This is the true story of a standout artist in the field of pop and sentimental song; a star entertainer who rose to fame in Cape Town, South Africa. The world reflected in this book has several genealogical strands reaching back to other histories – to the nineteenth century theatre, to the rise of racism in South Africa, and the ways people were forced to negotiate the contradictions of being human against impossible odds. We encounter a biographer with a subject which is close to him, and which he has meticulously researched over a course of time. The book offers insights into the musical world of the phonograph, of the global popular culture after the Second World War and how this was absorbed into Cape Town’s popular culture.

A setting of a melancholy text by Phineas Fletcher for unaccompanied SATB voices.

Jazz and Death: Reception, Rituals, and Representations critically examines the myriad and complex interactions between jazz and death, from the New Orleans "jazz funeral" to jazz in heaven or hell, final recordings, jazz monuments, and the music’s own presumed death. It looks at how fans, critics, journalists, historians, writers, the media, and musicians have narrated, mythologized, and relayed those stories. What causes the fascination of the jazz world with its deaths? What does it say about how our culture views jazz and its practitioners? Is jazz somehow a fatal culture? The narratives surrounding jazz and death cast a light on how the music and its creators are perceived. Stories of jazz musicians typically bring up different tropes, ranging from the tragic, misunderstood genius to the notion that virtuosity somehow comes at a price. Many of these narratives tend to perpetuate the gendered and racialized stereotypes that have been part of jazz’s history. In the end, the ideas that encompass jazz and death help audiences find meaning in a complex musical practice and come to grips with the passing of their revered musical heroes -- and possibly with their own mortality.

Two of Stanford's finest partsongs for unaccompanied SATB voices

Capture great sound in the first place and spend less time "fixing it in the mix" with Ian Corbett's Mic It! With this updated and expanded second edition, you'll quickly understand essential audio concepts as they relate to microphones and mic techniques and learn how to apply them to your recording situation. Mic It! gives you the background to explore, discover, and design your own solutions, enabling you to record great source tracks that can be developed into anything from ultra-clean mixes to massive, organic soundscapes. Beginning with essential audio theory and a discussion of the desirable characteristics of "good sound", Mic It! covers microphones, mono and stereo mic techniques, the effect of the recording space or room, and large classical and jazz ensemble recording. This second edition also features new chapters on immersive audio, immersive recording concepts, drum tuning, and recording techniques for audio for video. Mic It! provides in-depth information on how different mic techniques can be used, modified, and fine-tuned to capture not only the best sound, but the best sound for the mix, as well as how to approach and set up the recording session, prepare for mixing, and avoid common recording and mixing mistakes. * Train your ears with practical audio examples on the companion website. * Develop and test your knowledge as you learn, with concise, applicable exercises and examples that cover the concepts presented. * Record the best sound possible in any situation with Mic It! Corbett's expert advice ranges from vital knowledge no novice should be without, to advanced techniques that more experienced engineers can explore to benefit and vary the sound of their recordings. Whether you only ever buy one microphone, are equipping a studio on a budget, or have a vast selection of great mics to use, with Mic It! you'll learn how to make the most of the tools you have.

Wallace Stevens's musicality is so profound that scholars have only begun to grasp his ties to the art of music or the music of his own poetry. In this study, two long-time specialists present a polyphonic composition in which they pursue various interlocking perspectives. Their case studies demonstrate how music as a temporal art form may affect a poetic of ephemerality, sensuous experience, and affective intensification. Such a poetic, they argue, invites flexible interpretations that respond to poetry as an art of textual performance. How did Stevens enact the relation between music and memory? How can we hear his verse as a form of melody-making? What was specific to his ways of recording birdsong? Have we been missing the latent music of Richard Strauss, Gustav Mahler, and Claude Debussy in particular poems? What were the musical poetics he shared with Igor Stravinsky? And how is our experience of the late poetry transformed when we listen to a musical setting by Ned Rorem? The Poetic Music of Wallace Stevens will appeal to experts in the poet's work, students of Modernism in the arts, and a wider audience fascinated by the dynamics of exchange between music and poetry.

Provides a wide range of case studies of music in film scenes, allowing instructors to pick and choose examples to focus on. Each case study is accessibly written and follows the same format, breaking down elements of the scene for students in a clear manner that invites comparisons. Organized by the type of musical use, allowing instructors to readily find examples of different types of music functions, and compare across different films.

for SATB, solo soprano, brass quintet, piano, and percussion A brilliant choral celebration of seven American legends (Phillis Wheatley, George Washington, Jenny Lind, Harriet Beecher Stowe, Clyde William Thornbaugh, Charles Lindbergh, Louis Armstrong). Energetic and appealing, the music culminates in a wordless finale which celebrates Louis Armstrong and the jazz clubs of the 1930s by mixing up six familiar classics.

As traditional music career paths become increasingly scarce, 21st-century musicians must reach out to new and diverse audiences to ensure career success and sustainability. Many universities and conservatories now offer entrepreneurship courses for their students, but musicians already in the working world must also learn to build relationships with their communities, jumpstart and fund new initiatives, engage new audiences, and ultimately create successful and meaningful careers. Creating the Revolutionary Artist challenges performers to build increased audiences through creative action and community involvement. Based on Mark Rabideau's revolutionary online text The 21CM Introduction to Music Entrepreneurship, this book will jumpstart the careers of musicians and artists in all styles and at all levels as it lays out business and project management acumen within a talent-driven spirit of civic-mindfulness. Drawing together the real-world wisdom of world-class musicians and educators, the book includes strength identification and idea creation exercises, inspiring case studies, and a toolkit of how-to guides to lead the reader through a successful community-based project and on to a rewarding career in the arts.

Music, when approached as a part of a classical liberal arts education, is a profoundly humanizing endeavor which can facilitate individual musical and moral growth within communities of practice. A classical approach to music education contrasts with common progressive and critical curriculum frameworks through a philosophically realist analysis. From this perspective, a classical education serves as an induction into the liberal arts as a living tradition of cultural memory rooted in the transcendentals of Truth, Goodness, and Beauty. Further, because a classical liberal arts education is an education in virtue, it equips students to contribute to the common good as a member of their broader communities. Music education, as part of a classical education, can cultivate shared loves across political, religious, or cultural lines in a pluralist society. Studying music allows practitioners to expand the circle of internal goods of a musical tradition while respecting existing individual and community moral commitments. Students learn music classically through ethical apprenticeship, a foundational method of induction into existing musical traditions which draws its pedagogical authority from both the internal standards of the craft and the practice's hierarchical relation to an external moral order. Music education ultimately contributes to the life well lived when it reflects a narrative unity encompassing myth and reason, lived virtuously through the mastery of desire as measured by normative standards that are intrinsically meaningful beyond the limitations of the self. "Every serious person in music education needs this book. William Perrine, impressively well read and deeply thoughtful, makes the convincing case for a classic liberal, aesthetic music education, and does so in the even-handed way of the true scholar. Perrine's book points the way for the needed renaissance in music education, a rebirth which would revive the importance of art and contemplation in human experience."-Charles Peltz, Director of Wind Ensemble Activities, New England Conservatory "At long last, a major work that forwards a traditionalist approach to music education, firmly rooted in the core tenets of Classical education and foundational thinkers. Although written primarily with the Western context in mind, its insightful analyses and comprehensive coverage of timeless and transcultural themes like beauty, goodness, and music education as a humanizing enterprise appeals and speaks to a broad array of international readers."-Leonard Tan, Associate Professor of Music at the National Institute of Education, Nanyang Technological University (Singapore)

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.

Unfreezing Music Education argues that discussing the conflicting meanings of music should occupy a more central role in formal music education and music teacher preparation programs than is currently the case. Drawing on the critical theory of the Frankfurt School, the author seeks to take a dialectical approach to musical meaning, rooted in critical formalism, that avoids the pitfalls of both traditional aesthetic arguments and radical subjectivity. This book makes the case for helping students understand that the meaning of musical forms is socially constructed through a process of reification, and argues that encouraging greater awareness of the processes through which music's fluid meanings become hidden will help students to think more critically about music. Connecting this philosophical argument with concrete, practical challenges faced by students and educators, this study will be of interest to researchers across music education and philosophy, as well as post-secondary music educators and all others interested in aesthetic philosophy, critical theory, cultural studies, or the sociology of music and music education.

An arrangement of great richness of an American folksong for upper voices, flute, oboe, and piano Technically accessible to school and amateur choirs, the instrumental parts add tremendous atmosphere, while remaining well within the range of younger players. Versions for SATB and TTBB are also available.

Suitable for SSA and piano or orchestra, this work contains one of five songs to texts from Shakespeare's plays which may be performed as a sequence under the title 'The Glories of Shakespeare', or individually. It includes suggestions for linking narrations between the songs.

for SATB and organ/chamber orchestra Taken from Rutter's edition of Faure's Requiem, this famous movement features both the original French words and an optional English text, translated and adapted for singing by John Rutter himself. John Rutter's complete edition of Faure's Requiem (1893 version) is available from Oxford University Press, with scores and parts available on sale and on hire.

Ya-Hui Cheng examines the emergence of popular music genres – jazz, rock, and hip-hop – in Chinese society, covering the social underpinnings that shaped the development of popular music in China and Taiwan, from imperialism to westernization and from modernization to globalization. The political sensitivities across the strait have long eclipsed the discussion of these shared sonic intimacies. It was not until the rise of the digital age, when entertainment programs from China and Taiwan reached social media on a global scale, that audiences realized the existence of this sonic reciprocation. Analyzing Chinese pentatonicism and popular songs published from 1927 to the present, this book discusses structural elements in Chinese popular music to show how they aligned closely with Chinese folk traditions. While the influences from Western genres are inevitable under the phenomenon of globalization, Chinese songwriters utilized these Western inspirations to modernize their musical traditions. It is a sensitivity for exhibiting cultural identities that enabled popular music to present a unique Chinese global image while transcending political discord and unifying mass cultures across the strait.

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.

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.

Focusing on visual approaches to performance in global cultural contexts, Perspectives in Motion explores the work of Adrienne L. Kaeppler, a pioneering researcher who has made a number of interdisciplinary contributions over five decades to dance and performance studies. Through a diverse range of case studies from Oceania, Asia, and Europe, and interdisciplinary approaches, this edited collection offers new critical and ethnographic frameworks for understanding and experiencing practices of music and dance across the globe.

A one-stop, up-to-date source for information on the history of the American musical theatre, Stage It with Music packs an astonishing quantity and variety of facts as well as insights and anecdotes into a convenient dictionary format. Coverage extends from the genre's nineteenth century beginnings to the present day, from The Black Crook (1866) to Jelly's Last Jam (1992). Included are entries on over 300 individual shows, musical series, performers, composers, lyricists, librettists, directors, designers, music directors, orchestrators, choreographers, producers, producing companies and other theatrical institutions, and on other subjects and genres relating to musical theatre. Among the latter are entries on British Imports, Dance in Musicals, Flop Musicals, Locations of Musicals, Operetta, Pastiche Musicals, and Tony Awards. As fascinating as its subject, Stage It with Music will serve the researcher seeking a specific fact, but he or she may find it hard to stop there. Extensive cross-referencing will lead to masses of related material, and most researchers will not be able to resist browsing well beyond the original quest. Thoroughly indexed, the volume also includes a chronology of the musicals covered as separate entries and a bibliography of general works on musical theatre.

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.

Milton and Music is the first study to juxtapose John Milton’s poetry on music with later musical adaptations of his work. In Part I: Milton on Music, Seth Herbst shows that writing about music galvanized Milton’s intellectual development towards animist materialism, the belief that everything in the universe—even the human soul—is made of matter. The Milton who emerges is a forward-thinking visionary who leaped past his contemporaries in conceiving music as a material phenomenon that exists simultaneously as sound and metaphor. Part II: Milton in Music follows two daring composers in investigating whether Milton’s visionary concept of music can be realized in actual musical sound. In Samson, an oratorio adaptation of Milton’s Samson Agonistes, Handel resists Miltonic music theory, suggesting that music struggles to function as both sound and metaphor. By contrast, the twentieth-century Polish composer Krzysztof Penderecki composes an iconoclastic opera of Paradise Lost that develops a soundworld of fractured dissonance in which music acts as both sound and metaphor. Recovering Milton’s own high estimation of music from a critical tradition that has subordinated it to the poet’s political and religious convictions, Herbst reveals Milton as an interdisciplinary thinker and overlooked figure in the study of words and music. Driven by bold claims about the comparative treatment of literature and music, Milton and Music revises our understanding of what makes this canonical poet an intellectual revolutionary.