Featuring 56 lessons by 49 music technology experts from around the world, The Music Technology Cookbook is an all-in-one guide to the world of music technology, covering topics like: composition (with digital audio workstations such as Ableton, Soundtrap, GarageBand); production skills such as recording, editing, and equalization; creating multimedia (ringtones, soundscapes, audio books, sonic brands, jingles); beatmaking; DJing; programming (Minecraft, Scratch, Sonic Pi, P5.js); and, designing instruments (MaKey MaKey). Each lesson tailored for easy use and provides a short description of the activity, keywords, materials needed, teaching context of the contributing author, time required, detailed instructions, modifications for learners, learning outcomes, assessment considerations, and recommendations for further reading. Music educators will appreciate the book's organization into five sections-Beatmaking and Performance; Composition; Multimedia and Interdisciplinary; Production; Programming-which are further organized by levels beginner, intermediate, and advanced. Written for all educational contexts from community organizations and online platforms to universities and colleges, The Music Technology Cookbook offers a recipe for success at any level.

Achieving Musical Success in the String Classroom describes a fully pragmatic pedagogical approach toward developing complete musicianship in beginning through advanced level string players by incorporating the ideas of Mimi Zweig, Paul Rolland, and Shinichi Suzuki. Author Karel Butz's philosophical assumptions are explained regarding the structure and purpose of string teaching contributing to a high level of musical artistry among students. Introductory through advanced string concepts relating to instrument set-up, posture, left and right hand development, music theory, aural skills, assessment procedures, imagery in playing, the development individual practice and ensemble skills, and effective rehearsal strategies are explained in a sequential approach that benefit the classroom teacher and student. In addition, several score examples, sample lesson plans, grading rubrics as well as videos of Butz demonstrating his pedagogical ideas and techniques with musicians are included.

In the early seventeenth century, enthusiasm for the violin swept across Europe-this was an instrument capable of bewitching virtuosity, with the power to express emotions in a way only before achieved with the human voice. With this new guide to the Baroque violin, and its close cousin, the Baroque viola, distinguished performer and pedagogue Walter Reiter puts this power into the hands of today's players. Through fifty lessons based on the Reiter's own highly-renowned course at The Royal Conservatory of the Hague, The Baroque Violin & Viola, Volume I provides a comprehensive exploration of the period's rich and varied repertoire. Volume I covers the basics of choosing a violin, techniques to produce an ideal sound, and sonatas by Vivaldi and Corelli. Practical exercises are integrated into each lesson, and accompanied by rich video demonstrations on the book's companion website. Brought to life by Reiter's deep insight into key repertoire based on a lifetime of playing and teaching, The Baroque Violin & Viola, Volume I: A Fifty-Lesson Course will enhance performances of professional and amateur musicians alike.

Inside Computer Music is an investigation of how new technological developments have influenced the creative possibilities of composers of computer music in the last 50 years. This book combines detailed research into the development of computer music techniques with nine case studies that analyze key works in the musical and technical development of computer music. The book's companion website offers demonstration videos of the techniques used and downloadable software. There, readers can view interviews and test emulations of the software used by the composers for themselves. The software also presents musical analyses of each of the nine case studies to enable readers to engage with the musical structure aurally and interactively.

Creating Sounds from Scratch is a practical, in-depth resource on the most common forms of music synthesis. It includes historical context, an overview of concepts in sound and hearing, and practical training examples to help sound designers and electronic music producers to effectively manipulate presets and create new sounds from scratch. The book covers the all of the main main synthesis techniques including analog subtractive, FM, additive, physical modeling, wavetable, sample-based, and granular. While the book is grounded in theory, it relies on practical examples and contemporary production techniques to illustrate how the reader can utilize electronic sound design to maximize and improve his/her work. Creating Sounds from Scratch is ideal for all who work in sound creation, composition, editing, and contemporary commercial production.

In The Beat Stops Here: Lessons on and off the Podium for Today's Conductor, master conductor Mark Gibson addresses the technique of conducting as an extension of intimate knowledge of the score to the hands and arms. He employs a variety of everyday activities and motions (brushing the dog, Tinkerbelle, the "door knob") to describe the physical aspects of the role. He advocates a comprehensive, detailed approach to score study, addressing major works bar-by-bar in terms of both musical analysis and conducting method. Finally, Gibson explores the various roles a conductor plays, as a teacher, a scholar and a member of the musical community. His writing is highly focused, with an occasionally tongue-in-cheek, discussing everything from motivic development in Brahms to how to hold a knife and fork in public. In short, The Beat Stops Here is a compendium of style and substance in the real world of today's conductor.

Increasingly, guitar study is offered alongside band, orchestra, and chorus in school music programs. This development has drawn a new population of students into those programs but has left music educators scrambling to developing meaningful, sequential courses of study that both meet the needs of these new students and align with state, county, and national curricula. Few available guitar methods are designed with the classroom in mind, and fewer still take a holistic approach to teaching and learning the instrument. In short, teachers are left to navigate a vast array of method books that cover a variety of styles and approaches, often without the confidence and experience necessary to know 'what to teach when.' The Guitar Workbook: A Fresh Approach to Exploration and Mastery addresses the needs of these educators. Throughout the book's 20 lessons, students are encouraged to explore the ways various guitar styles and notation systems differ, as well as the ways they support and complement each other. Lessons cover myriad topics including pick-style playing, basic open position chords, finger-style technique, and power chords. Suggested 'Mastery Activities' at the end of each lesson support higher-order thinking, contextualize the skills and concepts studied, and provide a jumping off point for further exploration. Additionally, suggestions for further study point teachers and students to resources for extra practice.

The Band Teacher's Percussion Guide: Insights into Playing and Teaching Percussion is an essential practical resource for instrumental music teachers and band directors. Author Stewart Hoffman, a Juilliard-trained percussionist, performer, private instructor, and former classroom teacher, offers comprehensive yet accessible and clearly written handbook to help set teachers and students alike firmly on the road to classroom success. In this book, he offers a thorough foundation in snare drum, timpani, keyboard percussion, drum set, and auxiliary and Latin percussion techniques. More than this, he provides practical advice on curriculum and methodology, packing page after page with teaching tips developed through the decades of experience. For educators and band directors who want to learn more about percussion instruments and playing techniques, refine their percussion-teaching skills, or set the classroom stage for a more effective and rewarding teaching experience, The Band Teacher's Percussion Guide: Insights into Playing and Teaching Percussion will be a valued resource for discovering: -keys to effective and relevant evaluation -how to plan a percussion program, organize a band room and select percussionists -lists of recommended instruments and mallets, and guidelines for instrument maintenance and repair -"lifts and levels", a system that leads students to greater control and a more relaxed snare drum technique dozens of practical exercises for the development of techniques on all the main and accessory percussion instruments -easily referenced lists summarizing important points to focus on when practicing -guidelines for teaching jazz, Latin and rock drumset -numerous suggestions and tips to help teachers bring out the best in their students' playing

Though incomplete at the time of his death in 1849, Chopin's Projet de methode was nonetheless revolutionary in many respects. But with his Fundamental Pattern, Chopin announced the recognition, if not discovery, of the keyboard's extraordinary topographical symmetry and postulated a core formulation for a new "pianistic" pedagogy. More than a hundred years later the now-legendary Heinrich Neuhaus would passionately plead for this pedagogy and a pianism rooted in it. Natural Fingering explores this remarkable symmetry, significantly as it sheds light on fingering matters for the now vast catalogue of repertoire. It also examines the revolutionary impact of equal temperament on compositional key choice as well as the liberating influence of Charles Eschmann-Dumur's unique discoveries regarding symmetrical inversion. Principles for a topographically-based fingering strategy are developed that reflect a surprising compatibility of this fixed symmetrical organization with the most efficient biokinetic capabilities of the pianist's playing mechanism. Previously neglected or overlooked technical aspects of pianism are addressed as they relate to movement in keyboard space generally as well as fingering specifically. Symmetrical fingerings for all the fundamental forms are presented in innovative, instructive format. The reader will also find an unusually extensive, in-depth discussion of double note challenges. Answering Neuhaus's call for the reappraisal of a certain pedagogical status quo, several chapters are devoted to the relevant implications of Chopin's Fundamental Pattern. The author also advances guidelines for a progressive implementation of natural fingering principles from the very start, as well as "retooling" for teachers and students alike. Of special note are the cross-hand major and minor scales for the earliest stages, in which the necessity of thumb under/hand over pivoting actions is eliminated. Natural Fingering is the first comprehensive discussion of fingering solutions for pianists since Hummel's monumental treatise of 1828. The book is complemented by a companion website where readers can access excerpts from the repertoire with fingering solutions, read extended discussions, and download comprehensive lists of scales with appropriate fingerings.

During the nineteenth century, nearly one hundred symphonies were written by over fifty composers living in the United States. With few exceptions, this repertoire is virtually forgotten today. In Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise, author Douglas W. Shadle explores the stunning stylistic diversity of this substantial repertoire and uncovers why it failed to enter the musical mainstream. Throughout the century, Americans longed for a distinct national musical identity. As the most prestigious of all instrumental genres, the symphony proved to be a potent vehicle in this project as composers found inspiration for their works in a dazzling array of subjects, including Niagara Falls, Hiawatha, and Western pioneers. With a wealth of musical sources at his disposal, including never-before-examined manuscripts, Shadle reveals how each component of the symphonic enterprise-from its composition, to its performance, to its immediate and continued reception by listeners and critics-contributed to competing visions of American identity. Employing an innovative transnational historical framework, Shadle's narrative covers three continents and shows how the music of major European figures such as Beethoven, Schumann, Wagner, Liszt, Brahms, and Dvorak exerted significant influence over dialogues about the future of American musical culture. Shadle demonstrates that the perceived authority of these figures allowed snobby conductors, capricious critics, and even orchestral musicians themselves to thwart the efforts of American symphonists despite widespread public support of their music. Consequently, these works never entered the performing canons of American orchestras. An engagingly written account of a largely unknown repertoire, Orchestrating the Nation shows how artistic and ideological debates from the nineteenth century continue to shape the culture of American orchestral music today.

Discoveries from the Fortepiano meets the demand for a manual on authentic Classical piano performance practice that is at once accessible to the performer and accurate to the scholarship. Uncovering a wide range of eighteenth-century primary sources, noted keyboard pedagogue Donna Gunn examines contemporary philosophical beliefs and principles surrounding Classical Era performance practices. Gunn introduces the reader to the Viennese fortepiano and compares its sonic and technical capabilities to the modern piano. In doing so, she demonstrates how understanding Classical fortepiano performance aesthetics can influence contemporary pianists, paying particular focus to technique, dynamics, articulation, rhythm, ornamentation, and pedaling. The book is complete with over 100 music examples that illustrate concepts, as well as sample model lessons that demonstrate the application of Gunn's historically informed style on the modern piano. Each example is available on the book's companion website and is given three recordings: the first, a modern interpretation of the passage on a modern piano; the second, a fortepiano interpretation; and the third, a historically informed performance on a modern piano. With its in-depth yet succinct explanations and examples of the Viennese five-octave fortepiano and the nuances of Classical interpretation and ornamentation, Discoveries from the Fortepiano is an indispensable educational aid to any pianist who seeks an academically and artistically sound approach to the performance of Classical works.

The Russian school of violin playing produced many of the twentieth century's leading violinists - from the famed disciples of Leopold Auer such as Jascha Heifetz, Nathan Milstein, and Mischa Elman to masters of the Soviet years such as David Oistrakh and Leonid Kogan. Though descendants of this school of playing are found today in every major orchestra and university, little is known about the pedagogical traditions of the Russian, and later Soviet, violin school. Following the revolution of 1917, the center of Russian violin playing and teaching shifted from St. Petersburg to Moscow, where violinists such as Lev Tseitlin, Konstantin Mostras, and Abraham Yampolsky established an influential pedagogical tradition. Founded on principles of scientific inquiry and physiology, this tradition became known as the Soviet Violin School, a component of the larger Russian Violin School. Yuri Yankelevich (1909 - 1973), a student and assistant of Abraham Yampolsky, was greatly influenced by the teachers of the Soviet School and in turn he became one of the most important pedagogues of his generation. Yankelevich taught at the Moscow Conservatory from 1936 to 1973 and produced a remarkable array of superb violinists, including forty prizewinners in international competitions. Extremely interested in the methodology of violin playing and teaching, Yankelevich contributed significant texts to the pedagogical literature. Despite its importance, Yankelevich's scholarly work has been little known outside of Russia. This book includes two original texts by Yankelevich: his essay on positioning the hands and arms and his extensive research into every detail of shifting positions. Additional essays and commentaries by those close to him examine further details of his pedagogy, including tone production, intonation, vibrato, fingerings and bowings, and his general approach to methodology and selecting repertoire. An invaluable resource for any professional violinist, Yankelevich's work reveals an extremely sophisticated approach to understanding the interconnectivity of all components in playing the violin and is complete with detailed practical suggestions and broad historical context.

In The Positive Pianist: How Flow Can Bring Passion to Practice and Performance, author Thomas J. Parente applies the concept of flow to the practice of piano playing, demonstrating how student musicians can experience enjoyment and confidence from succeeding at something that challenges them to an engaging level. By using Mihaly Csikszentmihalyi's theory of flow to musical performance, Parente shows that linking productivity and enjoyment in piano playing has a positive impact on students, motivating them to practice more in order to experience flow again; this creates optimal learning conditions for piano practicing. As the chapters progress, Parente shows students how to evaluate their own progress and offers teachers the tools to impart on their students an optimal practice method: one informed by flow. Parente argues for an objective, goal-oriented backdrop that will lead piano students to achieve greater confidence, accuracy, and musicality. The Positive Pianist draws on the author's forty years of teaching experience and research to show piano students and their teachers how to develop a productive, focused mental state when practicing the piano.

Written for the cellist looking for an approach that demystifies cello playing, Cello, Bow and You is an innovative text in the field of string pedagogy written by a 40+ year veteran of the New York Philharmonic Orchestra and certified teacher of the Alexander Technique. Author Evangeline Benedetti has a unique voice and approach, and invites cellists of all levels to explore, make discoveries and organically internalize technique. Benedetti's approach compliments the work that students do with their teachers by encouraging them to be more aware of themselves and responsive to internal and external guidance. The book is organized as its playful title implies. In the Cello and Bow sections, Benedetti explores the natural physical and mechanical properties of the instrument and bow, the laws of movement, the influence of gravity, and the dynamic interaction between them. The "You," or the one who plays, is explored from the point of view of the player's musical conception, anatomy, and principles of movement based on the Alexander Technique and bio-mechanics. Cello, Bow and You allows students and professionals access to Benedetti's vast performance and teaching experience. She has pioneered an approach to playing that is a synthesis of the cellist's musical thought, the knowledge of the dynamic properties of the instrument and bow, and the ability to move effectively according to the mechanics of the human body. The synergy of these elements leads to physically healthy playing and frees players to be musically expressive. Written in engaging, informal prose, the book is a must-read for cellists and cello teachers - beginning, intermediate, or professional.

Young pianists pursuing a professional career face a barrage of questions, choices, and challenges. In this book, experienced teacher and performer Stewart Gordon offers a new and practical way to approach them by helping readers to plan strategically and build a secure and successful career from the ground up. For decades, Gordon has guided young pianists through the details of how to prepare musically, navigate their college years, and forge a career that will provide a livelihood. In this guide to beginning that musical career, Gordon has assembled the wisdom of decades of teaching: a fundamental body of information emerging pianists will rely on as they work toward their goals. His advice, focused on both mental and practical work, will enhance both motivation and security. Carefully balancing aspiration with reality and inspiration with organization, Gordon creates a blueprint for transforming dreams into achievement, and illustrates his points with examples drawn from the lives of famous musicians. The book also addresses many practical matters, such as developing keyboard technique, acquiring reading and memorizing skills, building repertoire, and balancing the demands of being a musician with living a full life. This volume is a valuable resource for both young pianists and their parents.

Philip J. Lang, Jonathan Tunick - are names well known to musical theatre fans, but few people understand precisely what the orchestrator does. The Sound of Broadway Music is the first book ever written about these unsung stars of the Broadway musical whose work is so vital to each show's success. The book examines the careers of Broadway's major orchestrators and follows the song as it travels from the composer's piano to the orchestra pit. Steven Suskin has meticulously tracked down thousands of original orchestral scores, piecing together enigmatic notes and notations with long-forgotten documents and current interviews with dozens of composers, producers, conductors and arrangers. The information is separated into three main parts: a biographical section which gives a sense of the life and world of twelve major theatre orchestrators, as well as incorporating briefer sections on another thirty arrangers and conductors; a lively discussion of the art of orchestration, written for musical theatre enthusiasts (including those who do not read music); a biographical section which gives a sense of the life and world of twelve major theatre orchestrators, as well as incorporating briefer sections on another thirty arrangers and conductors; and an impressive show-by-show listing of more than six hundred musicals, in many cases including a song-by-song listing of precisely who orchestrated what along with relevant comments from people involved with the productions. Stocked with intriguing facts and juicy anecdotes, many of which have never before appeared in print, The Sound of Broadway Music brings fascinating and often surprising new insight into the world of musical theatre.

THE NEW YORK TIMES BESTSELLER 'A virtuosic memoir . . . elegant, frank and well-structured, that entirely resists cliche . . . The concert pianist's account of striving for musical mastery sits alongside a stirring coming of age narrative . . . readable for both diehard classical music fans and complete newcomers alike . . . A rare feat.' The Guardian A uniquely illuminating memoir of the making of a musician, in which renowned pianist Jeremy Denk explores what he learned from his teachers about classical music: its forms, its power, its meaning - and what it can teach us about ourselves. In this searching and funny memoir, based on his popular New Yorker article, renowned pianist Jeremy Denk traces an implausible journey. Life is difficult enough as a precocious, temperamental, and insufferable six-year-old piano prodigy in New Jersey. But then a family meltdown forces a move to New Mexico, far from classical music's nerve centers, and he has to please a new taskmaster while navigating cacti, and the perils of junior high school. Escaping from New Mexico at last, he meets a bewildering cast of college music teachers, ranging from boring to profound, and experiences a series of humiliations and triumphs, to find his way as one of the world's greatest living pianists, a MacArthur 'Genius,' and a frequent performer at Carnegie Hall. There are few writers working today who are willing to eloquently explore both the joys and miseries of artistic practice. Hours of daily repetition, mystifying early advice, pressure from parents and teachers who drove him on - an ongoing battle of talent against two enemies: boredom and insecurity. As we meet various teachers, with cruel and kind streaks, Denk composes a fraught love letter to the act of teaching. He brings you behind the scenes, to look at what motivates both student and teacher, locked in a complicated and psychologically perilous relationship. In Every Good Boy Does Fine, Denk explores how classical music is relevant to 'real life,' despite its distance in time. He dives into pieces and composers that have shaped him - Bach, Mozart, Schubert, and Brahms, among others - and gives unusual lessons on melody, harmony, and rhythm. Why and how do these fundamental elements have such a visceral effect on us? He tries to sum up many of the lessons he has received, to repay the debt of all his amazing teachers; to remind us that music is our creation, and that we need to keep asking questions about its purpose. 'Denk . . . has written a book that shows what it's like to be a pianist, but also what it's like to be Jeremy Denk. As if that were not enough, it is also about the elements of music, and beyond that an account of the ways in which music and life mirror each other. It is a book like none other . . . Denk weaves invisible threads connecting life and art into something very close to musical form.' Simon Callow, The New York Review of Books

Claudio Arrau (1903-1991) was a Chilean pianist who devoted his life to an international performing and teaching career. As a child prodigy, he gained national recognition from government officials in Chile, including President Pedro Montt, who later funded Arrau's education in Germany. He completed his studies in Berlin with Martin Krause, a pupil of Franz Liszt, and later immigrated to New York City, where he began his teaching career and mentored a sizeable group of pupils. His unique and magnetic style impassioned his pupils and motivated them to teach his principles to the next generation of students, including author Victoria von Arx. Piano Lessons with Claudio Arrau highlights interviews with Arrau's surviving pupils (from his class in New York City, which he taught from 1945 to the early 1970s) that give readers an in-depth description of Arrau's principles of technique and performance. Quotations and lesson transcripts make Arrau's voice - and those of his former pupils - audible, and detailed references to over one hundred examples from filmed recordings make his famed technique visible. The bulk of the book features edited and previously-unpublished transcriptions of lessons Arrau gave his pupils, lavishly illustrated with musical examples. The author, herself a teacher and performer, draws information from numerous interviews with Arrau's pupils, from her experience studying with two of them, from videos of Arrau's performances, and from the recorded lessons. By culling these disparate sources of information and presenting them systematically in a single book, von Arx provides an insider's view of the art of piano playing as exemplified by one of the great artists of the twentieth century and offers the reader a virtual piano lesson with Claudio Arrau.

In The Score, The Orchestra, and the Conductor, internationally-renowned conducting instructor Gustav Meier presents his practical approach to preparing an orchestral score for rehearsal and performance. Well-illustrated with numerous music examples, charts, figures, and tables, Meier's methods, grounded in the rich body of his collected experience as a music director and teacher of conducting students, are explained in great detail. Meier covers all aspects of conducting from experimenting without the orchestra to creating signals that produce the desired sound. The methods he describes offer specific and readily applicable advice for virtually every musical and technical decision that occurs in the important phase between when a conductor first decides upon a specific score and the first rehearsal with an orchestra. And from ear training to working with musicians to programming, he also offers his expertise on the day-to-day aspects of conducting and musical performance. The Score, The Orchestra, and the Conductor will be an indispensable and often-read contribution to the library of every music director and conducting student.

Sound Innovations for Concert Band is a revolutionary new method that combines time-tested educational concepts, input from thousands of teachers, and advances in modern technology. Using solid pedagogy that follows state and national music education standards, the methods can be customized by teachers to use their own experiences in creating the best approach for their unique classroom. Sound Innovations is available in two versions: Standard Edition and the custom Director's Choice Edition. Visit www.alfred.com/soundinnovations for more information. This title is available in SmartMusic.

Electronic music evokes new sensations, feelings, and thoughts in both composers and listeners. Opening the door to an unlimited universe of sound, it engages spatialization as an integral aspect of composition and focuses on sound transformation as a core structural strategy. In this new domain, pitch occurs as a flowing and ephemeral substance that can be bent, modulated, or dissolved into noise. Similarly, time occurs not merely as a fixed duration subdivided by ratios, but as a plastic medium that can be generated, modulated, reversed, warped, scrambled, and granulated. Envelope and waveform undulations on all time scales interweave to generate form. The power of algorithmic methods amplify the capabilities of music technology. Taken together, these constitute game-changing possibilities. This convergence of technical and aesthetic trends prompts the need for a new text focused on the opportunities of a sound oriented, multiscale approach to composition of electronic music. Sound oriented means a practice that takes place in the presence of sound. Multiscale means an approach that takes into account the perceptual and physical reality of multiple, interacting time scales-each of which can be composed. After more than a century of research and development, now is an appropriate moment to step back and reevaluate all that has changed under the ground of artistic practice. Composing Electronic Music outlines a new theory of composition based on the toolkit of electronic music techniques. The theory consists of a framework of concepts and a vocabulary of terms describing musical materials, their transformation, and their organization. Central to this discourse is the notion of narrative structure in composition-how sounds are born, interact, transform, and die. It presents a guidebook: a tour of facts, history, commentary, opinions, and pointers to interesting ideas and new possibilities to consider and explore.

Keith Jarrett ranks among the most accomplished and influential pianists in jazz history. His TheKoln Concert stands among the most important jazz recordings of the past four decades, not only because of the music on the record, but also because of the remarkable reception it has received from musicians and lay-listeners alike. Since the album's 1975 release, it has sold over three million copies: a remarkable achievement for any jazz record, but an unprecedented feat for a two-disc set of solo piano performances featuring no well-known songs.
In Keith Jarrett's The Koln Concert, author Peter Elsdon seeks to uncover what it is about this recording, about Keith Jarrett's performance, that elicits such success. Recognizing The Koln Concert as a multi-faceted text, Elsdon engages with it musically, culturally, aesthetically, and historically in order to understand the concert and album as a means through which Jarrett articulated his own cultural and musical outlook, and establish himself as a serious artist. Through these explorations of the concert as text, of the recording and of the live performance, Keith Jarrett's The Koln Concert fills a major hole in jazz scholarship, and is essential reading for jazz scholars and musicians alike, as well as Keith Jarrett's many fans."

Over the last century, developments in electronic music and art have enabled new possibilities for creating audio and audio-visual artworks. With this new potential has come the possibility for representing subjective internal conscious states, such as the experience of hallucinations, using digital technology. Combined with immersive technologies such as virtual reality goggles and high-quality loudspeakers, the potential for accurate simulations of conscious encounters such as Altered States of Consciousness (ASCs) is rapidly advancing. In Inner Sound, author Jonathan Weinel traverses the creative influence of ASCs, from Amazonian chicha festivals to the synaesthetic assaults of neon raves; and from an immersive outdoor electroacoustic performance on an Athenian hilltop to a mushroom trip on a tropical island in virtual reality. Beginning with a discussion of consciousness, the book explores how our subjective realities may change during states of dream, psychedelic experience, meditation, and trance. Taking a broad view across a wide range of genres, Inner Sound draws connections between shamanic art and music, and the modern technoshamanism of psychedelic rock, electronic dance music, and electroacoustic music. Going beyond the sonic into the visual, the book also examines the role of altered states in film, visual music, VJ performances, interactive video games, and virtual reality applications. Through the analysis of these examples, Weinel uncovers common mechanisms, and ultimately proposes a conceptual model for Altered States of Consciousness Simulations (ASCSs). This theoretical model describes how sound can be used to simulate various subjective states of consciousness from a first-person perspective, in an interactive context. Throughout the book, the ethical issues regarding altered states of consciousness in electronic music and audio-visual media are also examined, ultimately allowing the reader not only to consider the design of ASCSs, but also the implications of their use for digital society.

A slight condensation of Hanon's first exercises. The simplification in layout and range make the exercises appear less difficult to a young student.