionally, statistics and music are not generally associated with each other. However, "intelligent" music software, computer digitization, and other advanced techniques and technologies have precipitated the need for standard statistical models to answer basic musicological questions. Statistics In Musicology presents an unprecedented introduction to statistical and mathematical methods developed for use in music analysis, music theory, and performance theory. It explores concrete methods for data generation and numerical encoding of musical data and serves as a practical reference for a wide audience, including statisticians, mathematicians, musicologists, and musicians.