|
Books > Music > Theory of music & musicology
The one and only Zadie Smith, prize-winning, bestselling author of Swing Time and White Teeth, is back with a second unmissable collection of essays.
No subject is too fringe or too mainstream for Zadie Smith's insatiable curiosity. From social media to the environment, from Jay-Z to Karl Ove Knausgaard, she has endless enthusiasmand the boundless wit, insight and wisdom to match. In Feel Free, pop culture, high culture, social change and political debate all get the Zadie Smith treatment, dissected with razor-sharp intellect, set brilliantly against the context of the utterly contemporary, and considered with a deep humanity and compassion.
This electrifying new collection showcases its author as a true literary powerhouse, demonstrating once again her credentials as an essential voice of her generation.
Discovering Music Theory is a suite of workbooks and corresponding
answer books that offers all-round preparation for the updated
ABRSM Music Theory exams from 2020, including the new online
papers. This full-colour workbook will equip students of all ages
with the skills, knowledge and understanding required for the ABRSM
Grade 2 Music Theory exam. Written to make theory engaging and
relevant to developing musicians of all ages, it offers: -
straightforward explanations of all new concepts - progressive
exercises to build skills and understanding, step by step -
challenge questions to extend learning and develop music-writing
skills - helpful tips for how to approach specific exercises -
ideas for linking theory to music listening, performing and
instrumental/singing lessons - clear signposting and progress
reviews throughout - a sample practice exam paper showing you what
to expect in the new style of exams from 2020 As well as fully
supporting the ABRSM theory syllabus, Discovering Music Theory
provides an excellent resource for anyone wishing to develop their
music literacy skills, including GCSE and A-Level candidates, and
adult learners.
Provides material for homework assignments, classroom
demonstrations and periodic reviews. A generous assortment of
excerpts from the literature for assignments in analysis. Volume I
corresponds with the first half of the text.
Video games open portals into fantastical worlds where imaginative
play prevails. The virtual medium seemingly provides us with ample
opportunities to behave and act out with relative safety and
impunity. Or does it? Sound Play explores the aesthetic, ethical,
and sociopolitical stakes of our engagements with gaming's audio
phenomena-from sonic violence to synthesized operas, from
democratic music-making to vocal sexual harassment. Author William
Cheng shows how the simulated environments of games empower
designers, composers, players, and scholars to test and tinker with
music, noise, speech, and silence in ways that might not be prudent
or possible in the real world. In negotiating utopian and alarmist
stereotypes of video games, Sound Play synthesizes insights from
across musicology, sociology, anthropology, communications,
literary theory, and philosophy. With case studies that span Final
Fantasy VI, Silent Hill, Fallout 3, The Lord of the Rings Online,
and Team Fortress 2, this book insists that what we do in there-in
the safe, sound spaces of games-can ultimately teach us a great
deal about who we are and what we value (musically, culturally,
humanly) out here.
This book introduces a theory of music analysis that one can use to
explore aspects of segmentation and associative organization in a
wide range of repertoire including Western classical music from the
Baroque to the present, with potential applications to jazz and
popular music, and some non-Western musics. Rather than a
methodology, the theory provides analysts with precise language and
a broad, flexible conceptual framework through which they can
formulate and investigate questions of interest and develop their
own interpretations of individual pieces and passages. The theory
begins with a basic distinction among three domains of musical
experience and discourse about it: the sonic (psychoacoustic); the
contextual (or associative, sparked by varying degrees of
repetition); and the structural (guided by a specific theory of
musical structure or syntax invoked by the analyst). A
comprehensive presentation of the theory, with copious musical
illustrations, is balanced with close analyses of works by
Beethoven, Debussy, Nancarrow, Riley, Feldman, and Morris. Dora A.
Hanninen is associate professor of music theory at the University
of Maryland. She received the 2010 Outstanding Publication Award
from the Society for Music Theory.
The Oxford Handbook of Children's Musical Cultures is a compendium
of perspectives on children and their musical engagements as
singers, dancers, players, and avid listeners. Over the course of
35 chapters, contributors from around the world provide an
interdisciplinary enquiry into the musical lives of children in a
variety of cultures, and their role as both preservers and
innovators of music. Drawing on a wide array of fields from
ethnomusicology and folklore to education and developmental
psychology, the chapters presented in this handbook provide windows
into the musical enculturation, education, and training of
children, and the ways in which they learn, express, invent, and
preserve music. Offering an understanding of the nature,
structures, and styles of music preferred and used by children from
toddlerhood through childhood and into adolescence, The Oxford
Handbook of Children's Musical Cultures is an important step
forward in the study of children and music.
Topics are musical signs developed and employed primarily during
the long eighteenth century. Their significance relies on
associations that are clearly recognizable to the listener with
different genres, styles and types of music making. Topic theory,
which is used to explain conventional subjects of musical
composition in this period, is grounded in eighteenth-century music
theory, aesthetics, and criticism, while drawing also from music
cognition and semiotics. The concept of topics was introduced into
by Leonard Ratner in the 1980s to account for cross-references
between eighteenth-century styles and genres. As the invention of a
twentieth-century academic, topic theory as a field is
comparatively new, and The Oxford Handbook of Topic Theory provides
a much-needed reconstruction of the field's aesthetic
underpinnings.
The volume grounds the concept of topics in eighteenth-century
music theory, aesthetics, and criticism. Documenting the historical
reality of individual topics on the basis of eighteenth-century
sources, it traces the origins of topical mixtures to
transformations of eighteenth-century musical life, and relates
topical analysis to other methods of music analysis conducted from
the perspectives of composers, performers, and listeners. Focusing
its scope on eighteenth-century musical repertoire, The Oxford
Handbook of Topic Theory lays the foundation for further
investigation of topics in music of the nineteenth, twentieth, and
twenty-first centuries.
In this groundbreaking book, acclaimed film music author Kevin
Donnelly offers the first sustained theorization of synchronization
in sound film. Donnelly addresses the manner in which the lock of
the audio and the visual exerts a perceptible synergy, an aesthetic
he dubs occult: a secret and esoteric effect that can dissipate in
the face of an awareness of its existence. Drawing upon theories of
sound from Sergei Eisenstein to Pierre Schaeffer to Michel Chion,
the book investigates points of synchronization as something like
repose, providing moments of comfort in a potentially threatening
environment that can be fraught with sound and image stimuli.
Correspondingly, lack of synchrony between sound and images is
characterized as potentially disturbing for the viewer, a
discomfort that signals moments of danger. From this perspective,
the interplay between the two becomes the central dynamic of
audio-visual culture more generally, which, as Donnelly argues,
provides a starting point for a new understanding of audio/visual
interactions. This fresh approach to the topic is discussed in
theoretical and historical terms as well as elaborated through
analysis of and reference to a broad selection of films and their
soundtracks including, among others, Singin' in the Rain, Saw,
Shanghai Express, and Assault on Precinct 13.
Discovering Music Theory is a suite of workbooks and corresponding
answer books that offers all-round preparation for the updated
ABRSM Music Theory exams from 2020, including the new online
papers. This full-colour workbook will equip students of all ages
with the skills, knowledge and understanding required for the ABRSM
Grade 3 Music Theory exam. Written to make theory engaging and
relevant to developing musicians of all ages, it offers: -
straightforward explanations of all new concepts - progressive
exercises to build skills and understanding, step by step -
challenge questions to extend learning and develop music-writing
skills - helpful tips for how to approach specific exercises -
ideas for linking theory to music listening, performing and
instrumental/singing lessons - clear signposting and progress
reviews throughout - a sample practice exam paper showing you what
to expect in the new style of exams from 2020 As well as fully
supporting the ABRSM theory syllabus, Discovering Music Theory
provides an excellent resource for anyone wishing to develop their
music literacy skills, including GCSE and A-Level candidates, and
adult learners.
How does the immediate experience of musical sound relate to
processes of meaning construction and discursive mediation?
This question lies at the heart of the studies presented in
Experience and Meaning in Music Performance, a unique
multi-authored work that both draws on and contributes to current
debates in a wide range of disciplines, including ethnomusicology,
musicology, psychology, and cognitive science. Addressing a wide
range of musical practices from Indian raga and Afro-Brazilian
Congado rituals to jazz, rock, and Canadian aboriginal fiddling,
the coherence of this study is underpinned by its three main
themes: experience, meaning, and performance. Central to all of the
studies are moments of performance: those junctures when sound and
meaning are actually produced. Experience-what people do, and what
they feel, while engaging in music-is equally important. And
considered alongside these is meaning: what people put into a
performance, what they (and others) get out of it, and, more
broadly, how discourses shape performances and experiences of
music. In tracing trajectories from moments of musical execution,
this volume a novel and productive view of how cultural practice
relates to the experience and meaning of musical performance.
A model of interdisciplinary study, and including access to an
array of audio-visual materials available on an extensive companion
website, Experience and Meaning in Music Performance is essential
reading for scholars and students of ethnomusicology and music
psychology.
This book puts sampling studies on the academic map by focusing on
sampling as a logic of exchange between audio-visual media. While
some recent scholarship has addressed sampling primarily in
relation to copyright, this book is a first: a critical study of
sampling and remixing across audio-visual media. Of special
interest here are works that bring together both audio and visual
sampling: music that samples film and television; underground dance
and multimedia scenes that rely on sampling; Internet "memes" that
repurpose music videos, trailers and news broadcasts; films and
videos that incorporate a wide range of sampling aesthetics; and
other provocative variations. Comprised of four sections titled
"roots," "scenes," "cinema" and "web" this collection digs deep
into and across sampling practices that intervene in popular
culture from unconventional or subversive perspectives. To this
end, Sampling Media extends the conceptual boundaries of sampling
by emphasizing its inter-medial dimensions, exploring the politics
of sampling practice beyond copyright law, and examining its more
marginal applications. It likewise puts into conversation
compelling instances of sampling from a wide variety of historical
and contemporary, global and local contexts.
Music is one of the most distinctive cultural characteristics of
Latin American countries. But, while many people in the United
States and Europe are familiar with musical genres such as salsa,
merengue, and reggaeton, the musical manifestations that young
people listen to in most Latin American countries are much more
varied than these commercially successful ones that have entered
the American and European markets. Not only that, the young people
themselves often have little in common with the stereotypical image
of them that exists in the American imagination.
Bridging this divide between perception and reality, Music and
Youth Culture in Latin America brings together contributors from
throughout Latin America and the US to examine the ways in which
music is used to advance identity claims in several Latin American
countries and among Latinos in the US. From young Latin American
musicians who want to participate in the vibrant jazz scene of New
York without losing their cultural roots, to Peruvian rockers who
sing in their native language (Quechua) for the same reasons, to
the young Cubans who use music to construct a post-communist social
identification, this volume sheds new light on the complex ways in
which music provides people from different countries and social
sectors with both enjoyment and tools for understanding who they
are in terms of nationality, region, race, ethnicity, class,
gender, and migration status. Drawing on a vast array of fields
including popular music studies, ethnomusicology, sociology, and
history, Music and Youth Culture in Latin America is an
illuminating read for anyone interested in Latin American music,
culture, and society."
This book explores an album of popular music with a remarkable
significance to a violent wave of postcolonial tensions in the
Netherlands in the 1970s. Several "actions" were claimed by a small
number of first-generation descendants of ca. 12,500 reluctant
migrants from the young independent state of Indonesia (former
Dutch East Indies). Transferred in 1951, this culturally coherent
group consisted of ex-Royal Dutch Colonial Army personnel and their
families. Their ancient roots in the Moluccan archipelago and their
protestant-christian faith defined their minority image. Their
sojourn should have been temporary, but frustratingly turned out to
be permanent. At the height of strained relations, Massada rose to
the occasion. Astaganaga (1978) is a telling example of the will to
negotiate a different diasporic Moluccan identity through uplifting
contemporary sounds.
Discovering Music Theory is a suite of workbooks and corresponding
answer books that offers all-round preparation for the updated
ABRSM Music Theory exams from 2020, including the new online
papers. This full-colour workbook will equip students of all ages
with the skills, knowledge and understanding required for the ABRSM
Grade 1 Music Theory exam. Written to make theory engaging and
relevant to developing musicians of all ages, it offers: -
straightforward explanations of all new concepts - progressive
exercises to build skills and understanding, step by step -
challenge questions to extend learning and develop music-writing
skills - helpful tips for how to approach specific exercises -
ideas for linking theory to music listening, performing and
instrumental/singing lessons - clear signposting and progress
reviews throughout - a sample practice exam paper showing you what
to expect in the new style of exams from 2020 As well as fully
supporting the ABRSM theory syllabus, Discovering Music Theory
provides an excellent resource for anyone wishing to develop their
music literacy skills, including GCSE and A-Level candidates, and
adult learners.
Discovering Music Theory is a suite of workbooks and corresponding
answer books that offers all-round preparation for the updated
ABRSM Music Theory exams from 2020, including the new online
papers. This full-colour workbook will equip students of all ages
with the skills, knowledge and understanding required for the ABRSM
Grade 5 Music Theory exam. Written to make theory engaging and
relevant to developing musicians of all ages, it offers: -
straightforward explanations of all new concepts - progressive
exercises to build skills and understanding, step by step -
challenge questions to extend learning and develop music-writing
skills - helpful tips for how to approach specific exercises -
ideas for linking theory to music listening, performing and
instrumental/singing lessons - clear signposting and progress
reviews throughout - a sample practice exam paper showing you what
to expect in the new style of exams from 2020 As well as fully
supporting the ABRSM theory syllabus, Discovering Music Theory
provides an excellent resource for anyone wishing to develop their
music literacy skills, including GCSE and A-Level candidates, and
adult learners.
Discovering Music Theory is a suite of workbooks and corresponding
answer books that offers all-round preparation for the updated
ABRSM Music Theory exams from 2020, including the new online
papers. This full-colour workbook will equip students of all ages
with the skills, knowledge and understanding required for the ABRSM
Grade 4 Music Theory exam. Written to make theory engaging and
relevant to developing musicians of all ages, it offers: -
straightforward explanations of all new concepts - progressive
exercises to build skills and understanding, step by step -
challenge questions to extend learning and develop music-writing
skills - helpful tips for how to approach specific exercises -
ideas for linking theory to music listening, performing and
instrumental/singing lessons - clear signposting and progress
reviews throughout - a sample practice exam paper showing you what
to expect in the new style of exams from 2020 As well as fully
supporting the ABRSM theory syllabus, Discovering Music Theory
provides an excellent resource for anyone wishing to develop their
music literacy skills, including GCSE and A-Level candidates, and
adult learners.
This is the updated and substantially expanded second edition of
Christopher Ballantine's classic Marabi Nights, which offers a
fascinating view of the triumphs and tragedies of South Africa's
marabi-jazz tradition. Based on conversations with legendary
figures in the world of music - as well as a perceptive reading of
music, the socio-political history, and social meanings - this book
is one of sensitive and impassioned curatorship. New chapters
extend the book's in-depth account of the birth and development of
South African urban-black popular music. They include a powerful
story about gender relations and music in the context of forced
migrant labor in the 1950s, a critical study of the legendary
Manhattan Brothers that uniquely positions their music and words in
relation to the apartheid system, and an account of the musical,
political, and commercial strategies of the local record industry.
A new afterword looks critically at the place of jazz and popular
music in South Africa since the end of apartheid, and argues for
the continued relevance of the robust, questioning spirit of the
marabi tradition. The book includes an illustrative CD of historic
sound recordings that the author has unearthed and saved from
oblivion.
The Look of Jazz "David's photographs perfectly illustrate the
passion, creativity and commitment of these musicians, and distil
the atmosphere of live jazz in dazzling detail." Helen Mayhew, Jazz
Broadcaster The Look of Jazz is a collection of 90 photographs of
musicians taken by photographer and musician David Harvey. The book
includes exclusive interviews with 24 of the featured musicians in
which they talk about their own stories, inspirations and views on
jazz. The portraits include a cross section of musicians, several
of whom are variously club owners, educators, journalists and
contribute in different ways to the continuing development of the
jazz scene. Among the American and European artists featured are
Jerry Bergonzi, Kirk Lightsey, Don Weller, Emilia Martensson,
Gareth Lockrane, Julian Siegel, Tristan Mailliot and Nikki Iles
alongside other leading figures on the jazz scene. "I have also
included some less well-known but amazing players in recognition of
their contribution to the jazz tradition," says David. The Look of
Jazz includes portraits from two exhibitions of David Harvey's
work, In the Moment and One More Time... Journalist, broadcaster
and musician Jay Rayner called the first of these "a very lovely
exhibition of terrific photographs of jazz musicians."
|
|