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 Band Director's Guide to Success is the ideal guide for preparing future band directors for the practical challenges and obstacles that they will face in the introductory years of their teaching careers. Written in an easy to understand, quick-reference guide format, this book is designed to be easily navigated as a series of case studies arranged by topic in concise, user-friendly chapters ranging from budgeting to classroom management to conflict resolution and beyond. This manual and career guide in one may be used as a supplemental text with suggestions and practical advice to spare new music teachers from many of the initial headaches and stress that often accompany the transition into the full-time teaching profession.

How does one of Broadway's most anticipated musicals end up folding its tent after just six months and with a potential loss of more than $10 million? In Barbara Isenberg's behind-the-scenes account, readers follow step by step as Big, the musical struggles against nearly insuperable odds. The long-awaited stage adaptation of the popular Tom Hanks film was not to have an easy journey. Led by the highly-regarded Crazy for You duo of director Mike Ockrent and choreographer Susan Stroman, the show's cast and crew had some very bad luck heading for Broadway with one of the most expensive, high-profile musicals in recent history. In this authoritative, insightful and readable journal, we go backstage as the $10.3 million production is cast, rewritten, rehearsed and performed, first in Detroit, then in New York. Doors are opened to high pressure rehearsals, passionate advertising debates, stern budget talks and endless rewrite sessions in out-of-town hotel rooms. Day by day diary entries report the high hopes and deep disappointments of Ockrent, Stroman, producer James Freydberg, playwright John Weidman, composer David Shire and lyricist Richard Maltby, Jr., as they take on blizzards, set glitches, indifferent audiences, even a convention of witches at their Detroit hotel. Maltby and Shire turn out 58 songs, leading lady Crista Moore has to learn 5 different opening ballads and leading man Daniel Jenkins has knee surgery just weeks before opening night. Postponed from fall, 1995, to spring, 1996, Big was pilloried in Detroit, then substantially reworked for Broadway. But by the time it arrived, Broadway had changed even more than it had. From the minimal competition expected at the start ofits odyssey, Big faced and was shunted aside by two of the most innovative and critically successful musicals of recent memory, Rent and Bring in 'de Noise, Bring in 'da Funk. Big became not an instant classic, but in the words of Julie Andrews about her own show, Victor/Victoria, "egregiously overlooked". Making It Big illuminates the harsh realities of musical theater - a much-loved but high-stakes, high-risk art form. It is a book for everyone who cares about Broadway musicals and their survival.

The Pearson Edexcel AS/A level Anthology of Music introduces the AS and A level set works to a new generation of musicians and will inspire them to develop their music knowledge, understanding and skills and will help them prepare for their assessment. Published in partnership with Edition Peters and Faber Music, and edited by Julia Winterson, the printed Anthology contains: * printed music scores of all 53 new set works in a single volume * a preface to each score, setting the piece in context, highlighting key themes * listening awareness points and suggestions for wider listening * glossary of key terms used in each set work.

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...

Performing Music History offers a unique perspective on music history and performance through a series of conversations with women and men intimately associated with music performance, history, and practice: the musicians themselves. Fifty-five celebrated artists-singers, pianists, violinists, cellists, flutists, horn players, oboists, composers, conductors, and jazz greats-provide interviews that encompass most of Western music history, from the Middle Ages to contemporary classical music, avant-garde innovations, and Broadway musicals. The book covers music history through lenses that include "authentic" performance, original instrumentation, and social context. Moreover, the musicians interviewed all bring to bear upon their respective subjects three outstanding qualities: 1) their high esteem in the music world as immediately recognizable names among musicians and public alike; 2) their energy and devotion to scholarship and the recovery of endangered musical heritages; and 3) their considerable skills, media savvy, and showmanship as communicators. Introductory essays to each chapter provide brief synopses of historical eras and topics. Combining careful scholarship and lively conversation, Performing Music History explores historical contexts for a host of fascinating issues.

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.

This collection presents a range of essays on contemporary music distribution and consumption patterns and practices. The contributors to the collection use a variety of theoretical and methodological approaches, discussing the consequences and effects of the digital distribution of music as it is manifested in specific cultural contexts. The widespread circulation of music in digital form has far-reaching consequences: not least for how we understand the practices of sourcing and consuming music, the political economy of the music industries, and the relationships between format and aesthetics. Through close empirical engagement with a variety of contexts and analytical frames, the contributors to this collection demonstrate that the changes associated with networked music are always situationally specific, sometimes contentious, and often unexpected in their implications. With chapters covering topics such as the business models of streaming audio, policy and professional discourses around the changing digital music market, the creative affordances of format and circulation, and local practices of accessing and engaging with music in a range of distinct cultural contexts, the book presents an overview of the themes, topics and approaches found in current social and cultural research on the relations between music and digital technology.

In his memoir, Dr. George E. Allen looks back at a career spanning more than five decades of teaching music to Philadelphia students. Early on in life, he learned about many styles of music, and he took his love of the art to college, where he earned multiple degrees before joining the Philadelphia School District. There, he earned the respect of students, fellow music teachers, and music administrators. It wasn't easy, but he did it his way and enjoyed positive results. He inspired the same type of dogged effort in his students, relying on a phrase that he placed at the beginning of all his syllabi: "It is better to know than to think you know." He first heard that on the phone from Ellis Marsalis, the father of jazz musician Wynton and a well-known musician in his own right. Allen adopted the phrase as one of his own mantras, never allowing his students to say "I think" or "I can't." Whether you are someone who loves music, an education professional, or someone thinking about becoming a teacher, you can find inspiration in Allen's love for music, education, and his students. It was time for me to begin serious work on writing about my experience as a music educator in Philadelphia because I did it differently with satisfying results.

Our Singing Country A Second Volume of American Ballads and Folk Songs COLLECTED AND COMPILED BY JOHN A. LOMAX Honorary Consultant and Curator of the Archive of American Folk Song of the Library of Congress AND ALAN LOMAX Assistant in Charge of the Archive of American Folk Song of the Library of Congress RUTH CRAWFORD SEEGER Music Editor New York The Macmillan Company 19 49 TO WILL C. HOGG Classmate and Friend Whose life was a ballad INTRODUCTION In any country it Is the people who make the differences. The landscapes with the thumb-mark and the heel-mark of the people on them are the land scapes you remember. In Chile it is not the mountains which make the unbelievable loveliness of that country but the rows of poplars standing under the stone of the Andes, leaf against granite. It is the same way in other countries. France with the fields so and the roads so and the villages square to them. England with the roofs set this way not in any other way. Persia with the water courses in the wild gardens and the peach boughs over the mud walls. Japan where the pines on the ridge-poles of the moun tains are warped by the wind but not by the wind only. It is the mark of the people on any country which gives it the feel it leaves in a mans mind. Even the sense of time in a country is the sense of the people in it now and before now. But it is not only the heel-marks on the hill-sides and the way the roads run that show the traces of the people. There are other marks in other mate rials and not least in the substance of words and the substance of music. Music and words will wear under the use of a people as easily as the earth will wear and the marks will last longer. Devoted writers write asthough the body of the people of a country made songs for themselves and poems for themselves the folk songs and the folk music. But to speak prosaically the people do not make songs and poems for themselves. The folk songs and the folk poems come from far back and like any song or any poem they have had beginnings in a single mind. What the people of a country do with the music they take over for themselves and the poems they take over for themselves is to pass them along from hand to hand, from mouth to mouth, from one generation to the next, until they wear smooth in the shape the people this particular people is obliged to give them. The people make their songs and poems the way the people make a stone stair in an old building of this republic where the treads are worn down and shaped up the way their users have to have them. The folk songs and the folk poems show the mark of a people on them the way the old silver dollars show the mark of shoving thumbs but with far more meaning. They show the peoples mark more even than the line of the roads in a country or the shape of the houses hopeful or not so hopeful and they last longer. The people or the poets either who can leave their mark on the words or on the music of a country, leave it for a long time and in an honorable place. This second volume of American ballads and folk songs collected by vii Introduction John Lomax of Texas and his son Alan, the two men who created, under the brilliant direction of Herbert Putnam and Dr. Harold Spivacke, the Archive of American Folk Song in the Library of Congress, is a body of words and of music which tells more about the American people than all the miles of their quadruple-lane expresshighways and all the acres of their bill-board plastered cities a body of words and of music which tells almost as much about the American people as the marks they have made upon the earth itself. It is a book which many Americans will delight to open, and not once but many times. But behind this book is another body of material also a product of the work of Mr. Putnam and the Lomaxes which reveals with even greater precision the character and the distinction of the mark left upon their music and their words by the people of this country...

The first and only collection of its kind, "Sacred Symphony" contains 100 transcriptions of muscial excerpts from the chanted sermons of contemporary black preachers. In his introduction to the pieces that follow, author John Michael Spencer argues that there is an observable correlation between the chanted sermons of today's black preachers and the antebellum spiritual. He shows that the pieces collected here, each of which spontaneously evolved during the course of a sermon or prayer service, are themselves spirituals containing similar musical components--melody, rhythm, call and response, counterpoint, harmony, form, and improvisation.

Van Morrison is primal but sophisticated; he's accessible but inscrutable; he's a complex songwriter and a raw blues shouter; he's a steady influence on the musical scene but wildly unpredictable as well, and it's these complex and often conflicting qualities that make him such a compelling subject for the Singer-Songwriter series. Journalist Erik Hage here eschews a cold, empirical study of structures and influence, and seeks instead more natural and intuitive means of appreciating all that is unique, eclectic, and surprising about Van Morrison's impressive output. In addition to covering almost all of Van Morrison's musical work and offering new readings of many iconic songs, Hage also provides a biographical introduction and a complete discography that can help listeners find new perspective on Morrison's body of work.

Even in his darkest and most naked moments-in "Astral Weeks" for instance-Van Morrison's songs can still suggest something uplifting. Sometimes these two poles are present simultaneously, and at other times they each find distinct expression in a different musical moment. Even on his first solo album, "Blowin' Your Mind" (which contained the iconic Brown-Eyed Girl) Van Morrison was wrestling with something thornier and deeper, as evidenced by the wrenching T.B. Sheets - a nine-minute opus about the discomfort of visiting a lover in a small room as she lies in bed, wracked with Tuberculosis. Those two songs, at artistic odds with each other and on the same album, are representative of the oppositional forces that fuel much of his work. Hage here provides a guide through all the layers of emotional meaning and musical resonance present in Morrison's work.

The first new survey of the field in more than 60 years, this study concentrates on the basics of music criticism. Because it focuses on core issues and proven principles, the book is likely to become the standard work on the subject. It is written for the audience that reads music criticism in newspapers and popular journals: professional and amateur musicians, scholars, teachers, researchers, librarians, students, music lovers, journalists, and critics. The topics are covered in depth and observations are thoroughly documented, yet the material is enjoyable to read because the writing is easy to understand and special terminology is held to an absolute minimum. The commentary addresses the function of music criticism, the qualifications and training of a critic, the relationship between music criticism and other aspects of journalism, and the principles behind value judgments. Three chapters are devoted to the concert and opera review, one to reviewing recordings, another to radio and television criticism, and one to reviewing ethnic music. Thirty-eight reviews are quoted and analyzed, and 13 are presented in their entirety, along with critical commentary. Index. Appendix. Bibliography

This work is a revealing chronicle of Hip Hop culture from its beginnings three decades ago to the present, with an analysis of its influence on people and popular culture in the United States and around the world. From Grandmaster Flash and the Furious Five's "The Message," to Jay-Z, Diddy, and 50 Cent, Hip Hop Culture is the first comprehensive reference work to focus on one of the most influential cultural phenomena of our time. Scholarly and streetwise, backed by statistics, documents, and research, it recounts three decades of Hip Hop's evolution, highlighting its defining events, recordings, personalities, movements, and ideas, as well as society's response. How did an inner-city subculture, all but dismissed in the early 1980s, become the ruler of the world's airwaves and iPods? Who are the players who moved Hip Hop from the record bins to the pinnacles of entertainment, business, and fashion? Who are the founders, innovators, legends, and major players? Authoritative and authentic, Hip Hop Culture provides a wealth of information and insights for students, educators, and anyone interested in the ways pop culture reflects and shapes our lives.

Alberto Ginastera: A Research and Information Guide is the first bio-bibliographic study of the composer and the only published book on the subject in English. This work fills a critical gap in contemporary music studies by enriching our knowledge of one of the most compelling creative voices of the Americas. Given the lack of prior systematic attention to Ginastera, this book establishes a firm foundation for future scholarship. It includes a detailed biographical sketch of the composer that quotes extensively from his letters. It summarizes the defining features of his style and encompasses his infrequently explored late works. It offers the most comprehensive catalogue of Ginastera's music to date and provides an annotated list of his published writings. This book contains over 400 annotated bibliographic entries that refer to critically selected sources in English, Spanish, French, German, and Italian. The last chapter offers new information about archival holdings and internet resources that facilitates research on this composer. An appendix featuring a detailed chronology of Ginastera's career completes this work.

Claudio Arrau was one of the most distinguished and influential concert pianists of the twentieth century. His particular approach to the creation of sound was legendary. Concert pianist Ruth Nye studied with Arrau in New York and maintained a very active professional and personal relationship with the maestro until his death some 30 years later. Ruth Nye's performance career continued for many years until she developed Dupuytren's contracture of the fifth finger of her left hand, which left her unable to play professionally. Ruth Nye, MBE, FRCM, is now one of the most highly regarded piano teachers in the UK. This is the story of her life and her musical philosophy.

The first bibliography devoted to a single jazz genre or era, Fire Music is concerned with the music of the jazz avant-gardists such as John Coltrane, Ornette Coleman, Cecil Taylor, and Sun Ra. It makes accessible the most extensive and up-to-date scholarship of the New Jazz beginning in the 1950s. Included are materials on such topics as jazz collectives and the New York loft scene, as well as jazz in specific countries and regions and a lengthy section of biographical and critical studies on more than 400 artists and ensembles from around the world. Organized by subject and artist, the over 7,100 sources are further divided by type of materials, including films, video, and audio cassettes as well as books, dissertations, and journal and newspaper articles in all major Western languages. A New Jazz Chronology places events in the jazz world in a social, political, and musical context; and a section on African-American Cultural History and the Arts provides background materials. Appendixes offer general reference sources, a directory of archives and research centers, and lists that classify artists by country and instrument. Indexes of artists, subjects, and authors complete the work.

This volume looks forward and re-examines present day education and pedagogical practices in music and dance in the diverse cultural environments found in Oceania. The book also identifies a key issue of how teachers face the prospect of taking a reflexive view of their own cultural legacy in music and dance education as they work from and alongside different cultural worldviews. This key issue, amongst other debates that arise, positions Intersecting Cultures as an innovative text that fills a gap in the current market with highly appropriate and fresh ideas from primary sources. The book offers commentaries that underpin and inform current pedagogy and bigger picture policy for the performing arts in education in Oceania, and in parallel ways in other countries.

Paul Simon is commonly acknowledged to be one of the most successful singer-songwriters of the pop-rock era. His work has flourished in the context of Simon and Garfunkel as well as in his own solo career. Starting with the folk-rock style that marked his earliest significant success, he has drawn on a wide variety of influences, including many American traditions and, later, many international ones as well. He has won multiple Grammy awards in both the duo and the solo phases of his career. His songwriting has also provided the impetus for brief forays into film and musical theatre. After providing a brief biographical overview, this work examines Simon's songwriting work in depth, providing a critical discussion of each song as a fusion of text and music so as to help the reader to identify elements that enhance appreciation. A particularly valuable contribution in this context is the discussion of the wide variety of musical elements that contribute significantly to the value of Simon's work. These include such easily-understandable issues as verse-chorus structure, melodic variation, selection of particular instruments and even performers, variation of musical style within a song, general harmonic characteristics, relationships among keys, rhythm and pacing of text, etc. While the book proceeds chronologically through Simon's recorded output, specific threads are developed throughout, and the discussion of individual songs takes place in the context of these threads, both drawing on them and developing them further. The diversity of Paul Simon's work reflects his very American background, and no discussion of American music is complete without accounting for his influence.

This book presents an overview of the emerging field of emotion in videogame soundtracking. The emotional impact of music has been well-documented, particularly when used to enhance the impact of a multimodal experience, such as combining images with audio as found in the videogames industry. Soundtracking videogames presents a unique challenge compared to traditional composition (for example film music) in that the narrative of gameplay is non-linear - Player dependent actions can change the narrative and thus the emotional characteristics required in the soundtrack. Historical approaches to emotion measurement, and the musical feature mapping and music selection that might be used in video game soundtracking are outlined, before a series of cutting edge examples are given. These examples include algorithmic composition techniques, automated emotion matching from biosensors, motion capture techniques, emotionally-targeted speech synthesis and signal processing, and automated repurposing of existing music (for example from a players own library). The book concludes with some possibilities for the future.