In Kwaito Bodies Xavier Livermon examines the cultural politics of the youthful black body in South Africa through the performance, representation, and consumption of kwaito, a style of electronic dance music that emerged following the end of apartheid. Drawing on fieldwork in Johannesburg's nightclubs and analyses of musical performances and recordings, Livermon applies a black queer and black feminist studies framework to kwaito. He shows how kwaito culture operates as an alternative politics that challenges the dominant constructions of gender and sexuality. Artists such as Lebo Mathosa and Mandoza rescripted notions of acceptable femininity and masculinity, while groups like Boom Shaka enunciated an Afrodiasporic politics. In these ways, kwaito culture recontextualizes practices and notions of freedom within the social constraints that the legacies of colonialism, apartheid, and economic inequality place on young South Africans. At the same time, kwaito speaks to the ways in which these legacies reverberate between cosmopolitan Johannesburg and the diaspora. In foregrounding this dynamic, Livermon demonstrates that kwaito culture operates as a site for understanding the triumphs, challenges, and politics of post-apartheid South Africa.

Addressing a wide range of improvised art and music forms-from jazz and cinema to dance and literature-this volume's contributors locate improvisation as a key site of mediation between the social and the aesthetic. As a catalyst for social experiment and political practice, improvisation aids in the creation, contestation, and codification of social realities and identities. Among other topics, the contributors discuss the social aesthetics of the Association for the Advancement of Creative Musicians, the Feminist Improvising Group, and contemporary Malian music, as well as the virtual sociality of interactive computer music, the significance of "uncreative" improvisation, responses to French New Wave cinema, and the work of figures ranging from bell hooks and Billy Strayhorn to Kenneth Goldsmith. Across its diverse chapters, Improvisation and Social Aesthetics argues that ensemble improvisation is not inherently egalitarian or emancipatory, but offers a potential site for the cultivation of new forms of social relations. It sets out a new conceptualization of the aesthetic as immanently social and political, proposing a new paradigm of improvisation studies that will have reverberations throughout the humanities. Contributors. Lisa Barg, Georgina Born, David Brackett, Nicholas Cook, Marion Froger, Susan Kozel, Eric Lewis, George E. Lewis, Ingrid Monson, Tracey Nicholls, Winfried Siemerling, Will Straw, Zoe Svendsen, Darren Wershler

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

Among the most original and provocative musicological writers of his generation, James Hepokoski has elaborated new paradigms of inquiry for both music history and music theory. Advocating fundamental shifts of methodological reorientation within the quest for potential musical meanings, his work spans both disciplines and offers substantial challenges for each. At its core is the conviction that a close study of musical genres, procedures, and structures"those qualities of a composition that are specifically musical"is essential to any responsible hermeneutic enterprise. Selected from writings from 1984 to 2008, this collection of essays provides a generous introduction to the author's most innovative and influential work on a wide variety of topics: musicological methodology, issues of staging and performance, Italian opera, program music, and exemplary studies of individual pieces.

WInner of the Best First Book from the Native American and Indigenous Studies Association Winner of the Labriola Center American Indian National Book Award Winner of the Ann Saddlemyer Award from the Canadian Association for Theatre Research Reimagining how we understand and write about the Indigenous listening experience​ Hungry Listening is the first book to consider listening from both Indigenous and settler colonial perspectives. A critical response to what has been called the “whiteness of sound studies,� Dylan Robinson evaluates how decolonial practices of listening emerge from increasing awareness of our listening positionality. This, he argues, involves identifying habits of settler colonial perception and contending with settler colonialism’s “tin ear� that renders silent the epistemic foundations of Indigenous song as history, law, and medicine.  With case studies on Indigenous participation in classical music, musicals, and popular music, Hungry Listening examines structures of inclusion that reinforce Western musical values. Alongside this inquiry on the unmarked terms of inclusion in performing arts organizations and compositional practice, Hungry Listening offers examples of “doing sovereignty� in Indigenous performance art, museum exhibition, and gatherings that support an Indigenous listening resurgence. Throughout the book, Robinson shows how decolonial and resurgent forms of listening might be affirmed by writing otherwise about musical experience. Through event scores, dialogic improvisation, and forms of poetic response and refusal, he demands a reorientation toward the act of reading as a way of listening. Indigenous relationships to the life of song are here sustained in writing that finds resonance in the intersubjective experience between listener, sound, and space. 

Written by leading experts, this volume provides a picture of the realities of current ICT use in musicology as well as prospects and proposals for how it could be fruitfully used in the future. Through its coverage of topics spanning content-based sound searching/retrieval, sound and content analysis, markup and text encoding, audio resource sharing, and music recognition, this book highlights the breadth and inter-disciplinary nature of the subject matter and provides a valuable resource to technologists, musicologists, musicians and music educators. It facilitates the identification of worthwhile goals to be achieved using technology and effective interdisciplinary collaboration.

The book that started the Essential Elements Band Method features music history right in the book, band arrangements, Dr. Tim parent letter, quizzes, and a rhythm-based sequence. Effective pedagogy, a logical sequence of skills, innovative parental communication tools, multicultural songs, duets and full band arrangements, and much more, create a method designed to help kids succeed.

Chou Wen-chung is one of the most influential musical figures of our time. His rich cultural background, his studies with Edgard Varese, and his interest in the genuine rapport between Eastern and Western musical traditions have been the major influences on his career. Although he is active in various artistic and cultural circles that include scholarship, education and cultural preservation, his major calling has always been composition. As a composer, Chou has created a group of works whose stylistic innovation and technical profundity are distinctive among composers of his generation. His music, which has received critical acclaim around the globe, documents his creative journey, especially in the realization of re-merger - the fusion of Eastern and Western music that has become a new mainstream in art music. Through extensive focus on sketch study, Eric Lai examines Chou's music to contribute to an understanding of his aesthetic orientation, his compositional technique, his role in the development of new music, and his influence upon the younger generation of composers.

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.

In the aftermath of apartheid, South Africa undertook an ambitious revision of its intellectual property system. In Lion's Share Veit Erlmann traces the role of copyright law in this process and its impact on the South African music industry. Although the South African government tied the reform to its postapartheid agenda of redistributive justice and a turn to a postindustrial knowledge economy, Erlmann shows how the persistence of structural racism and Euro-modernist conceptions of copyright threaten the viability of the reform project. In case studies ranging from antipiracy police raids and the crafting of legislation to protect indigenous expressive practices to the landmark lawsuit against Disney for its appropriation of Solomon Linda's song "Mbube" for its hit "The Lion Sleeps Tonight" from The Lion King, Erlmann follows the intricacies of musical copyright through the criminal justice system, parliamentary committees, and the offices of a music licensing and royalty organization. Throughout, he demonstrates how copyright law is inextricably entwined with race, popular music, postcolonial governance, indigenous rights, and the struggle to create a more equitable society.

Since the 1980s, when she re-emerged from the peripheries into a more central position in music studies, Clara Schumann (1819-1896) has exerted an enduring fascination over the scholarly and popular imagination. Revisionist biographies, the uncovering of primary sources (diaries, letters, memorabilia), and filmic and literary depictions of Schumann have all brought into sharper focus the details and reception of her life, while simultaneously drawing attention to how much there is still to learn about her creativity. This book brings together a team of leading scholars to reappraise Clara Schumann in three particular respects: first, by delving deeper into her social and musical contexts; secondly, by offering fresh analytical perspectives on her songs and instrumental music; and thirdly, by reconsidering her legacy as a pianist and teacher. In doing so, the volume not only contributes to a rounded picture of Schumann's creative vision, but also opens up new pathways in the wider study of women in music.

Thomas Ades is a dominant force in contemporary music, whose work attracts significant attention and acclaim, and has been performed by many renowned ensembles. This volume - the first to present a range of scholarly essays on every aspect of Ades's music - offers authoritative accounts of Ades's major compositions from a variety of analytical, critical, cultural and historical perspectives. The opening chapters focus on Ades's earlier music, offering close readings of key works. Further essays focus on his engagement with forms and instrumental genres. The final chapters turn to Ades's texted music and highlight how themes introduced in earlier chapters cut across Ades's entire output. Richly illustrated with musical examples and supported by further online material, this book provides a multi-faceted portrait of Ades's work that opens up new ways of thinking about, and engaging with, his music.

This book reinforces the fundamentals of music being studied in the ADULT PIANO STUDENT. It consists of 47 Programmed Theory Lessons. The material for each lesson is divided into steps called "frames." Many of the same frames are presented several times for review thus reinforcing fundamentals already presented. When this book has been successfully completed, the student will be prepared to play, understand, and enjoy music at this level of advancement. All three levels in this series may also be used with any other course of study.

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.

This specially commissioned collection of thirteen essays explores the life and works of Hildegard of Bingen (1098-1179), monastic founder, leader of a community of nuns, composer, active correspondent, and writer of religious visions, theological treatises, sermons, and scientific and medical texts. Aimed at advanced university students and new Hildegard researchers, the essays provide a broad context for Hildegard's life and monastic setting, and offer comprehensive discussions on each of the main areas of her output. Engagingly written by experts in medieval history, theology, German literature, musicology, and the history of medicine, the essays are grounded in Hildegard's twelfth-century context, and investigate her output within its monastic and liturgical environments, her reputation during and after her life, and the materiality of the transmission of her works, considering aspects of manuscript layout, illumination, and scribal practices at her Rupertsberg monastery.

Andrew Shenton's groundbreaking cross-disciplinary approach to Messiaen's music presents a systematic and detailed examination of the compositional techniques of one of the most significant musicians of the twentieth century as they relate to his desire to express profound truths about Catholicism. It is widely accepted that music can have mystical and transformative powers, but because 'pure' music has no programme, Messiaen sought to refine his compositions to speak more clearly about the truths of the Catholic faith by developing a sophisticated semiotic system in which aspects of music become direct signs for words and concepts. Using interdisciplinary methodologies drawing on linguistics, cognition studies, theological studies and semiotics, Shenton traces the development of Messiaen's sign system using examples from many of Messiaen's works and concentrating in particular on the Meditations sur le mystere de la Sainte Trinite for organ, a suite which contains the most sophisticated and developed use of a sign system and represents a profound exegesis of Messiaen's understanding of the Catholic triune God. By working on issues of interpretation, Shenton endeavours to bridge the traditional gap between scholars and performers and to help people listen to Messiaen's music with spirit and understanding.

This selection of sixteen of Nicholas Cook's essays covers the period from 1987 to 2004 and brings out the development of the author's ideas over these years. In particular the two keywords of the title - Meaning and Performance - represent critical directions that expand to the point that, by the end of the book, they become coextensive: music is seen as social action and meaning as created by that action. Within this overall direction, a wide variety of topics is explored, ranging from Beethoven to Schenker, from Chinese qin music to jazz and rock, from perceptual psychology to sketch studies and analysis of record sleeves. A substantial introduction draws out the links (and differences) between the essays, sometimes critiquing them and always setting them into the developing context of the author's work as a whole.

In this deep dive into the Jamaican music world filled with the voices of creators, producers, and consumers, Larisa Kingston Mann-DJ, media law expert, and ethnographer-identifies how a culture of collaboration lies at the heart of Jamaican creative practices and legal personhood. In street dances, recording sessions, and global genres such as the riddim, notions of originality include reliance on shared knowledge and authorship as an interactive practice. In this context, musicians, music producers, and audiences are often resistant to conventional copyright practices. And this resistance, Mann reveals, goes beyond cultural concerns. Because many working-class and poor people are cut off from the full benefits of citizenship on the basis of race, class, and geography, Jamaican music spaces are an important site of social commentary and political action in the face of the state's limited reach and neglect of social services and infrastructure. Music makers organize performance and commerce in ways that defy, though not without danger, state ordinances and intellectual property law and provide poor Jamaicans avenues for self-expression and self-definition that are closed off to them in the wider society. In a world shaped by coloniality, how creators relate to copyright reveals how people will play outside, within, and through the limits of their marginalization.

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

Viele Musiker - ob AnfAnger oder Fortgeschrittene - empfinden Musiktheorie als abschreckend und fragen sich: "Wozu das Ganze?" Die Antwort ist einfach: Schon ein wenig Grundwissen A1/4ber Musiktheorie hilft Ihnen, Ihre Bandbreite als Musiker enorm zu vergrAA ern. Michael Pilhofer und Holly Day erklAren Ihnen leicht verstAndlich alles Wichtige, was Sie A1/4ber Musiktheorie wissen mA1/4ssen - vom Lesen von Noten bis zum Komponieren eigener Songs. Sie erfahren alles A1/4ber Rhythmus, Tempo, Dynamik und Co., lernen, wie Tonleitern und Akkordfolgen aufgebaut sind, wie Sie vorgehen mA1/4ssen, um einer Melodie auch Harmonie zu verleihen und vieles mehr. Wenn Sie dachten, Musiktheorie sei trocken, dA1/4rfte dieses Buch eine angenehme A berraschung fA1/4r Sie sein.

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.