Relevance and Marginalisation in Scandinavian and European Performing Arts 1770-1860: Questioning Canons reveals how various cultural processes have influenced what has been included, and what has been marginalised from canons of European music, dance, and theatre around the turn of the nineteenth century and the following decades. This collection of essays includes discussion of the piano repertory for young ladies in England; canonisation of the French minuet; marginalisation of the popular German dramatist Kotzebue from the dramatic canon; dance repertory and social life in Christiania (Oslo); informal cultural activities in Trondheim; repertory of Norwegian musical clocks; female itinerant performers in the Nordic sphere; preconditions, dissemination, and popularity of equestrian drama; marginalisation and amateur staging of a Singspiel by the renowned Danish playwright Oehlenschlager, also with perspectives on the music and its composers; and the perceived relevance of Henrik Ibsen's staged theatre repertory and early dramas. By questioning established notions about canon, marginalisation, and relevance within the performing arts in the period 1770-1860, this book asserts itself as an intriguing text both to the culturally interested public and to scholars and students of musicology, dance research, and theatre studies.

This book is the first rigourous and detailed exploration of exactly how blues singers used formulas to create songs, and it more than amply fills the gap in the the study of the blues, where the structure and content of the lyrics have been less fully explored than the musical form.

Focusing on the songs recorded by African-American singers for pre-World War Two commercial recording companies, this is an excellent structural analysis of the formulaic composistion of blues lyrics.

This book gives a step-by-step description of the rules implicit in this formulaic structure and inspires new discussion of lyric structures.

A wide array of readers will find this insightful and informative: from students of African-American music, cultural studies, history and linguistics, to Blues fans fascinated by exactly how the lyrics of this influential music style are written.

With Good night the pleasure was ours, David Grubbs melts down and recasts three decades of playing music on tour into a book-length poem, bringing to a close the trilogy that includes Now that the audience is assembled and The Voice in the Headphones. In Good night the pleasure was ours, the world outside the tour filters in with eccentric sparseness. From teenage punk bands to ensembles without fixed membership, and from solo performance to a group augmented by digital avatars, Grubbs presents touring as a series of daily dislocations that provides an education distinctly its own. These musicians' job is to play that evening's gig-whether to enthusiastic, hostile, or apathetic audiences-and then to do it again the next day. And yet, over the course of the book's multidecade arc, Grubbs depicts music making as an irreversible process-one reason for loving it so.

The Eurovision Song Contest is famous for its camp spectacles and political intrigues, but what about its actual music? With more than 1,500 songs in over 50 languages and a wide range of musical styles since it began in 1956, Eurovision features the most musically and linguistically diverse song repertoire in history. Listening closely to its classic fan favorites but also to songs that scored low because they were too different or too far ahead of their time, this book delves into the musical tastes and cultural values the contest engages through its international reach and popular appeal. Chapters discuss the iconic fanfare that introduces the broadcast, the supposed formulas for composing successful contest entries, how composers balance aspects of sameness and difference in their songs, and the tension between national genres of European popular music and musical trends beyond the nation's borders, especially the American influences on a show that is supposed to celebrate an idealized pan-European identity. The book also explores how audiences interact with the contest through musicking experiences that bring people together to celebrate its sounds and spectacles. What can seem like a silly song-and-dance show offers valuable insights into the bonds between popular music and cosmopolitan values for its many followers around the world. From dance parties to flashmobs, parodies to plagiarisms, and orchestras to artificial intelligence, Another Song for Europe will be of particular interest to Eurovision fans, critics, and scholars of popular music, popular culture, ethnomusicology, and European studies.

This book brings together research at the intersection of music, cultural industries, management, politics and gender studies to analyse music as labour, in particular highlighting social inequalities and activism. With a specific emphasis on inequalities in the music industries, this book will be essential reading for scholars seeking to understand the collective actions and initiatives that foster participation, inclusion, diversity and fair pay amongst musicians and other workers.

This catalog is divided into four major sections: singles, extended-play albums, long-play albums, and compact discs. An appendix lists the liner notes Cash has written for his own releases, as well as those of a number of prominent performers over the years. It also lists music videos Cash has appeared in. An accompanying index is a composite of the four sections and the appendix, listing albums and compact disc titles as well as the song titles included in those releases.

Johnny Cash's popularity seems to have reached new heights during 1994, making this Catalog, along with the two earlier discographies, invaluable to fans, who will appreciate the comprehensive coverage. That coverage includes over 1,000 song titles on 228 different record labels, 431 singles, 108 extended-play albums, 1,408 long-play albums, and 254 compact discs from the United States, Canada, and 26 foreign countries.

An anthem for soprano or baritone soloist, with SATB and an instrumental obbligato for flute, oboe, or organ.

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the priest has been performed at all subsequent coronations, and Handel's other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel's score, and complete details of sources and editorial method, additional performance notes, and a critical commentary can be viewed in the companion full score available on hire.

1) Based on feedback from students and instructors to accommodate the virtual classroom 2) Proven success of this methodology by several students using their paper culminating in this course to acquire admission and scholarship recognition to support of advanced study. 3) Unique group of contributors representing various sub-disciplines, and adding field experts in unique fields of study such as Neurophenomenology,Music History Research and Non-Western Repertoires

Drawing from the wealth of academic literature about Eurovision written over the last two decades, this book consolidates and recognizes Eurovision's relevance in academia by analysing its contribution to different fields of study The book brings together leading Eurovision scholars from across disciplines and from across the globe to reflect on the intersection between their academic fields of study and the Eurovision Song Contest by answering the question: What has Eurovision contributed to academia? The book also draws from fields rarely associated with Eurovision, such as Law, Business and Research Methodologies, to demonstrate the song contest's broad utility in research, pedagogy and in practice Given its interdisciplinary approach, this volume will be of interest to scholars and students working in cultural, media, and communication studies, as well as those interested in the intersections of culture, media, nationalism, education, pedagogy, and history

Replete with interviews with key practitioners (both in the book and online) will give up-to-date information on the techniques, forms and concepts used by leading figures in contemporary Live Visuals.

Presence Through Sound narrates and analyses, through a range of case studies on selected musics of China, Japan, Korea, Taiwan, and Tibet, some of the many ways in which music and 'place' intersect and are interwoven with meaning in East Asia. It explores how place is significant to the many contexts in which music is made and experienced, especially in contemporary forms of longstanding traditions but also in other landscapes such as popular music and in the design of performance spaces. It shows how music creates and challenges borders, giving significance to geographical and cartographic spaces at local, national, and international levels, and illustrates how music is used to interpret relationships with ecology and environment, spirituality and community, and state and nation. The volume brings together scholars from Australia, China, Denmark, Japan, Korea, Taiwan, and the UK, each of whom explores a specific genre or topic in depth. Each nuanced account finds distinct and at times different aspects to be significant but, in demonstrating the ability of music to mediate the construction of place and by showing how those who create and consume music use it to inhabit the intimate, and to project themselves out into their surroundings, each points to interconnections across the region and beyond with respect to perception, conception, expression, and interpretation. In Presence Through Sound, ethnomusicology meets anthropology, literature, linguistics, area studies, and - particularly pertinent to East Asia in the twenty-first century - local musicologies. The volume serves a broad academic readership and provides an essential resource for all those interested in East Asia.

Instrumental teaching in the UK is characterised by a lack of regulation and curriculum, whereby individuals can teach with no training or qualification. Kerry Boyle explores the way in which individuals who begin teaching can negotiate successful careers in music without formal training. Existing studies suggest that individuals in this context have complex understandings of professional identity, preferring to identify as musicians or performers rather than teachers, even when most of their income is derived from teaching. Boyle explores the complex working lives of instrumental teachers in the UK, including routes into instrumental teaching and the specific meanings associated with the role and identity of the professional musician for individuals involved in portfolio careers in music. Through an examination of the lived experience of instrumental teachers, this study highlights the need to revise existing notions of the professional musician to acknowledge contemporary careers in music. The resulting insights can be used to inform and enhance existing approaches to careers in music and contribute to career preparation in undergraduate music students.

Somatic Voices in Performance Research and Beyond brings together a community of international practitioner-researchers who explore voice through soma or soma through voice. Somatic methodologies offer research processes within a new area of vocal, somatic and performance praxis. Voice work and theoretical ideas emerge from dance, acting and performance training while they also move beyond commonly recognized somatics and performance processes. From philosophies and pedagogies to ethnic-racial and queer studies, this collection advances embodied aspects of voices, the multidisciplinary potentialities of somatic studies, vocal diversity and inclusion, somatic modes of sounding, listening and writing voice. Methodologies that can be found in this collection draw on: eastern traditions body psychotherapy-somatic psychology Alexander Technique, Feldenkrais Method Authentic Movement, Body-Mind Centering, Continuum Movement, Integrative Bodywork and Movement Therapy Fitzmaurice Voicework, Linklater Technique, Roy Hart Method post-Stanislavski and post-Grotowski actor-training traditions somaesthetics The volume also includes contributions by the founders of: Shin Somatics, Body and Earth, Voice Movement Integration SOMart, Somatic Acting Process This book is a polyphonic and multimodal compilation of experiential invitations to each reader's own somatic voice. It culminates with the "voices" of contributing participants to a praxical symposium at East 15 Acting School in London (July 19-20, 2019). It fills a significant gap for scholars in the fields of voice studies, theatre studies, somatic studies, artistic research and pedagogy. It is also a vital read for graduate students, doctoral and postdoctoral researchers.

France has a long and rich music history that has had a far-reaching impact upon music and cultures around the world. This accessible Companion provides a comprehensive introduction to the music of France. With chapters on a range of music genres, internationally renowned authors survey music-making from the early middle ages to the present day. The first part provides a complete chronological history structured around key historical events. The second part considers opera and ballet and their institutions and works, and the third part explores traditional and popular music. In the final part, contributors analyse five themes and topics, including the early church and its institutions, manuscript sources, the musical aesthetics of the Siecle des Lumieres, and music at the court during the ancien regime. Illustrated with photographs and music examples, this book will be essential reading for both students and music lovers."

Focus: Gamelan Music of Indonesia, Third Edition, introduces the emblematic music of Southeast Asia's largest country, as sound and as cultural phenomenon, highlighting the significant role gamelan music plays in the national culture while teaching of Indonesian values and modern-day life. Despite Indonesia's great diversity-a melting pot of indigenous, Hindu, Buddhist, Islamic, Portuguese, Dutch, British, and modern global influences-a forged national identity is at its core. This volume explores that identity, understanding present-day Javanese, Balinese, Cirebonese, and Sundanese gamelan music through ethnic, social, cultural, and global perspectives. New to the third edition: Updated content throughout to reflect current Indonesian history and geography, as well as revivals of gamelan ensembles by the Cirebonese courts Modern examples of Indonesian musics, along with new uses of gamelan and other traditional musics An examination of school gamelan and ISBI as a center of innovation Expanded discussion on dangdut and its current status in Indonesia, along with Islam's effect on dangdut Listening examples now posted as online eResources

Working with the Web Audio API is the definitive and instructive guide to understanding and using the Web Audio API. The Web Audio API provides a powerful and versatile system for controlling audio on the Web. It allows developers to generate sounds, select sources, add effects, create visualizations and render audio scenes in an immersive environment. This book covers all essential features, with easy to implement code examples for every aspect. All the theory behind it is explained, so that one can understand the design choices as well as the core audio processing concepts. Advanced concepts are also covered, so that the reader will gain the skills to build complex audio applications running in the browser. Aimed at a wide audience of potential students, researchers and coders, this is a comprehensive guide to the functionality of this industry-standard tool for creating audio applications for the web.

1) deals with learning and making music across the entire lifespan of adulthood, 2) may be used in sections (individual Parts) or it may be read as a whole. 3) theories and philosophies as surveyed and specific application in the music studio are discussed. 4) opening vignettes of adult music students, in various musical contexts, exemplify the theme of each chapter.

1) deals with learning and making music across the entire lifespan of adulthood, 2) may be used in sections (individual Parts) or it may be read as a whole. 3) theories and philosophies as surveyed and specific application in the music studio are discussed. 4) opening vignettes of adult music students, in various musical contexts, exemplify the theme of each chapter.

Sound Teaching is written for vocal and instrumental music teachers, music performers with a portfolio career and music students at conservatoires and universities. Music students undertaking practice-related research will find examples of research methodologies and projects that are informative for their studies. Musical participants of all kinds - students, teachers, performers, and audiences - will find new ways of understanding their practice and experience through research.

Business schools are placing more emphasis on the role of business in society. Top business school accreditors are shifting to mandating that schools teach their students about the social impact of business, including AACSB standards to require the incorporation of business impact on society into all elements of accredited institutions. Researchers are also increasingly focused on issues related to sustainability, but in particular to business and peace as a field. A strong strain of scholarship argues that ethics is nurtured by emotions and through aesthetic quests for moral excellence. The arts (and music as shown specifically in this book) can be a resource to nudge positive emotions in the direction toward ethical behavior and, logically, then toward peace. Business provides a model for positive interactions that not only foster long-term successful business but also incrementally influences society. This book provides an opportunity for integration and recognition of how music (and other art forms) can further encourage business toward the direction of peace while business provides a platform for the dissemination and modeling of the positive capabilities of music toward the aims of peace in the world today. The primary market for this book is the academic audience. Unlike many other academic books, however, the interdisciplinary nature of the book allows for multiple academic audiences. Thus, this book reaches into schools of music, business, political science, film studies, sports and society studies, the humanities, ethics and, of course, peace studies.

Four lads from a small town called Liverpool changed the face of Rock and Roll—forever. But their story is far more than one of music. It's about having dreams and making them come true. It's about the power of genuine friendship; it's about believing in yourself—and others—and living a life filled with heart, tenacity, and passion. John, Paul, George, and Ringo gave the musical world its Happily Ever After, and for this, a billion fans are eternally grateful. But, maybe even more than that, The Beatles' story is a heartfelt reminder to every one of us that it's not where you start that counts—it's how you finish.

These pieces were originally improvisations, and they must be played spontaneously as improvisations are played. Freedom, clarity, and fun should characterize performances of the music.

for SATB choir and organ or piano, or orchestra, or strings only, or brass