Since the turn of the 21st century, there have been several genres birthed from or nurtured in Black Britain: funky & tribal House, Afrobeats, Grime, Afro Swing, UK Drill, Road Rap, Trap etc. This pioneering book brings together diverse diasporan sounds in conversation. A valuable resource for those interested in the study of 21st century Black music and related cultures in Britain, this book goes incorporates the significant Black Atlantean, global interactions within Black music across time and space. It examines and proposes theoretical approaches, contributing to building a holistic appreciation of 21st century Black British music and its multidimensional nature. This book proffers an academically curated, rigorous, holistic view of Black British music in the 21st century. Drawing from pioneering academics in the emerging field and industry professionals, the book will serve academic theory, as well as the views, debates and experiences of industry professionals in a complementary style that shows the synergies between diasporas and interdisciplinary conversations. The book is interdisciplinary. It draws from sociology, musicology and the emerging digital humanities fields, to make its arguments and develop a multi-disciplinary perspective about Black British music in the 21st century.

The Inside Songs of Amiri Baraka examines the full length of Baraka's discography as a poet recording with musicians as well as his contributions to jazz and R & B, beginning with his earliest studio recordings in 1965 and continuing to the last year of his life, 2014. This recorded history traces his evolution from the era of Beat poetry and "projective verse," through the period of the Black Arts Movement and cultural nationalism, and on to his commitments to "third world Marxism," which characterized the last decades of his life. The music enfolding Baraka's recitations ranges from traditional African drumming, to doo wop, rhythm and blues, soul and the avant garde jazz that was his great love and the subject of so much of his writing, and includes both in-studio sessions and live concert performances. This body of work offers a rare opportunity to think about not only jazz/poetry, but the poet in the recording studio and the relations of text to score.

Two of the objectives of the Chinese Copyright Law are to protect the copyright of authors to their literary and artistic works and encourage the creation and dissemination of works. In practice, however, in spite of the existence of the Music Copyright Society of China ('MCSC') that was established to assist with exercising copyright, music creators in China remain in need of help to protect and manage their fragmented copyright. The MCSC was the first collective management organisation ('CMO') in mainland China and is the only CMO in the field of musical works. While there is a large music industry and copyright business in China, the MCSC only had 11,356 members at the end of 2021. The third amendment of the Chinese Copyright Law was initiated in 2011 and came into effect in June 2021 after a long debate for almost ten years. The discussion of the third amendment has highlighted the controversial topic of collective management of copyright. This book explores the adequacy of the MCSC as an intermediary representing rights for music creators. The main argument developed in this study is that the work of the MCSC for individual composers and lyricists is hampered by shortcomings in the regulatory regime as well as by a lack of members' rights to participate in the management of their own rights and by the ineffective international cooperation between the MCSC and other musical CMOs overseas. The analysis is undertaken through a case study approach, comparing the collective management systems of music copyright in China, the United States and Australia and addressing the question of how musical CMOs operate in these countries. Specifically, three perspectives are examined: the regulatory systems designed to limit the misuse of those CMOs' monopoly, members' rights in the organisations, and international cooperation between these CMOs. Overall, the main findings of this book suggest that the MCSC in China could work more effectively to protect music creators' interests. In contrast, although the operational frameworks of the American Society of Composers, Authors and Publishers ('ASCAP') and the Broadcasting Broadcast Music, Inc. ('BMI') in the United States and the Australasian Performing Right Association ('APRA') in Australia are not perfect models, the systems in these two countries may at least provide reference points for potential improvement of the regime of the MCSC. The research recommends three courses of action: strengthening the regulatory design overseeing the MCSC's monopoly, clarifying the relationship between the MCSC and its members while providing the members with the right to manage their own copyright, and improving the international cooperation between the MCSC and CMOs in other countries.

In both video games and animated films, worlds are constructed through a combination of animation, which defines what players see on the screen, and music and sound, which provide essential cues to action, emotion, and narrative. This book offers a rich exploration of the intersections between animation, video games, and music and sound, bringing together a range of multidisciplinary lenses. In fourteen chapters, the contributors consider similarities and differences in how music and sound structure video games and animation, as well as the animation within video games, and explore core topics of nostalgia, adaptation, gender and sexuality. Offering fresh insights into the aesthetic interplay of animation, video games, and sound, this volume provides a gateway into new areas of study that will be of interest to scholars and students across musicology, animation studies, game studies, and media studies more broadly.

This book is an interdisciplinary project that brings together ideas from aesthetics, philosophy, psychology, and music sociology as an expansion of German philosopher Hans-Georg Gadamer's theory on the aesthetics of play. This way of thinking focuses on an ontology of the process of musicking rather than an ontology of discovering fixed and static musical objects. In line with this idea, the author discusses the importance of participation and involvement in this process of musicking, whether as a listener or as a performer. Christensen then goes on to critique and update Gadamer's theory by presenting incompatibilities between it and recent theories of aesthetic emotions and embodiment. He proposes that emotions are 'constructed' rather than 'caused', that the mind uses a system of 'filters' to respond to sonic stimuli and thus constructs (via play) aesthetic feelings and experiences. In turn, this approach provides music with a route into the development of social capital and inter-subjective communication. This work builds on the hermeneutical steps already taken by Gadamer and those before him, continuing his line of thought beyond his work. It will be of great interest to scholars in music aesthetics as well as a variety of other music related fields, including music psychology, philosophy and science and technology studies.

Bing Crosby's innovations as recording artist, actor, businessman, and radio and television performer. A multidisciplinary exploration, plus personal testimony from family members and colleagues. Going My Way: Bing Crosby and American Culture is the first serious study of the singer/actor's art and of his centrality to the history of twentieth-century popular music, film, and the entertainment industry. The volume uses a wide range of scholarly and cultural perspectives to explore Crosby's unique and lasting achievements. It also includes tributes and reminiscences from Bing's widow Kathryn, his grandson Steve, his record producer Ken Barnes, and one of his most popular successors, Michael Feinstein. Other contributors include Gary Giddins, the author of a widely acclaimed recent biography of the singer, and Will Friedwald, the acknowledged expert on the developmentof the "great American songbook." In addition to studying Bing Crosby's innovations and remarkable achievements as a recording artist, Going My Way explores his accomplishments as an actor, businessman, and radio and television performer. Going My Way makes an impressive case not only for Crosby's considerable talent and inimitable style, but also for his raising the quality of popular singing to the level of art. Contributors: Ken Barnes, Samuel L. Chell, Kathryn Crosby, Steven C. Crosby, John Mark Dempsey, Bernard F. Dick, Deborah Dolan, Michael Feinstein, Will Friedwald, Jeanne Fuchs, Gary Giddins, Peter Hammar, M. Thomas Inge, Malcolm MacFarlane, Eric Michael Mazur, Martin McQuade, Elaine Anderson Phillips, Ruth Prigozy, Walter Raubicheck, Linda A. Robinson, Stephen C. Shafer, David White, F.W. Wiggins Ruth Prigozy is Professor of English at Hofstra University. Walter Raubicheck is Professor of English and Chair of the English Department at Pace University.

for SATB and organ OR organ with 5-part brass ensemble and optional timpani and percussion OR orchestra Winchester Te Deum is a glorious work with a great sense of ceremony. This important setting is bright and joyful and equally suitable for church and concert performance. It pairs wonderfully in a concert half with Rutter's Gloria and provides perfect material for a festival evensong or occasional service.

Some 22 years after its creation, The Legend of Zelda: Ocarina of Time is still held in high critical regard as one of the finest examples of the video game medium. The same is true of the game's music, whose superlative reception continues to be evident, whether in the context of the game or in orchestral concerts and recordings of the game's music. Given music's well-established significance for the video game form, it is no coincidence that music is placed at the forefront of this most lauded and loved of games. In Ocarina of Time, music connects and unifies all aspects of the game, from the narrative conceit to the interactive mechanics, from the characters to the virtual worlds, and even into the activity of legions of fans and gamers, who play, replay and reconfigure the music in an enduring cultural site that has Ocarina of Time at its centre. As video game music studies begins to mature into a coherent field, it is now possible to take the theoretical apparatus and critical approaches that have been developed in antecedent scholarship and put these into practice in the context of an extended concrete game example. The most extensive investigation into the music of a single game yet undertaken, this book serves three important primary purposes: first, it provides a historical-critical account of the music of an important video game text; second, it uses this investigation to explore wider issues in music and media studies (including interactivity, fan cultures, and music and technology); and third, it serves as a model for future in-depth studies of video game music.

Earshot: Perspectives on Sound awakens an understanding of the decisive role that sound has played in history and culture. Although beginning with reference to antiquity, the primary focus is the changing status of sound and hearing in Western culture over the last six hundred years, covering the transition from the medieval period to the contemporary world. Since mythic times, sound has been an essential element in the formation of belief systems, personal and community identities and the negotiations between them. The varied case studies included in the book cover major reference points in the changing politics of sound, particularly in relation to the status of the other major conduit of social transactions, vision. Earshot is not a work of cultural theory but is anchored in social practices and material culture and is therefore a valuable resource for conveying sound to both undergraduate students as well as the general reader.

Suitable for SATB and orchestra or piano, this arrangement opens with a wind and brass introduction. It also presents a flowing, gently rocking string background that sets off the vocal line in the altos while the rest of the chorus sings 'oohs'.

Makis Solomos explores the ecologies of music and sound, inspired by Felix Guattari, for whom environmental destruction caused by capitalism goes hand in hand with deteriorating ways of living and feeling, and for whom an ecosophical stance, combining various ecological registers, offers a glimpse of emancipation, a position strengthened today by intersectional approaches. Solomos explores environmental, mental and social ecologies through the lens of the history of music and current artivisms - especially in the fields of acoustic ecology, contemporary music and sound art. Several theoretical and analytical debates are put forward, including a theory of sound milieus and the biopolitics of sound; the relationships between music and the living world; soundscape compositions, field recording, ecomusicology, and the creation of sound biotopes; the use of sound and music to violent ends as well as considering the social and political functions of music and the autonomy of art, sonic ecofeminism, degrowth in music, and much more.

for soprano and piano
Based on poetry by Elizabeth Barrett Browning, Sonnets from the Portugese explores the finding of a mature love by a woman who wonders what part of her must she sacrifice to the lover and to the world. Larsen transforms the dialogue into a musical metaphor of resolved and unresolved harmonies.

for SATB (with divisions) unaccompanied This major work by one of Britain's leading choral composers was commissioned by St Mary's Cathedral, Edinburgh. The setting is terse and direct, in the manner of the Poulenc Mass, and the textures often unusually pared-down. By turns fiery and exuberant, and inward and numinous, the music includes a huge variety of textures and techniques, including flowing melismas, luminous key changes, and pure homophony. This is a work of great power that will appeal to committed concert and church choirs.

Religion, Culture and Spirituality in Africa and the African Diaspora explores the ways in which religious ideas and beliefs continue to play a crucial role in the lives of people of African descent. The chapters in this volume use historical and contemporary examples to show how people of African descent develop and engage with spiritual rituals, organizations and practices to make sense of their lives, challenge injustices and creatively express their spiritual imaginings. This book poses and answers the following critical questions: To what extent are ideas of spirituality emanating from Africa and the diaspora still influenced by an African aesthetic? What impact has globalisation had on spiritual and cultural identities of peoples on African descendant peoples? And what is the utility of the practices and social organizations that house African spiritual expression in tackling social, political cultural and economic inequities? The essays in this volume reveal how spirituality weaves and intersects with issues of gender, class, sexuality and race across Africa and the diaspora. It will appeal to researchers and postgraduate students interested in the study of African religions, race and religion, sociology of religion and anthropology.

Suitable for SATB unaccompanied, this setting is taken from a text by John Donne. It is particularly appropriate during Lent.

Part of a growing group of works that addresses the burgeoning field of sound studies, this book attends not only to theoretical and empirical examinations, but also to methodological and philosophical considerations at the intersection of sound and education. Gershon theoretically advances the rapidly expanding field of sound studies and simultaneously deepens conceptualizations and educational understandings across the fields of curriculum studies and foundations of education. A feature of this work is the novel use of audio files aligned with the arguments within the book as well as the discussion and application of cutting-edge qualitative research methods.

This book gathers a set of works highlighting significant advances in the areas of music and sound. They report on innovative music technologies, acoustics, findings in musicology, new perspectives and techniques for composition, sound design and sound synthesis, and methods for music education and therapy. Further, they cover interesting topics at the intersection between music and computing, design and social sciences. Chapters are based on extended and revised versions of the best papers presented during the 6th and 7th editions of EIMAD-Meeting of Research in Music, Arts and Design, held in 2020 and 2021, respectively, at the School of Applied Arts in Castelo Branco, Portugal. All in all, this book provides music researchers, educators and professionals with authoritative information about new trends and techniques, and a source of inspiration for future research, practical developments, and for establishing collaboration between experts from different fields.

Pieces in a wide range of styles, from a 13th-century troubadour song to a Sousa March. Some are well known and others may be new discoveries. The pieces are suitable for student of around Grade 5-6 standard, and have been newly and skilfully arranged or edited. The piano accompaniments are straightforward.

for 2- and 3-part voices, accompanied and unaccompanied Several new pieces have been composed especially for the collection: Alan Bullard's jubilant carol 'Ring the Bells'; Cecilia McDowall's exquisite lullaby setting of a William Blake text; an enchanting piece by Howard Skempton, perfectly crafted in his unique voice; and a clever wassail-style carol from Roderick Williams. These appear alongside popular carols in new arrangements for upper voices. For Him all Stars is sure to delight audiences and inspire both young and adult choirs alike.

for SA(B) and piano or organ or chamber orchestra This lively carol is fast and fleeting, propelled forward by a constantly shifting metre and a characterful accompaniment. It may be sung in English or to the Latin text taken from Piae Cantiones. It is a captivating carol, and a rewarding sing. Orchestral material is available on hire.

for SATB unaccompanied This set of Preces and Responses, including the Lord's Prayer, will be enjoyed by all seeking new material for the liturgy. The largely syllabic four-part setting harks back to the music of the great Tudor masters, while the expressive harmony - including a magical key change for the Lord's Prayer and some mellifluous Amens - are pure Jackson.

for SATB and optional percussion An uplifting and joyful concert setting of four texts exploring man's relationship with the earth. Brimming with energy, the work has a wonderful freshness and vitality. Chilcott selects a range of evocative texts from ancient Chinese, Aztec, Inuit, and Native American cultures. Chilcott's skill for capturing the essence and meaning of words in music shines throughout the work. The percussion parts are included in the vocal score.

Rich Redmond, drummer for superstar Jason Aldean, provides a shot of inspiration for those interested in jump-starting a music career. Any successful musician will tell you the most common question asked of them is, “What does it take to make it?” Rich Redmond is no different. He moved to Nashville more than twenty-five years ago with his drums, a cat, and a vision, and he’s made his dreams come true. Over one too many lattes, he decided to put all of his advice in one place. Making It in Country Music is filled with practical advice, stories of how Redmond did it himself, and insights from a chorus of other musicians. This is the ultimate behind-the-scenes and fun-to-read book looking at the country music industry and music careers. Redmond takes you on a tour of Nashville and many other country music meccas: from the massive stadiums to the honky-tonks and the wide variety of jobs that make the industry go. You’ll learn the various skill sets needed to become successful in the industry as well as predictions for the future of country music among many other things. There is no better guide to the country music business than Redmond with his unique blend of encouragement, detailed advice, humor, and experience.

Courtesans, hetaeras, tawaif-s, ji-s--these women have exchanged artistic graces, elevated conversation, and sexual favors with male patrons throughout history and around the world. Of a different world than common prostitutes, courtesans deal in artistic and intellectual pleasures in ways that are wholly interdependent with their commerce in sex. In pre-colonial India, courtesans cultivated a wide variety of artistic skills, including magic, music, and chemistry. In Ming dynasty China, courtesans communicated with their patrons through poetry and music. Yet because these cultural practices have existed primarily outside our present-day canons of art and have often occurred through oral transmission, courtesans' arts have vanished almost without trace. The Courtesan's Arts delves into this hidden legacy, unveiling the artistic practices and cultural production of courtesan cultures with a sideways glance at the partly-related geisha. Balancing theoretical and empirical research, this interdisciplinary collection is the first of its kind to explore courtesan cultures through diverse case studies--the Edo period and modern Japan, 20th-century Korea, Ming dynasty China, ancient Greece, early modern Italy, and India, past and present. Each essay puts forward new perspectives on how the arts have figured in the courtesan's survival or demise. Though performative and often flamboyant, courtesans have been enigmatic and elusive to their beholders--including scholars. They have shaped cultures through art, yet their arts, often intangible, have all but faded from view. Often courtesans have hovered in the crevices of space, time, and practice--between gifts and money, courts and cities, feminine allure and masculine power, as substitutes for wives but keepers of culture. Reproductively irrelevant, they have tended to be ambiguous figures, thriving on social distinction while operating outside official familial relations. They have symbolized desirability and sophistication yet often been reviled as decadent. The Courtesan's Arts shows that while courtesans cultures have appeared regularly in various times and places, they are universal neither as a phenomenon nor as a type. To the contrary, when they do crop up, wide variations exist. What binds together courtesans and their arts in the present-day post-industrialized world of global services and commodities is their fragility. Once vital to cultures of leisure and pleasure, courtesans are now largely forgotten, transformed into national icons or historical curiosities, or reduced to prostitution.