Piano parts for twenty-six pieces from Double Bass Solo 1 and 2.

This open access book explores the disciplinary, disciplined, and recent interdisciplinary sites and productions of ethnomusicology and queerness, arguing that both academic realms are founded upon a destructive masculinity—indissolubly linked to coloniality and epistemic hegemony—and marked by a monologic, ethnocentric silencing of embodied, same-sex desire. Ethnomusicology’s fetishization of masculinizing fieldwork; queerness’s functioning as Anglophone master category; and both domains’ devaluation of sensuality and experience, concomitant with an adherence to provincial, Western conceptions of knowledge production, are revealed as precluding the possibilities for equitable, dialogic pluriversality.  Enlisting the sonic as theoretical intervention, the disciplined/disciplining ethno and queer are reimagined in relation to negative emotions and intractable affect, ultimately vanquished, and replaced by explorations of sound, sex/uality, and experiential somaticity within a protean, postdisciplinary space of material/epistemic equity.  This uncompromising, long-overdue critique will be of interest to researchers and students from numerous theoretical backgrounds, including music, sound, gender, queer, and postcolonial/decolonial studies.

- Interdisciplinary hot topic, related to broadcast, tv, film, as well as audio. - International scope, including diverse case studies, as well as consideration of how standards differ between countries (e.g. Japan vs. USA) - Well-connected and well-regarded author, with six Emmys for his work on live sound for broadcast events, including 11 Olympic games

This volume offers an overall view of a period which witnessed a proliferation of music in all genres, highlighting the musical landmarks and masterpieces of the age. It discusses the ode and oratorio in England, secular song in Europe, and the whole range of baroque instrumental music from keyboard music and the solo sonata to the orchestral suite and concerto grosso.

Based on topics that frame the debate about the future of professional music education, this book explores the issues that music teachers must confront in a rapidly shifting educational landscape.

The book aims to challenge thought and change minds. It presents a star cast of internationally prominent thinkers in and beyond music education. These thinkers deliberately challenge many time-worn traditions in music education with regard to musicianship, culture and society, leadership, institutions, interdisciplinarity, research and theory, and curriculum. This is the first book to confront these issues in this way.

This unique book has emerged from fifteen years of international dialog by The MayDay Group, an organization of more than 250 music educators from over 20 countries who meet yearly to confront issues in music teaching and learning.

- Thoroughly revised new edition to reflect changes in the industry, moving away from a record-centric view and towards independent artists - Ideal balance of theory and practice to suit both students and professionals - Supplemented by a companion website with powerpoints, quizzes and lesson plans.

On the History of Rock Music follows the development of rock music from its origins up to the present time. It focuses on the relationship between the sound, improvisations and rhythms in particular styles, and gives specific attention to the development of rhythm. The beat-offbeat principle, polyrhythms and polymetrics are fundamental to rock rhythm patterns, which serve as archetypes for specific rhythms. An archetype is a prototype, a model, or an innate experience of a species. Using more than 250 score examples, the author identifies the characteristic rhythmic patterns in rock styles, ranging from rock and roll, hard rock and punk rock to alternative rock, indie rock and grind core.

A fable with music for narrator, mixed choir, and small orchestra, or oboe, bassoon, and piano This delightful work tells the story of the 14th-century Dominican mystic Heinrich Suso who, according to legend, notated the carol In dulci jubilo after it had been sung to him by a band of angels; he is unexpectedly aided by Sigismund, his donkey. The work has been recorded by the Cambridge Singers and the City of London Sinfonia with Brian Kay (narrator), conducted by the composer. It forms part of a recording of the Christmas music of John Rutter (Collegium COLC 102).

This book critically analyses Eminem's studio album releases from his first commercial album release The Slim Shady LP in 1999, to 2020's Music To Be Murdered By, through the lens of storytelling, truth and rhetoric, narrative structure, rhyme scheme and type, perspective, and celebrity culture. In terms of lyrical content, no area has been off-limits to Eminem, and he has written about domestic violence, murder, rape, child abuse, incest, drug addiction, and torture during his career. But whilst he will always be associated with these dark subjects, Mathers has also explored fatherhood, bereavement, mental illness, poverty, friendship, and love within his lyrics, and the juxtaposition between these very different themes (sometimes within the same song), make his lyrics complex, deep, and deserving of proper critical discussion. The first full-length monograph concerning Eminem's lyrics, this book affords the same rigorous analysis to a hip-hop artist as would be applied to any great writer's body of work; such analysis of 'popular' music is often overlooked. In addition to his rich exploration of Eminem's lyrics, Fosbraey furthermore delves into a variety of different aspects within popular music including extra-verbal elements, image, video, and surrounding culture. This critical study of his work will be an invaluable resource to academics working in the fields of Popular Music, English Literature, or Cultural Studies.

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.

Australia's Jindyworobak Composers examines the music of a historically and artistically significant group of Australian composers active during the later post-colonial period (1930s-c. 1960). These composers sought to establish a uniquely Australian identity through the evocation of the country's landscape and environment, including notably the use of Aboriginal elements or imagery in their music, texts, dramatic scenarios or 'programmes'. Nevertheless, it must be observed that this word was originally adopted as a manifesto for an Australian literary movement, and was, for the most part, only retrospectively applied by commentators (rather than the composers themselves) to art music that was seen to share similar aesthetic aims. Chapter One demonstrates to what extent a meaningful relationship may or may not be discernible between the artistic tenets of Jindyworobak writers and apparently likeminded composers. In doing so, it establishes the context for a full exploration of the music of Australian composers to whom 'Jindyworobak' has come to be popularly applied. The following chapters explore the music of composers writing within the Jindyworobak period itself and, finally, the later twentieth-century afterlife of Jindyworobakism. This will be of particular interest to scholars and researchers of Ethnomusicology, Australian Music and Music History.

1) For academic researchers, human rights practitioners, musicians and all artists 2) Addresses a valiant and highly relevant and timely need: to fostering a culture of humanism in support of the Universal Declaration of Human Rights and related goals set forth by the UN 3) Promotes global conversations about the role of the arts to empower citizenry and enhance human rights awareness. 4) Inspires new trajectories in interdisciplinary research, most notably linking music with studies in health, environment, gender and forced displacement. 5) Facilitated by a wide range of experts from the human rights sector-academics, human rights defenders, governmental agencies, non-governmental organizations, and individual practitioners-and from a variety of musical fields, both academic and performing

Modern literature has always been obsessed by music. It cannot seem to think about itself without obsessing about music. And music has returned the favour. The Routledge Companion to Music and Modern Literature addresses this relationship as a significant contribution to the burgeoning field of word and music studies. The 37 chapters within consider the partnership through four lenses-the universal, opera and literature, musical and literary forms, and popular music and literature-and touch upon diverse and pertinent themes for our modern times, ranging from misogyny to queerness, racial inequality to the claimed universality of whiteness. This Companion therefore offers an essential resource for all who try to decode the musico-literary exchange.

Book by book, year by year, the ultimate literary trip through Bowie's greatest decade. It is 1973. David Bowie is finally a superstar. All he has to do to remain there is to keep pretending he's Ziggy Stardust, keep playing to thousands, keep selling to millions and keep on staying relatively sane ... As glam rock crashes and burns in a sleazy scandal-ridden Britain, a world tour convinces David to make radical changes with devastating consequences for Ziggy, his fans and his band. However, his planned 'retirement' is anything but quiet - now a friend of the Jaggers, with more lovers than he can count on one hand, more appetites than he can satisfy with one nose and still more success. But at what cost? Continuing his vivid real-time journey through the decade David changed pop forever, the fourth volume of the Bowie Odyssey series sees Simon Goddard mainline to the dark heart of Seventies sex, drugs and debauched rock'n'roll - a gripping, unsentimental portrait of inspiration, insanity and the thin line that divides. PRAISE FOR THE BOWIE ODYSSEY SERIES 'My god, it's brilliant. A delicious romp.' MIKE SCOTT, THE WATERBOYS 'The best book written about its subject... Stupendous.' CLASSIC ROCK 'The wonderful Bowie Odyssey series ... Goddard's prose is like an all-seeing eye.' RECORD COLLECTOR 'A full-on sensory immersion in Bowie's universe.' SUNDAY TIMES 'It's as if we were there.' 4**** MOJO 'Goddard's scintillating series... with its meticulous fact-checking and almost poetic prose, paints a beautifully written portrait that's almost as otherworldly as its subject... [it] strikes the perfect balance... granting us an all-access-areas pass to accompany Bowie to every gig, every engagement and to some of the most important moments in rock' 4*** Classic Pop 'The project's ambition is matched only by the sumptuousness of Goddard's writing... At times as I read Bowie Odyssey 73 I felt like his shadow.' Chris Charlesworth

- Provides a critical survey of existing appraoches to music sociology in a single volume, affording a concise, accessible, and thought-provoking introduction to the field - Written by a leading scholar of sociology of music

- Provides a critical survey of existing appraoches to music sociology in a single volume, affording a concise, accessible, and thought-provoking introduction to the field - Written by a leading scholar of sociology of music

Mobile, Alabama, 1986. A fourteen-year-old girl is awakened by the unmistakable sound of gunfire. On the front lawn, her father has shot and killed her mother before turning the gun on himself. Allison Moorer would grow up to be an award-winning musician, with her songs likened to "a Southern accent: eight miles an hour, deliberate, and very dangerous to underestimate" (Rolling Stone). But that moment, which forever altered her own life and that of her older sister, Shelby, has never been far from her thoughts. Now, in her journey to understand the unthinkable, to parse the unknowable, Allison uses her lyrical storytelling powers to lay bare the memories and impressions that make a family, and that tear a family apart. Blood delves into the meaning of inheritance and destiny, shame and trauma -- and how it is possible to carve out a safe place in the world despite it all. With a foreword by Allison's sister, Grammy winner Shelby Lynne, Blood reads like an intimate journal: vivid, haunting, and ultimately life-affirming.

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 volume will contain selected proceedings from the 2013 Symposium on Music Teacher Education, sponsored by NAfME's Society for Music Teacher Education and hosted at University of North Carolina. After an introduction written by SMTE Chair, Doug Orzolek, the initial chapter will represent the keynote address of the symposium by Karen Hammerness, Director of Program Research for the Bard Master of Arts in Teaching Program. Hammerness will bring her comparative work with music teacher educators in Finland and Norway to bear in her address: From Inspiring Visions to Everyday Practices: Exploring Vision and Practice in Music Teacher Education. Hammerness's research distills into three main themes. To mitigate against the fragmentation that characterizes so much of contemporary education, teacher education programs must: 1) promote a clear vision of teachers and teaching; 2) be coherent, reflecting shared understanding of teaching and learning among faculty and students; 3) be built around a strong, core curriculum that is deeply tied to the practices of teaching. These three themes will orient the remainder of chapters in the volume, which will come from invited primary presenters at the 2013 Symposium. Due to selectivity of blind peer review (twenty-one percent accept rate), these presentations represent the most rigorous research, and best practices grounded in research, that the music education profession has to offer.

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

Throughout the long nineteenth-century the sounds of liberty resonated across the Anglophone world. Focusing on radicals and reformers committed to the struggle for a better future, this book explores the role of music in the transmission of political culture over time and distance. Following in the footsteps of relentlessly travelling activists - women and men - it brings to light the importance of music making in the lived experience of politics. It shows how music encouraged, unified, divided, consoled, reminded, inspired and, at times, oppressed. The book examines iconic songs; the sound of music as radicals and reformers were marching, electioneering, celebrating, commemorating as well as striking, rioting and rebelling; and it listens within the walls of a range of associations where it was a part of a way of life, inspiring, nurturing, though at times restrictive. It provides an opportunity to hear history as it happened. -- .

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.

Spinning the Child examines music for children on records, radio and television by assessing how ideals of entertainment, education, 'the child' and 'the family' have been communicated through folk music, the BBC's children's radio broadcasting, the children's songs of Woody Guthrie, Sesame Street, The Muppet Show and Bagpuss, the contemporary children's music industry and other case studies. The book provides the first sustained critical overview of recorded music for children, its production and dissemination. The music, lyrics and sonics of hundreds of recorded songs are analysed with reference to their specific social, historical and technological contexts. The chapters expose the attitudes, morals and desires that adults have communicated both to and about the child through the music that has been created and compiled for children. The musical representations of age, race, class and gender reveal how recordings have both reflected and shaped transformations in discourses of childhood. This book is recommended for scholars in the sociology of childhood, the sociology of music, ethnomusicology, music education, popular musicology, children's media and related fields. Spinning the Child's emphasis on the analysis of musical, lyrical and sonic texts in specific contexts suggests its value as both a teaching and research resource.