I've long known that musicians understand copyright law as little as copyright lawyers understand music, but this book shows brilliantly that such mutual ignorance is deeply rooted in historical, philosophical and practical arguments about music making. In persuading both musicologists and legal theorists to address issues of authorship, creativity, property and performance, Andreas Rahmatian has put together a collection that is essential reading for anyone concerned with the uneasy relationship of music and law. This is a sophisticated, instructive and stimulating book.' - Simon Frith, University of Edinburgh, UK'Rahmatian's edited collection in ''Concepts of Music and Copyright' is provoking and revelatory. It is an elegant colloquy between four musicologists and four lawyers. The resultant discourse reveals a rich seam of amazing stories and judicial decisions on authorship, creativity and the law in the sphere of musical composition and performance. The book is not only for music scholars and copyright lawyers, but is ideal for any scholar who professes to enjoy socio-legal philosophy, music lore, or the history of ideas. Needless to add, it is a must-have for copyright judges.' - Uma Suthersanen, University of London, UK 'This collection considers the blurred lines between copyright law and music - from early musicology to the Golden Age of MTV and the rise of YouTube and mash-ups. It explores key concepts such as copyright works, subject matter, authorship, originality, copyright infringement, safe harbours, and takedown notices. This collection also examines the clash between legal theories of music, and perceptions of copyright law in musical communities.' - Matthew Rimmer, Queensland University of Technology (QUT), Australia Copyright specialists have often focused on the exploitation of copyright of music and on infringement, but not on the question of how copyright conceptualises music. This highly topical volume brings together specialists in music, musicology and copyright law, providing a genuinely interdisciplinary research approach. It compares and contrasts the concepts of copyright law with those of music and musical performance. Several tensions emerge between the ideas of music as a living art and of the musical work as a basis for copyright protection. The expert contributors discuss the notions of the musical work, performance, originality, authorship in music and in copyright, and co-ownership from the disciplinary perspectives of music, musicology and copyright law. The book also examines the role of the Musicians' Union in the evolution of performers' rights in UK copyright law, and, in an empirical study, the transaction costs theory for notice-and-takedown regimes in relation to songs uploaded on YouTube. This unique study offers an interdisciplinary perspective for academics, policymakers and legal practitioners seeking a state-of-the-art understanding of music and copyright law. Contributors: J. Butt, M. Parker Dixon, A. Firth, P.J. Heald, B. Heile, A. Rahmatian, C. Waelde, J. Williamson

Contents:
Introduction. Kate Van Orden
Printing the 'New Music'. Tim Carter
Elite Books, Popular Readers, and the Curious Hundred Year History of the Liber Usualis. Katherine Bergeron
Public Music in Private Spaces: Piano-Vocal Scores and the Domestication of Opera. Thomas Christensen
Alban Berg Remembers Emil Hertzka: Composer and Publisher Between Real and Ideal. Robert Holzer
Orlando di Lasso, Composer and Print Entrepreneur. James Haar
Authors and Anonyms: Recovering the Anonymous Subject in Cinquecento Vernacular Objects. Martha Feldman
Enterprise and Identity: Black Music, Theater, and Print Culture in Turn-of-the-Century Chicago. Thomas Bauman
Bénigne de Bacilly and the Recueil des plus beaux vers, qui ont esté mis en chant of 1661. Lisa Perella
Cheap Print and Street Songs Following the Vespres Lyonnaise. Kate Van Orden
Afterword. Roger Chartier

In the summer of 1978, the B-52's conquered the New York underground. A year later, the band's self-titled debut album burst onto the Billboard charts, capturing the imagination of fans and music critics worldwide. The fact that the group had formed in the sleepy southern college town of Athens, Georgia, only increased the fascination. Soon, more Athens bands followed the B-52's into the vanguard of the new American music that would come to be known as "alternative," including R.E.M., who catapulted over the course of the 1980s to the top of the musical mainstream. As acts like the B-52's, R.E.M., and Pylon drew the eyes of New York tastemakers southward, they discovered in Athens an unexpected mecca of music, experimental art, DIY spirit, and progressive politics--a creative underground as vibrant as any to be found in the country's major cities. In Athens in the eighties, if you were young and willing to live without much money, anything seemed possible. Cool Town reveals the passion, vitality, and enduring significance of a bohemian scene that became a model for others to follow. Grace Elizabeth Hale experienced the Athens scene as a student, small-business owner, and band member. Blending personal recollection with a historian's eye, she reconstructs the networks of bands, artists, and friends that drew on the things at hand to make a new art of the possible, transforming American culture along the way. In a story full of music and brimming with hope, Hale shows how an unlikely cast of characters in an unlikely place made a surprising and beautiful new world.

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.

Few composers have responded as powerfully to place as Frederick Delius (1862-1934). Born in Yorkshire, Delius resided in the United States, Germany, and Scandinavia before settling in France, where he spent the majority of his professional career. This book examines the role of place in selected works, including 'On Hearing the First Cuckoo in Spring', Appalachia, and The Song of the High Hills, reading place as a creative and historically mediated category in his music. Drawing on archival sources, contemporary art, and literature, and more recent writing in cultural geography and the philosophy of place, this is a new interpretation of Delius' work, and he emerges as one of the most original and compelling voices in early twentieth-century music. As the popularity of his music grows, this book challenges the idea of Delius as a large-scale rhapsodic composer, and reveals a richer and more productive relationship between place and music.

This thematic examination of Britten's operas focuses on the way that ideology is presented on stage. To watch or listen is to engage with a vivid artistic testament to the ideological world of mid-twentieth-century Britain. But it is more than that, too, because in many ways Britten's operas continue to proffer a diagnosis of certain unresolved problems in our own time. Only rarely, as in Peter Grimes, which shows the violence inherent in all forms of social and psychological identification, does Britten unmistakably call into question fundamental precepts of his contemporary ideology. This has not, however, prevented some writers from romanticizing Britten as a quiet revolutionary. This book argues, in contrast, that his operas, and some interpretations of them, have obscured a greater social and philosophical complicity that it is timely - if at the same time uncomfortable - for his early twenty-first-century audiences to address.

This book discusses the myriad ways in which Beethoven begins his works and the structural, rhetorical, and emotional implications of these beginnings for listeners. Examining the opening moments of nearly 200 compositions, it offers a new method of analysis of Beethoven's music. At the same time, it sets Beethoven's work in context through a close study of beginnings in the compositions of the Classical Era.

See the film Hallelujah: Leonard Cohen, A Journey, A Song from Sony Pictures Classics This "thoughtful and illuminating" (The New York Times) work of music journalism is an unforgettable, fascinating, and unexpected account of one of the most performed and beloved songs in pop history-Leonard Cohen's heartrending "Hallelujah." Featuring a new foreword and afterword by the author. When Leonard Cohen first wrote and recorded the song "Hallelujah," it attracted little attention or airplay, dismissed by both fans and critics alike. Today, it is one of the most recorded songs in history, having been covered by a variety of music icons including Celine Dion, Bon Jovi, Willie Nelson, and, most famously, Jeff Buckley. It's been featured on soundtracks as diverse as Shrek to The West Wing. And in the days after major tragedies, it has brought comfort to thousands after being featured in the MTV 9/11 tribute video and the telethon for the 2010 Haitian earthquake. So how did one relatively unknown song become an unofficial international anthem for human triumph and tragedy, one which each successive generation feels they have discovered and claimed as uniquely their own? Through in-depth interviews and expansive research, longtime music journalist Alan Light follows the captivating and improbable journey of "Hallelujah" to the heart of popular culture. Discover how great songs come to be, and how we as listeners have the endless ability to project a succession of meanings onto a cultural artifact, forever reinterpreting art through the lens of current events and the latest trends. "A combination mystery tale, detective story, pop critique, and sacred psalm of its own" (Daily News, New York),The Holy or the Broken is a revelatory and masterful exploration of the overwhelming power of music.

Inventors in the age of the Enlightenment created lifelike androids capable of playing music on real instruments. Music and the Forms of Life examines the link between such simulated life and music, which began in the era's scientific literature and extended into a series of famous musical works by Haydn, Mozart, and Beethoven. Music invented auditory metaphors for the scientific elements of life (drive, pulse, sensibility, irritability, even metabolism), investigated the affinities and antagonisms between life and mechanism, and explored questions of whether and how mechanisms can come to life. The resulting changes in the conceptions of both life and music had wide cultural resonance at the time, and those concepts continued to evolve long after. A critical part of that evolution was a nineteenth-century shift in focus from moving androids to the projection of life in motion, culminating in the invention of cinema. Weaving together cultural and musical practices, Lawrence Kramer traces these developments through a collection of case studies ranging from classical symphonies to modernist projections of waltzing specters by Mahler and Ravel to a novel linking Bach's Goldberg Variations to the genetic code. The publisher gratefully acknowledges the generous support of the AMS 75 PAYS Fund of the American Musicological Society, supported in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

This book shows how information theory, probability, statistics, mathematics and personal computers can be applied to the exploration of numbers and proportions in music. It brings the methods of scientific and quantitative thinking to questions like: What are the ways of encoding a message in music and how can we be sure of the correct decoding? How do claims of names hidden in the notes of a score stand up to scientific analysis? How many ways are there of obtaining proportions and are they due to chance? After thoroughly exploring the ways of encoding information in music, the ambiguities of numerical alphabets and the words to be found "hidden" in a score, the book presents a novel way of exploring the proportions in a composition with a purpose-built computer program and gives example results from the application of the techniques. These include information theory, combinatorics, probability, hypothesis testing, Monte Carlo simulation and Bayesian networks, presented in an easily understandable form including their development from ancient history through the life and times of J. S. Bach, making connections between science, philosophy, art, architecture, particle physics, calculating machines and artificial intelligence. For the practitioner the book points out the pitfalls of various psychological fallacies and biases and includes succinct points of guidance for anyone involved in this type of research. This book will be useful to anyone who intends to use a scientific approach to the humanities, particularly music, and will appeal to anyone who is interested in the intersection between the arts and science.With a foreword by Ruth Tatlow (Uppsala University), award winning author of Bach's Numbers: Compositional Proportion and Significance and Bach and the Riddle of the Number Alphabet."With this study Alan Shepherd opens a much-needed examination of the wide range of mathematical claims that have been made about J. S. Bach's music, offering both tools and methodological cautions with the potential to help clarify old problems." Daniel R. Melamed, Professor of Music in Musicology, Indiana University

ABRSM's official Music Theory Practice Papers 2021 are essential resources for candidates preparing for our online Music Theory exams. They provide authentic practice material and are a reliable guide as to what to expect in the exam. - Essential practice material for ABRSM Grade 1 Theory exams - Model answers also available

Specifically designed to teach jazz basics to students with 1 or 2 years playing experience, but with no prior experience playing jazz. Great for individual or classroom use. Teaches the basics of swing style in a step-by-step approach using well-known songs. Improvisation is made easy starting with simple 2-measure phrases. Scales and basic theory are introduced in a simple and easy to understand approach. 2 CD's are included with recordings of all exercises and arrangements. Other features: 7 full band arrangements, sample solos, jazz history and people.

Taken together, these comprehensive volumes offer an authoritative account of the music of Africa. One of the most prominent experts on the subject, Gerhard Kubik draws on his extensive travels and three decades of study in many parts of the continent to compare and contrast a wealth of musical traditions from a range of cultures.

In the first volume, Kubik describes and examines xylophone playing in southern Uganda and harp music from the Central African Republic; compares multi-part singing from across the continent; and explores movement and sound in eastern Angola. And in the second volume, he turns to the cognitive study of African rhythm, Yoruba chantefables, the musical Kachamba family of Malaŵi, and African conceptions of space and time.
Each volume features an extensive number of photographs and is accompanied by a compact disc of Kubik's own recordings. Erudite and exhaustive, "Theory of African Music" will be an invaluable reference for years to come.

In recent years, a psychological perspective has gained increasing acceptance in the education provided to musicians: teachers, performers, and "creatives" alike. Research in music psychology has revealed how musicians acquire the ability to convey emotional intentions as sounded music, how listeners perceive it as feelings and moods, and how this powerful process relates to social and cultural dynamics. Of course, people who identify as musicians have special interest in these matters. A well-cited volume ever since its initial publication in 2007, Psychology for Musicians is now brought up-to-date in a second edition, particularly in expanding outside the exclusive context of Western formal/academic settings. This new edition draws on insights from recent research in music psychology, combining academic rigor with accessibility to offer readers research-supported ideas that they can readily apply in their musical activities.

First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.

Although music is known to be part of the great social movements that have rocked the world, its specific contribution to political struggle has rarely been closely analyzed. Is it truly the lifeblood of movements, as some have declared, or merely the entertainment between the speeches? Drawing on interviews, case studies, and musical and lyrical analysis, Rosenthal and Flacks offer a brilliant analysis and a wide-ranging look at the use of music in movements, in the U.S. and elsewhere, over the past hundred years. From their interviews, the voices of Pete Seeger, Ani DiFranco, Tom Morello, Holly Near, and many others enliven this highly readable book."a complex, theoretical analysis of music and social movements...Recommended." -CHOICE"

A new theory of musical analysis from an award-winning author, with six detailed analyses of works from Beethoven to today. 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, withpotential 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 presentationof 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 professor of music theory at the Universityof Maryland. She received the 2010 Outstanding Publication Award from the Society for Music Theory.

This book features original papers from 25th International Symposium on Frontiers of Research in Speech and Music (FRSM 2020), jointly organized by National Institute of Technology, Silchar, India, during 8-9 October 2020. The book is organized in five sections, considering both technological advancement and interdisciplinary nature of speech and music processing. The first section contains chapters covering the foundations of both vocal and instrumental music processing. The second section includes chapters related to computational techniques involved in the speech and music domain. A lot of research is being performed within the music information retrieval domain which is potentially interesting for most users of computers and the Internet. Therefore, the third section is dedicated to the chapters related to music information retrieval. The fourth section contains chapters on the brain signal analysis and human cognition or perception of speech and music. The final section consists of chapters on spoken language processing and applications of speech processing.

This book explores the fascinating and intimate relationship between music and physics. Over millennia, the playing of, and listening to music have stimulated creativity and curiosity in people all around the globe. Beginning with the basics, the authors first address the tonal systems of European-type music, comparing them with those of other, distant cultures. They analyze the physical principles of common musical instruments with emphasis on sound creation and particularly charisma. Modern research on the psychology of musical perception - the field known as psychoacoustics - is also described. The sound of orchestras in concert halls is discussed, and its psychoacoustic effects are explained. Finally, the authors touch upon the role of music for our mind and society. Throughout the book, interesting stories and anecdotes give insights into the musical activities of physicists and their interaction with composers and musicians.

The original edition of The Geometry of Musical Rhythm was the first book to provide a systematic and accessible computational geometric analysis of the musical rhythms of the world. It explained how the study of the mathematical properties of musical rhythm generates common mathematical problems that arise in a variety of seemingly disparate fields. The book also introduced the distance approach to phylogenetic analysis and illustrated its application to the study of musical rhythm. The new edition retains all of this, while also adding 100 pages, 93 figures, 225 new references, and six new chapters covering topics such as meter and metric complexity, rhythmic grouping, expressive timbre and timing in rhythmic performance, and evolution phylogenetic analysis of ancient Greek paeonic rhythms. In addition, further context is provided to give the reader a fuller and richer insight into the historical connections between music and mathematics.

Postmodernity's Musical Pasts covers topics from classical to popular and neo-traditional musics to concerns of the disciplines of musicology. These provide insights how the progression of time and history can be conceptually understood after 1945. Postmodernity's Musical Pasts relies on an extensive and varied spectrum of topics, from both the centre and the periphery of the musicological canon, that mirror the eclectic and diverse nature of the postwar era itself. The first section, 'Time and the (Post)Modern', investigates how to understand manifestations of the past in musical composition with regard to time, on the one hand, and with regard to genre, style, and idiom, on the other. The second section, 'Manifestations of History', shows how time and history manifest themselves in art music. A third section, 'Receptions of the Past', takes the contrasts and transitional moments of post-1945 practices further by looking at the temporality of reception from different angles. A final part investigates questions of nostalgia and the temporalities of belonging. The volume subverts the understanding of temporality as linear progression of past, present, and future. It offers new avenues of conceptual thinking relevant for those engaged in the study of music history and culture and for the humanities at large.

Tuning the World tells the unknown story of how the musical pitch A 440 became the global norm. Now commonly accepted as the point of reference for musicians in the Western world, A 440 hertz only became the standard pitch during an international conference held in 1939. The adoption of this norm was the result of decades of negotiations between countries, involving a diverse group of performers, composers, diplomats, physicists, and sound engineers. Although there is widespread awareness of the variability of musical pitches over time, as attested by the use of lower frequencies to perform early music repertoires, no study has fully explained the invention of our current concert pitch. In this book, Fanny Gribenski draws on a rich variety of previously unexplored archival sources and a unique combination of musicological perspectives, transnational history, and science studies to tell the unknown story of how A 440 became the global norm. Tuning the World demonstrates the aesthetic, scientific, industrial, and political contingencies underlying the construction of one of the most "natural" objects of contemporary musical performance and shows how this century-old effort was ultimately determined by the influence of a few powerful nations.

Perfect Harmony and Melting Strains assembles interdisciplinary essays investigating concepts of harmony during a transitional period, in which the Pythagorean notion of a harmoniously ordered cosmos competed with and was transformed by new theories about sound - and new ways of conceptualizing the world. From the perspectives of philosophy, literary scholarship, and musicology, the contributions consider music's ambivalent position between mathematical abstraction and sensibility, between the metaphysics of harmony and the physics of sound. Essays examine the late medieval and early modern history of ideas concerning the nature of music and cosmic harmony, and trace their transformations in early modern musico-literary discourses. Within this framework, essays further offer original readings of important philosophical, literary, and musicological works. This interdisciplinary volume brings into focus the transformation of a predominant Renaissance worldview and of music's scientific, theological, literary, as well as cultural conceptions and functions in the early modern period, and will be of interest to scholars of the classics, philosophy, musicology, as well as literary and cultural studies.

- All research within Brazilian schools or one-on-one instruction - Focuses specifically on the creative process gained from the interactive process and activities between teachers and students - Ten contributed essays, with Introduction and Afterword.