The endurance of Pink Floyd's The Dark Side of the Moon on the Billboard Top 100 Chart is legendary, and its continuing sales and ongoing radio airplay ensure its inclusion on almost every conceivable list of rock's greatest albums. This collection of essays provides indispensable studies of the monumental 1973 album from a variety of musical, cultural, literary and social perspectives. The development and change of the songs is considered closely, from the earliest recordings through to the live, filmed performance at London's Earls Court in 1994. The band became almost synonymous with audio-visual innovations, and the performances of the album at live shows were spectacular moments of mass-culture although Roger Waters himself spoke out against such mass spectacles. The band's stage performances of the album serve to illustrate the multifaceted and complicated relationship between modern culture and technology. The album is therefore placed within the context of developments in late 1960s/early 1970s popular music, with particular focus on the use of a variety of segues between tracks which give the album a multidimensional unity that is lacking in Pink Floyd's later concept albums. Beginning with 'Breathe' and culminating in 'Eclipse', a tonal and motivic coherence unifies the structure of this modern song cycle. The album is also considered in the light of modern day 'tribute' bands, with a discussion of the social groups who have the strongest response to the music being elaborated alongside the status of mediated representations and their relation to the 'real' Pink Floyd.

As the 1970s drew to a close and changes in music, fashion and attitudes collided to form Punk, Sheila Rock was right at the heart of the electrifying youth movement.

The study of pre-existing film music is now a well-established part of Film Studies, covering 'classical' music and popular music. Generally, these broad musical types are studied in isolation. This anthology brings them together in twelve focused case studies by a range of scholars, including Claudia Gorbman, Jeongwon Joe, Raymond Knapp, and Timothy Warner. The first section explores art music, both instrumental and operatic; it revolves around the debate on the relation between the aural and visual tracks, and whether pre-existing music has an integrative function or not. The second section is devoted to popular music in film, and shows how very similar the functions of popular music in film are to the supposedly more 'elite' classical music and opera. Case studies in part 1: Eyes Wide Shut, Raging Bull, Brief Encounter, Detective, The Godfather Part III, three versions of the Carmen story (DeMille's, Preminger's and Rosi's), Amadeus, The Birth of a Nation, M: Eine Stadt sucht einen MArder, Needful Things, Rat Race. Case studies in part 2: various films by AlmodA(3)var, Young Frankenstein, Pulp Fiction, Trainspotting, Amelie, High Fidelity, Ghost World, Heavenly Creatures, The Virgin Suicides, and the video Timber by Coldcut.

Originally published in 2003 and selected from papers given at the third biennial conference on Music in Nineteenth-Century Britain, this volume, in common with its two predecessors, reflects the interdisciplinary character of the topic. The introductory essay by Julian Rushton considers some of the questions that are key to this area of study: what is the nineteenth century, what is British music, and did London influence the continent? The essays that follow are divided into broad thematic groups covering aspects of gender, church music, national identity, and local and national institutions. This collection illustrates that while nineteenth-century British music studies is still in its infancy as a field of research, it is one that is burgeoning and contributing to our understanding of British social and cultural life of the period.

This is the third in a set of four collections of articles by Michel Huglo to be published in the Variorum series. It brings together the studies of Gregorian chant and of later monophonic and polyphonic additions to the earlier repertory that occupied Huglo in the second phase of his research. Represented here are articles on the Kyrie, the introit tropes of St-Gall, an elegy for William the Conqueror (d. 1087), the versus by Venantius Fortunatus for the cathedral of Paris, the liturgical dramas of Fleury, early organum, the Mass of Tournai, and, finally, the Requiem by Eustache Du Caurroy. Ce volume des articles de Michel Huglo est le troisieme de la serie de quatre dans la collection Variorum. Il reunit des etudes sur le chant gregorien et sur les additions de pieces monodiques ou polyphoniques faites au repertoire primitif, sujets qui ont occupe Michel Huglo dans la seconde phase de sa carriere de chercheur. Dans ce volume, le lecteur trouvera des articles sur le Kyrie, les tropes d'introA-t de St-Gall, l'elegie pour Guillaume le Conquerant (d. 1087), les versus de Venance Fortunat pour la cathedrale de Paris, les drames liturgiques de Fleury, les debuts de l'organum, la Messe de Tournai, et finalement le Requiem d'Eustache Du Caurroy.

Mark Katz surveys the age-old interrelationship between music and technology, from prehistoric musical instruments to today's digital playback devices. This Very Short Introduction takes an expansive and inclusive approach meant to broaden and challenge traditional views of music and technology. In its most common use, "music technology" tends to evoke images of twentieth and twenty-first century electronic devices: synthesizers, recording equipment, music notation software, and the like. This volume, however, treats all tools used to create, store, reproduce, and transmit music-new or old, electronic or not-as technologies worthy of investigation. All musical instruments can be considered technologies. The modern piano, for example, is a marvel of keys, hammers, strings, pedals, dampers, and jacks; just the sound-producing mechanism, or action, on a piano has more than 50 different parts. In this broad view, technology in music encompasses instruments, whether acoustic, electric or electronic; engraving and printing; sound recording and playback; broadcasting; software; and much more. Mark Katz challenges the view that technology is unnatural, something external to music. It was sometimes said in the early twentieth century that so-called mechanical music (especially player pianos and phonographs) was a menace to "real" music; alternatively, technology can be freighted with utopian hopes and desires, as happens today with music streaming platforms like Spotify. Positive or negative, these views assume that technology is something that acts upon music; by contrast, this volume characterizes technology as an integral part of all musical activity and portrays traditional instruments and electronic machines as equally technological.

Ethnomusicology: A Contemporary Reader is designed to supplement a textbook for an introductory course in ethnomusicology. It offers a cross section of the best new writing in the field from the last 15-20 years. Many instructors supplement textbook readings and listening assignments with scholarly articles that provide more in-depth information on geographic regions and topics and introduce issues that can facilitate class or small group discussion. These sources serve other purposes as well: they exemplify research technique and format and serve as models for the use of academic language, and collectively they can also illustrate the range of ethnographic method and analytical style in the discipline of ethnomusicology. Ethnomusicology: A Contemporary Reader serves as a basic introduction to the best writing in the field for students, professors, and music professionals. It is perfect for both introductory and upper level courses in world music.

Ethnomusicology: A Contemporary Reader is designed to supplement a textbook for an introductory course in ethnomusicology. It offers a cross section of the best new writing in the field from the last 15-20 years. Many instructors supplement textbook readings and listening assignments with scholarly articles that provide more in-depth information on geographic regions and topics and introduce issues that can facilitate class or small group discussion. These sources serve other purposes as well: they exemplify research technique and format and serve as models for the use of academic language, and collectively they can also illustrate the range of ethnographic method and analytical style in the discipline of ethnomusicology. Ethnomusicology: A Contemporary Reader serves as a basic introduction to the best writing in the field for students, professors, and music professionals. It is perfect for both introductory and upper level courses in world music.

Examining Adorno's major writings on the subject of music, the essays featured in Apparitions revolved around the two crucial movements in Adorno's creative life; the immediate impact of the publications of The Philosophy of New Music in 1949; and his struggle with contemporary music during the 1950s and 60s. This fascinating collection of essays examines: Adorno's influence in the realm of popular music and jazz; The Frankfurt School of Blues; Adorno's theory of the radio; the relationship of corporate power to methods of music and distribution; and Adorno's alienation from the musical avant-garde. The contributors to this volume study the ways in which Adorno's philosophy broke with the dominant tradition of music criticism in the twentieth century. This will be an invaluable work for scholars as well as students of Adorno,

Have you ever wanted to learn more about hymns, but weren't sure where to start? In this follow-up to his bestselling original book, pastor Robert J. Morgan shares the incredible stories behind 150 beloved traditional hymns of faith. Each week millions of Christians around the world use hymns composed by believers from every era and branch of Christianity to join voices in praise-singing psalms and hymns, making melody in their hearts to praise the Lord. Pastor Robert Morgan's goal is to keep these traditional hymns vital and meaningful to all generations. Then Sings My Soul: Book 2 will help readers reacquaint themselves with 150 additional beloved hymns of the faithful. These devotional-style stories show the emotion and drama behind the hymns of faith that have changed many lives throughout history-from the people whose faith led them to write these wonderful hymns to the people whose faith was affected by reading, hearing, and singing them. Then Sings My Soul: Book 2 contains: Words and music to 150 traditional hymns not included in the first book Short, devotional-style stories providing context on each hymn Hymn index for easy reference Perfect for use as a daily devotional, teaching illustration, or for song leaders and music ministers The original Then Sings My Soul was an instant classic with more than 1.3 million copies sold. Then Sings My Soul: Book 2 is also designed to be personally reflective, with lyrics and stories behind the hymns that will speak to your soul, strengthen your faith, and deepen your understanding of God as you worship Him through song.

Published in 2000. Education in our schools is a constant feature of media headlines, often blamed for many of society's ills. Perceived throughout the ages as civilizing force, music has a fundamental role to play in education, yet the last twenty years have seen a consistent erosion of the time and money made available to music teachers in our schools. This book is a timely reminder of how we have arrived at the current debates and challenges of music education. Stephanie Pitts charts the history of music teaching in British secondary schools over the course of the twentieth century. Each chapter looks at a significant period of music education history in which the ideas and practices of a generation were established, and refined. The main educational publications of each decade are examined, from the early by MacPherson, Somervell and Yorke Trotter to the more recent thinking of Paynter and Swanwick. The shifting perceptions of music in the school curriculum are nowhere better highlighted than in the changing focus on children's engagement with music, from the musical appreciation lessons of the 1920's and 1930's to the post-war concentration on performance and the 1970's emphasis on improvisation and composition. There and many other trends are discussed in the book, allowing today's music educators to see their own practice in its historical context.

Originally published in 1999, this volume of essays arises from the first biennial Music in Nineteenth-Century Britain conference, held at the University of hull in July 1997. Like the conference, this book seeks to expand and reassess our current knowledge of musical life in Britain during the nineteenth century, as well as to challenge the preconceptions of earlier attitudes and scholarship. This volume covers a cohesive range of subjects and materials intended not only as a revision of past views and scholarship, but also as a tool for further research. It provides a vigorous reconsideration of the musical activity of the period.

First published in 1999, this volume contains a translation of the Devienne flute method along with a facsimile of the original French text. Introduced, annotated and translated by Jane Bowers with commentary by Thomas Boehm, the treatise republished here appeared during the French revolution and was authored by an established composer, performer and teacher of chamber music, symphonies, concert symphonies and operas in Paris, as well as a distinguished performer of both the bassoon and the flute.

First published in 1998, the aim of this catalogue is to help students, researchers and librarians determine the UK locations of over 2,000 music periodical titles held in public, academic and national libraries. Over 220 libraries in the UK have been surveyed, from St. Austell to Aberdeen, Aberystwyth to Brighton. Each catalogue entry provides detailed information on library holdings, and full bibliographic details of periodical titles, including ISSNs. The main catalogue is preceded by an address list, and by a preface outlining the history of music periodicals in Britain, together with statistical tables.

With the advent of modern cognitive neuroscience and its new tools of studying the human brain "live," music as a highly complex, temporally ordered and rule-based sensory language quickly became a fascinating topic of study. By studying the physiology and neurology of brain function in music, we can obtain a great deal of knowledge about the perception of complex auditory sound stimuli; time perception and rhythm processing; the differential processing of music and language of two aural communication systems; biological substrates of learning versus innate talent in the arts; and processing of higher cognitive functions related to temporality and emotion. The main goal of the book is to bring the knowledge in the arts and the sciences together and review systematically our current state of study about the brain and music, specifically in rhythm. This book will be of interest for the lay and professional reader in the sciences and arts as well as the professionals in the fields of neuroscientific research, medicine, and rehabilitation.

Mind Models supplies a roadmap for navigating the complex network of aesthetic concerns faced by contemporary composers and their audiences. When it was first published in 1975, Mind Models captured perfectly the essential pluralism of the contemporary music world, with its tremendous diversity of musical styles and compositional methods Reynolds has now revisited this text and renewed it based on developments over the past 25 years, changes that have-if anything-underscored that the issues he first addressed in this book remain of vital concern to virtually every serious composer. This new edition of Mind Models reintroduces and renews a classic work on 20th century composition, one that has remained relevant for over a quarter century-and should remain a central reading for decades to come.

Antonio Gardano's publications are among the most important sources of sixteenth-century music. This final volume in Mary Lewis's three volume set completes the catalogue of Antonio Gardano's publications, covering the years 1560-1569.

Baroque composer George Frideric Handel easily ranks among the world's greatest composers. The first edition of this research guide on Handel appeared in 1988; since that time a great deal of scholarly work has been published on Handel and related areas, including the discovery of a hitherto unknown work. New general resources such as the "New Grove Dictionary of Opera" (1992), electronic resources such as the "RISM" libretto catalogue online, and the study of Handel's continuing popularity as evidenced by the new Handel House Museum in London and Handel practice around the world (e.g., "Messiah "and millennium celebrations in Tonga, singalong "Messiahs "etc.) are incorporated into this revised edition of the Handel guide.

This Volume II of the Proceedings of the Worldwide Music Conference 2021 continues the line of publications of the first volume in a highly interdisciplinary mode. This time, we offer eight chapters that provide the in-depth study of music in four large sub-fields: mathematics, language and theory of narrative, evolution and perception, and, finally, sociology. The first chapter, by Roman Ruditsa, is devoted to the study of structural pitch organization. This is based upon a formal logical interpretation of the idea of pitch. The chapter contains formal definitions of such objects as tones, intervals, and interval systems and a demonstration of the logical relationships that exist between them. The second chapter, in the same mathematical venue, by Celina Richter and Stefan E. Schmidt, revisits the millennial question of the essence of an interval, using highly advanced mathematical language, the categories of monoid and the algebraic theory of measurement. The next block is dedicated to language and narrative; the first chapter is by Vincent Meelberg. Here, the reader will find fascinating developments in the ongoing deliberations on this elusive category. The name of Trevor Rawbone, perhaps, does not need an introduction to those involved with cognitive studies of music. This time, his chapter deals with the idea of the language of musical thought, which shifts the traditional discussion of language into a very new dimension. Carlos Almada begins a new section in the book, the one dedicated to evolution and perception. He begins with Darwin and takes us through the exciting path of development of the science of evolution, which he masterfully connects to his model of derivative analysis of music. The question of psycho-physiological foundation of the ethnic hearing, raised in the chapter by lla V. Toropova and Irina N. Simakova, is a difficult one. The idea of ethnic character of music had been a part of traditional musicology and usually was expressed in specific language of humanities. The chapter by Daniil Shutko on the theoretical ideas of the legendary professor of St. Petersburg conservatory, Dr. Tatiana Bershadskaya, was difficult to put into any category. Her concept of music was truly universal and interdisciplinary. At the same time, the concept and Shutko's description are as closely focused on music theory in a narrow and precise sense as possible. The art and culture of consumption of wine in correlation with the choice of music for listening is a theme for a true connoisseur. It becomes even more intriguing when the authors, Diego Perez-Fuertes, Emma Juaneda-Ayensa and Cristina Olarte-Pascual, add to the discussion the special circumstance of the pandemic and the way human spirit meets this challenge in the most graceful way.

The Vijayanagara Empire flourished in South India between 1336 and 1565. Conveying the depth and creativity of Hindu religious and literary expression during that time, Vijayanagara Voices explores some of the contributions made by poets, singer-saints, and philosophers. Through translations and discussions of their lives and times, Jackson presents the voices of these cultural figures and reflects on the concerns of their era, looking especially into the vivid images in their works and their legends. He examines how these images convey both spiritual insights and physical experiences with memorable candour. The studies also raise intriguing questions about the empire's origins and its response to Muslim invaders, its 'Hinduness', and reasons for its ultimate decline. Vijayanagara Voices is a book about patterns in history, literature and life in South India. By examining the culture's archetypal displays, by understanding the culture in its own terms, and by comparing associated images and ideas from other cultures, this book offers unique insights into a rich and influential period in Indian history.

Nicolas Slonimsky (1894-1995) was an influential and celebrated writer on music. Born in St. Petersburg, Russia in 1894, in his 101 years he taught and coached music; conducted the premieres of several 20th century masterpieces; composed works for piano and voice; and oversaw the 5th-8th editions of the classic "Baker's Biographical Dictionary of Musicians." Beginning in 1926, Slonimsky resided in the United States. From his arrival, he wrote provocative articles on contemporary music and musicians, many of whom were his personal friends. Working as a freelance author, he built a large file of reviews, articles, and even manuscripts for books that were never published. This is the third volume of a 4 volume collection on the best of this material.

Professional Music-Making in London is an engaging yet innovative study which examines the lives and work of Western art musicians from an ethnographic perspective. Drawing in part on his own professional experience, Stephen Cottrell considers to what extent musicians in Western society conform to Alan Merriam's paradigmatic assessment of them as having low status yet high respect, as well as being given an unusual degree of licence to deviate from convention. The book draws on a wide variety of approaches from scholars elsewhere: from ethnomusicologists such as Bruno Nettl and Henry Kingsbury, performance theorists such as Richard Schechner and Victor Turner, as well as psychologists such as Sigmund Freud and Melanie Klein. This rich intellectual heritage provides the framework for discussion of a variety of themes, including how musicians conceive their self identity and how this is negotiated in the professional musical world; how the deputy system facilitates musical exchange and engenders gift relationships; how humour lubricates social and musical relationships and mitigates the stresses of musicians' lives; and how the events in which musicians participate can be viewed as quasi-rituals, and thus related to analogous events in non-Western cultures. The focus of this study is on professional music-making in London, one of the world's busiest centres of musical performance. Yet the issues raised and explored are deeply relevant to other major centres of Western art music, such as New York, Berlin or Sydney. Ethnomusicologists, anthropologists, musicologists, performers, teachers and concert-goers will find this book a stimulating insight into, and investigation of, Western art musicians and their place in today's world.

Ihr Aufstieg in den Ukolymp Sie sind stolzer Besitzer einer Ukulele, konnen vielleicht auch schon ganz passabel ein paar Akkorde darauf spielen und sind nun bereit fur das nachste Level? Wunderbar dann ist dieses Buch genau das richtige fur Sie! Es ist vollgepackt mit hunderten abwechslungsreichen Ubungen in verschiedenen Tonarten, Geschwindigkeiten und Stilrichtungen von Aufwarm- und Fingerubungen bis zum Spielen von Tonleitern, Akkorden, Arpeggien und vielem mehr. Brett McQueen gibt Ihnen zahlreiche Tipps und Tricks, wie Sie schon in kurzer Zeit Fingerpicking, Strumming, Rhythmus, Tempo, Dynamik und Co. optimieren. Und auf der beiliegenden CD finden Sie alle Ubungsbeispiele aus dem Buch zum Anhoren und Nachspielen.

"Music, Power, and Politics" presents thirteen different cultural perspectives on a single theme: the concept of music as a site of socio-political struggle. Essays by scholars from seven countries (England, People's Republic of China, Germany, South Africa, USA, the former Yugoslavia, and Iran) explore the means by which music's long-acknowledged potential to persuade, seduce, indoctrinate, rouse, incite, or even silence listeners has been used to advance agendas of power and protest. The cultural and historical scope of the collection is intentionally broad and includes essays that examine: music used to convey political ideology in Nazi Germany, apartheid-era South Africa, Mao's China, and modern day North Korea; propagandistic popular song in civil war-era USA; hegemonic processes in the folklorization of indigenous dance in Mexico; postcolonial musical efforts to reclaim ethnic heritage in Serbia, Bolivia, and Barbados; punk music as a means of establishing new cultural identities for women inthe UK; the subversion of racial stereotypes through Trinidadian music in the USA; music as a tool of popular resistance in modern day Iran; governmental control of music recording and broadcast in pre-unification East Germany; and strategies of surveillance and power relations within audio technologies in Bosnia and Herzegovina. Scholars and students of music, politics, and cultural history will enjoy this groundbreaking collection.