Music teachers around the world have positively influenced the lives of children. From Susan Udell who reaches out to over 3,000 students in Madison Wisconsin through her Hand-chimes program, to Deidre Roberts who shares the love of music to children in poverty stricken areas of Pakistan, Ecuador and Cambodia; many of these wonderful music teachers go unnoticed until now. This book is the result of research done by Dr. Caron L. Collins of the Crane School of Music at the State University of New York in Potsdam. Her research reveals the educational innovations and inspirational stories of nearly 50 music education alumni from over 2,000 graduates of the Crane School of Music, premier college of music education located in the North Country of New York State. These influential music teachers embody the ideals of Julia Ettie Crane, founder of this first institute for music educator training, nearly 125 years ago. The book gathers the stories no other book gathers the stories of influential music teachers from the most notorious music schools in the United States, coupled with the life history of Julia Ettie Crane. Julia Ettie Crane was one of the important founders of our nation's music education over 100 years ago, but until now, no book has been written devoted to her contribution and her ongoing influence in today's classrooms. Thousands of music teachers have earned their degrees from her institute and have gone on to develop original music programs around the world. This book illuminates her forward-thinking philosophy from the archives of her personal writings and captures the selected stories gathered from many alumni to inspire current teachers to utilize these creative ideas in their school music programs. Public school music teachers will be encouraged and future music educators enlightened by the innovation of Miss Crane and her mission to educate all children through music.

"Medieval Lyric" is a colourful collection of lyrical poems, carols, and traditional British ballads written between the thirteenth and fifteenth centuries, together with some twentieth-century American versions of them.
A lively and engaging collection of lyrical poems, carols, and traditional British ballads written in between the thirteenth and fifteenth centuries, together with some twentieth-century American versions of them.
Introduces readers to the rich variety of Middle English poetry.
Presents poems of mourning and of celebration, poems dedicated to the Blessed Virgin and to Christ, poems inviting or disparaging love, poems about sex, and more.
Reader-friendly - uses modernized letter forms, punctuation and capitalization, and side glosses explaining difficult words.
Opens with a substantial introduction by the editor to the medieval lyric as a genre, and features short introductions to each section and poem.
Also includes an annotated bibliography, glossary, index of first lines, and list of manuscripts cited.

As divisive and destructive as the Civil War was, the era nevertheless demonstrated the power that music could play in American culture. Popular songs roused passion on both sides of the Mason-Dixon line, and military bands played music to entertain infantry units-and to rally them on to war. The institution of slavery was debated in songs of the day, ranging from abolitionist anthems to racist minstrel shows. Across the larger cultural backdrop, the growth of music publishing led to a flourishing of urban concert music, while folk music became indelibly linked with American populism. This volume, one of the first in the American History through Music series, presents narrative chapters that recount the many vibrant roles of music during this troubled period of American history. A chapter of biographical entries, a dictionary of Civil War era music, and a subject index offer useful reference tools. The American History through Music series examines the many different styles of music that have played a significant part in our nation's history. While volumes in this series show the multifaceted roles of music in culture, they also use music as a lens through which readers may study American social history. The authors present in-depth analysis of American musical genres, significant musicians, technological innovations, and the many connections between music and the realms of art, politics, and daily life. Chapters present accessible narratives on music and its cultural resonations, music theory and technique is broken down for the lay reader, and each volume presents a chapter of alphabetically arranged entries on significant people and terms.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Popular music has long been used to entertain, provoke, challenge and liberate but also to oppress and control. Can popular music be political? What types of popular music work best with politics? How can songs, videos, concerts or any other musical commodity convey ideas about power, politics and identity? Using Multimodal Critical Discourse Studies (MCDS), this book reveals the deeply political role played by popular music. Lyndon Way demonstrates how MCDS can provide important and timely insights on the political nature of popular music, due to its focus on how communication takes place, as well as its interest in discourse and how ideologies are naturalised and legitimised. The book considers the example of contemporary Turkish society, with its complex and deep ideological divisions increasingly obvious under the stewardship of President Recep Tayyip Erdogan and his centre-right political party, in power since 2002. It looks at how the authorities seek to harness and control popular music and considers a wide range of popular music genres including rock, rap, protest and folk music. It shows how official promotional videos, protest cut-and-paste offerings, party-political election songs, live music events and internet discussions about popular music emerge as sites of power and resistance in certain venues and particularly across social media. Throughout the book, Lyndon Way shows that popular music is also deeply political.

Armed with cheap digital technologies and a fiercely independent spirit, millions of young people from around the world have taken cultural production into their own hands, crafting their own clothing lines, launching their own record labels, and forging a vast, collaborative network of impassioned amateurs more interested in making than consuming.
"DIY Style" tells the story of this international do-it-yourself (DIY) movement through a major case study of one of its biggest, but least known contingents: the "indie" music and fashion scene of the predominantly Muslim Southeast Asian island nation of Indonesia. Through rich ethnographic detail, in-depth historical analysis, and cutting-edge social theory, the book chronicles the rise of DIY culture in Indonesia, and also explores the phenomenon in Europe and the United States, painting an evocative portrait of vibrant communities who are not only making and distributing popular culture on their own terms, but working to tear down the barriers between production and consumption, third and first world, global and local. What emerges from the book is a cautiously optimistic view of the future of global capitalism - a creative, collectivist alternative built from the ground up.
This exciting and original study is essential reading for students and scholars of anthropology, fashion, media studies, cultural studies and sociology.

The historical significance of music-makers, music scenes, and music genres has long been mediated through academic and popular press publications such as magazines, films, and television documentaries. Media Narratives in Popular Music examines these various publications and questions how and why they are constructed. It considers the typically linear narratives that are based on simplifications, exaggerations, and omissions and the histories they construct - an approach that leads to totalizing “official� histories that reduce otherwise messy narratives to one-dimensional interpretations of a heroic and celebratory nature. This book questions the basis on which these mediated histories are constructed, highlights other, hidden, histories that have otherwise been neglected, and explores a range of topics including consumerism, the production pressure behind documentaries, punk fanzines, Rolling Stones covers, and more.

Ned Rorem, composer and writer, is both a gifted memoirist and one of our most acerbic cultural commentators. This anthology of his musings on music, people, and life surveys the full range of his literary achievement and reflects the evolution of his sensibilities. The first part of the book is devoted to writing of an autobiographical nature, including ruminations on being alone and on becoming a composer. The second part focuses on music and individuals from Bartok and Ravel to Edith Piaf and the Beatles. The final part consists of portraits and memorials of such figures as Martha Graham, Paul Bowles, Marc Blitzstein, Frank O'Hara, Allen Ginsberg, and Truman Capote. The book also includes a lengthy conversation on the art of the diary.

4200 gigs. 250 Film and TV song placements. 30 years in music. These are some of the bullet points in the resume of author/musician Bill Cinque. THE AMAZING ADVENTURES OF A MARGINALLY SUCCESSFUL MUSICIAN is an educational and entertaining look at the world of music.

Honest, insightful and often humorously brutal, Cinque speaks to the beginner, the seasoned pro, and the non-musician "civilian" in a unique and refreshing voice about the rehearsals, recordings and rejections in the life of a self-described "blue collar, working class musician."

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

This book is a survey and analysis of how deep learning can be used to generate musical content. The authors offer a comprehensive presentation of the foundations of deep learning techniques for music generation. They also develop a conceptual framework used to classify and analyze various types of architecture, encoding models, generation strategies, and ways to control the generation. The five dimensions of this framework are: objective (the kind of musical content to be generated, e.g., melody, accompaniment); representation (the musical elements to be considered and how to encode them, e.g., chord, silence, piano roll, one-hot encoding); architecture (the structure organizing neurons, their connexions, and the flow of their activations, e.g., feedforward, recurrent, variational autoencoder); challenge (the desired properties and issues, e.g., variability, incrementality, adaptability); and strategy (the way to model and control the process of generation, e.g., single-step feedforward, iterative feedforward, decoder feedforward, sampling). To illustrate the possible design decisions and to allow comparison and correlation analysis they analyze and classify more than 40 systems, and they discuss important open challenges such as interactivity, originality, and structure. The authors have extensive knowledge and experience in all related research, technical, performance, and business aspects. The book is suitable for students, practitioners, and researchers in the artificial intelligence, machine learning, and music creation domains. The reader does not require any prior knowledge about artificial neural networks, deep learning, or computer music. The text is fully supported with a comprehensive table of acronyms, bibliography, glossary, and index, and supplementary material is available from the authors' website.

From the delectable Conchita Supervia (who made her debut at fourteen!) to the divine Maria Callas; from the gentle Elisabeth Schumann to the fiery Maria Jeritza (adored by the public, feared by several leading tenors and spat at by a fellow diva); from the giant Lauritz Melchior to the versatile Richard Tauber - More Legendary Voices mixes biography, anecdote, opinion, and penetrating analysis of each singer's strengths and weaknesses. Once more Nigel Douglas, the international tenor and well-known radio presenter, brings to this collection his professional knowledge of the world of opera, his infectious enthusiasm for the subject, and a natural gift for distilling the essence of a singer's life and career into one entertaining and instructive chapter.

Studies of Latin American music often overlook its Cuban roots and the political policies that brought the musicians to the United States. This work rectifies that omission by examining the Afro-Cuban influence upon Latin American music and its various idioms. A brief history of Afro-Cuban musicians in the United States provides the background and context for the study. Influential pre-revolutionary Afro-Cuban immigrant musicians, such as Mongo SantamarIa, Jesus Caunedo, Charanga and Pup Legarreta, Juan Carlos Formell, and Alfredo Chocolate Armenteros, discuss both their music and their attitudes toward the political policies that led them to flee Cuba. Speaking from firsthand experience, founding figures of Latin music in the United States present unique insights into the Afro-Cuban experience within the Latin musical community.

Adding to the musicians' stories, Gerard provides a history of relations between Cubans, African Americans, and Puerto Ricans in the Latin music community. He also discusses the impact of the mass emigration in the 1980s that brought many more Cubans to the States. This multicultural approach to Latin American music will appeal to music and Latin American history scholars and to jazz and Latin music enthusiasts. An appendix includes album listings for the musicians interviewed."

"It is the most singular of sounds, yet among the most ubiquitous. It is the sound of isolation that has sold itself to millions." Miles Davis's Kind of Blue is the best-selling piece of music in jazz history and, for many listeners, among the most haunting works of the twentieth century. It is also, notoriously, the only jazz album many people own. Recorded in 1959 (in nine miraculous hours), there has been nothing like it since. Richard Williams's "richly informative" (The Guardian) history considers the album within its wider cultural context, showing how the record influenced such diverse artists as Steve Reich and the Velvet Underground. In the tradition of Alex Ross and Greil Marcus, the "effortlessly versatile" Williams (The Times) "connects these seemingly disparate phenomena with purpose, finesse and journalistic flair" (Financial Times), making masterly connections to painting, literature, philosophy, and poetry while identifying the qualities that make the album so uniquely appealing and surprisingly universal.

The author focuses on the way that music has infiltrated Hitchcock's thinking as a director, from his earliest silent films to his last works. Music is an underexplored dimension in Hitchcock's works. Taking a different view from most works on Hitchcock, David Schroeder focuses on how an expanded definition of music influences Hitchcock's conception of cinema. The structure and rhythm of his films is an important addition to the critical literature on Hitchcock and our understanding of his films and approach to filmmaking. Alfred Hitchcock liked to describe his work as a director in musical terms; for some of his films, it appears that he started with an underlying musical conception, and transformed that sense of music into visual images. The director's favorite scenes lacked dialogue, and they made their impact through a combination of non-verbal actions and music. For example, the waltz and the piano are used as powerful images in silent films, and this approach carries over into sound films. Looking at such films as "Vertigo", "Rear Window", and "Shadow of a Doubt", Schroeder provides a unique look at the way that Hitchcock thought about cinema in musical terms.

Computing is transforming how we interact with music. New theories and new technologies have emerged that present fresh challenges and novel perspectives for researchers and practitioners in music and human-computer interaction (HCI). In this collection, the interdisciplinary field of music interaction is considered from multiple viewpoints: designers, interaction researchers, performers, composers, audiences, teachers and learners, dancers and gamers. The book comprises both original research in music interaction and reflections from leading researchers and practitioners in the field. It explores a breadth of HCI perspectives and methodologies: from universal approaches to situated research within particular cultural and aesthetic contexts. Likewise, it is musically diverse, from experimental to popular, classical to folk, including tango, laptop orchestras, composition and free improvisation.

The Last Supper illustrates the definition of an Eat Greedy Girl. You will see that the definition applies to any mini, but how they apply it to themselves is totally different than each other. The Last Supper, illustrates four women with the same purpose going about it in different Eat Greedy Ways . Open this book and see which lady is the Eat Greediest to you, and by the way are you an Eat Greedy Girl?

Providing a general overview of comic music, this reference outlines the history of important comic musical genres, considers interconnections among seemingly disparate humorous repertory, and includes an extensive bibliography and discography. The narrative challenges the notion that serious works are more important than comic works. Many supposed tragic works include comic elements and abstract genres, such as the symphony or string quartet. The narrative discusses almost 1,000 works, each cross referenced to publication information. The bibliography includes over 800 books, dissertations, reference sources, and articles. By tracing the development of major comic genres, this unique guide to comic music also examines how absurdity influenced the avante-garde developments of the 20th century.

This study of comic music will appeal to musicologists, musicians, and music students. The relationships drawn between familiar and obscure works allow for a fuller understanding of the aesthetics of comic expression. Cross-referenced throughout, this resource is a much needed and useful guide to further research.

From Beethoven To Shostakovich The Psychology of the Composing Process By MAX GRAF PHILOSOPHICAL LIBRARY NEW YORK To Dagobert D. Runes TABLE OF CONTENTS PART I. SOURCES OF MUSICAL IMAGINATION I. The Magic in Music 3 II Artistic Fancy 23 III. Classical and Romantic Fantasy 35 IV. The Erotic Forces of Fantasy 52 V. The Subconscious 77 VI. Forms and Figures in the Subconscious 118 VII. Childhood Memories 155 VIII. External and Internal Experiences 177 IX. Retrospect The Origin of Beethovens Ninth Symphony 221 PART II. THE WORK. OF MUSICAL FANTASY X Organizing the Musical Fantasy 245 XL Productive Moods 273 XIL Musical Conception 308 XIII. The Beginning of Critical Work The Sketches 329 XIV, The Composition Process 377 XV, Retrospect The Path of Musical Imag ination The Musical Work of Art 448 Index 462 PART I. Sources of Musical Imagination CHAPTER I. L Cagic in THE AVERAGE music lover, listening to one of the great music works, does not give a thought to how these compositions may have originated. He enjoys their grand musical constructions, the sym phonies, sonatas, chamber music, songs and choruses. He derives pleasure from the tonal beauty and from the musical expression and feels his whole being elevated, his sensual powers augmented and his entire personality transformed. The world in which he ordinarily moves, and which is the scene of his activity, seems to vanish. He feels himself transplanted to another world wherein every thing that would normally catch his interest ceases to exist his work, his human relations, his worries and hopes and fears, his plans and his everyday sentiments. In this new and exalted world there are only sound ing forms, and within the tones only thelustre of beau ty a lustre that has always been sensed by all susceptible individuals by some more clearly than by others as a light coming from a loftier region, Even those who seek in the enjoyment of music mere ly the sensual pleasure of sounds, still sense in music firm order and a lawful form which elevate the simplest melody far above the tumult of everyday life. The attitude of musical audiences in the concert hall demonstrates most effectively the transformation of a m FROM BEETHOVEN TO SHOSTAKOVICH crowd of people from its commonplace conduct to a new form of existence. Before the program starts, the audiences gossip and discuss their private affairs they laugh, exchange pleas antries., flirt, tell one another vicious or witty or mean ingless matters about life and society. As yet there is no audience in the concert hall, and no unity only groups or individuals. Then the conductor or the soloist makes his appear ance on the stag cmd as if at a given command, the conglomeration of listeners changes to a single audience that listens as if with a single ear. At the first sound of a tone or chord the attention of thousands converges in one direction. The listeners are transformed into a single being whose entire emo tional life is changed. It f 5 eems as though the souls of thousands would merge fn a new, uniform soul that permits music to penetrate. There is a new tension in the souls of all those present sensations take on a higher degree of warmth emotions move more rapidly than in ordinary life. At this moment an event takes place in the concert halls similar to that in Catholic churches when, at the moment of Transubstantiation the music becomes si lent as the little bellrings through the high room. At this point the pious kneel down as the priest raises the monstrance, and out of hundreds of devout there emerges a single congregation in whose collective soul lives the identical mystic awareness of the presence of their God. One can observe something similar at every theatrical show, every mass meeting and at every sports event the transformation of a gathering of people, and of life and C4 THE MAGIC IN MUSIC sentiments of thousands into a new, more strongly braced, intensified emotion...