The crooner Rudy Vallee's soft, intimate, and sensual vocal delivery simultaneously captivated millions of adoring fans and drew harsh criticism from those threatened by his sensitive masculinity. Although Vallee and other crooners reflected the gender fluidity of late-1920s popular culture, their challenge to the Depression era's more conservative masculine norms led cultural authorities to stigmatize them as gender and sexual deviants. In Real Men Don't Sing Allison McCracken outlines crooning's history from its origins in minstrelsy through its development as the microphone sound most associated with white recording artists, band singers, and radio stars. She charts early crooners' rise and fall between 1925 and 1934, contrasting Rudy Vallee with Bing Crosby to demonstrate how attempts to contain crooners created and dictated standards of white masculinity for male singers. Unlike Vallee, Crosby survived the crooner backlash by adapting his voice and persona to adhere to white middle-class masculine norms. The effects of these norms are felt to this day, as critics continue to question the masculinity of youthful, romantic white male singers. Crooners, McCracken shows, not only were the first pop stars: their short-lived yet massive popularity fundamentally changed American culture.

The crooner Rudy Vallee's soft, intimate, and sensual vocal delivery simultaneously captivated millions of adoring fans and drew harsh criticism from those threatened by his sensitive masculinity. Although Vallee and other crooners reflected the gender fluidity of late-1920s popular culture, their challenge to the Depression era's more conservative masculine norms led cultural authorities to stigmatize them as gender and sexual deviants. In Real Men Don't Sing Allison McCracken outlines crooning's history from its origins in minstrelsy through its development as the microphone sound most associated with white recording artists, band singers, and radio stars. She charts early crooners' rise and fall between 1925 and 1934, contrasting Rudy Vallee with Bing Crosby to demonstrate how attempts to contain crooners created and dictated standards of white masculinity for male singers. Unlike Vallee, Crosby survived the crooner backlash by adapting his voice and persona to adhere to white middle-class masculine norms. The effects of these norms are felt to this day, as critics continue to question the masculinity of youthful, romantic white male singers. Crooners, McCracken shows, not only were the first pop stars: their short-lived yet massive popularity fundamentally changed American culture.

Microgroove continues John Corbett's exploration of diverse musics, with essays, interviews, and musician profiles that focus on jazz, improvised music, contemporary classical, rock, folk, blues, post-punk, and cartoon music. Corbett's approach to writing is as polymorphous as the music, ranging from oral history and journalistic portraiture to deeply engaged cultural critique. Corbett advocates for the relevance of "little" music, which despite its smaller audience is of enormous cultural significance. He writes on musicians as varied as Sun Ra, PJ Harvey, Koko Taylor, Steve Lacy, and Helmut Lachenmann. Among other topics, he discusses recording formats; the relationship between music and visual art, dance, and poetry; and, with Terri Kapsalis, the role of female orgasm sounds in contemporary popular music. Above all, Corbett privileges the importance of improvisation; he insists on the need to pay close attention to "other" music and celebrates its ability to open up pathways to new ideas, fresh modes of expression, and unforeseen ways of knowing.

As perhaps the most studied film movement in cinematic history, the French New Wave has been analysed and criticised, romanticised and mythologised, raising the question of whether it is possible to write anything new about this period. Yet there are still gaps in the scholarship, and the study of music in New Wave films is one of the most striking. Listening to the French New Wave offers the first detailed study of the music and composers of French New Wave cinema, arguing for the need to re-hear and thus reassess this important period in film history. Combining an ethnographic approach with textual and score-based analysis, the author challenges the idea of the New Wave as revolutionary in all its facets by revealing traditional approaches to music in many canonical New Wave films. However, musical innovation does have its place in the New Wave, particularly in the films of the marginalised Left Bank group. The author ultimately brings to light those few collaborations that engaged with the ideology of adopting contemporary music practices for a contemporary medium. Drawing on archival material and interviews with New Wave composers, this book re-tells the story of the French New Wave from the perspective of its music.

Greek Rebetiko from a Psychocultural Perspective: Same Songs Changing Minds examines the ways in which audiences in present-day Greece and Turkey perceive and use the Greek popular song genre rebetiko to cultivate specific cultural habits and identities. In the past, rebetiko has been associated chiefly with the lower strata of Greek society. But Daniel Koglin approaches the subject from a different perspective, exploring the mythological and ritual aspects of rebetiko, which intellectual elites on both sides of the Aegean Sea have adapted to their own world views in our age of globalized consumption. Combining qualitative and quantitative methods from ethnomusicology, ritual studies, conceptual history and music psychology, Koglin casts light on the role played by national perceptions in the processes of music production and consumption. His analysis reveals that rebetiko persistently oscillates between conceptual categories: it is a music both ours and theirs, marginal and mainstream, joyful and grievous, sacred and profane. The study culminates in the thesis that this semantic multistability is not only a key concept to understanding the ongoing popularity of rebetiko in Greece, and its recent renaissance in Turkey, but also a fundamental aspect of the human experience on the south-eastern borders of Europe.

- Provides an accessible introduction to the field of music cognition. - Written by a leading researcher in the interdisciplinary field that gives us fundamental insights in the cognitive mechanisms underlying musicality - Will appeal to those taking courses on the Psychology of Music or Auditory Perception, from the fields of Psychology and Music

Since its inception in the mid-twentieth century, American music theory has been framed and taught almost exclusively by white men. As a result, whiteness and maleness are woven into the fabric of the field, and BIPOC music theorists face enormous hurdles due to their racial identities. In On Music Theory, Philip Ewell brings together autobiography, music theory and history, and theory and history of race in the United States to offer a black perspective on the state of music theory and to confront the field’s white supremacist roots. Over the course of the book, Ewell undertakes a textbook analysis to unpack the mythologies of whiteness and western-ness with respect to music theory, and gives, for the first time, his perspective on the controversy surrounding the publication of volume 12 of the Journal of Schenkerian Studies. He speaks directly about the antiblackness of music theory and the antisemitism of classical music writ large and concludes by offering suggestions about how we move forward. Taking an explicitly antiracist approach to music theory, with this book Ewell begins to create a space in which those who have been marginalized in music theory can thrive.

Time is of the essence in music because the ear can only perceive sequentially-one thing at a time-unlike the eye, which is capable of panoramic view. Silence and Slow Time proposes a way of thinking about music that is faithful to the experience of playing or listening during a real performance. Boykan argues against the common assumption that thematic relationships automatically insure musical coherence, because the repetition or the transformation of a theme is only meaningful if we consider when it occurs. This argument is developed through a close reading of passages from the full range of Western music. Analyses of dramatic narratives in Haydn, Beethoven, Schubert, and Chopin reveal a richness that can only be captured if thematic or voice-leading relationships are placed within a temporal context. Other kinds of narrative are explored in a Renaissance motet, and in the music of Wolf and Debussy at the end of the 19th Century. The book devotes several chapters to the great innovators of the 20th Century, and concludes with a detailed study of the Schoenberg Trio that traces its thematic and harmonic process to suggest a somewhat oblique relation to the apocalyptic moment when it was composed.

Now in an updated 2nd edition, Musicology: The Key Concepts is a handy A-Z reference guide to the terms and concepts associated with contemporary musicology. Drawing on critical theory with a focus on new musicology, this updated edition contains over 35 new entries including:

• Autobiography
• Music and Conflict
• Deconstruction
• Postcolonialism
• Disability
• Music after 9/11
• Masculinity
• Gay Musicology
• Aesthetics
• Ethnicity
• Interpretation
• Subjectivity

With all entries updated, and suggestions for further reading throughout, this text is an essential resource for all students of music, musicology, and wider performance related humanities disciplines.

Mozart's emergence as a mature artist coincides with the rise to prominence of the piano, an instrument that came alive under his fingers and served as medium for many of his finest compositions. In Mozart's Piano Music, William Kinderman reconsiders common assumptions about Mozart's life and art while offering comprehensive and incisive commentary on the solo music and concertos. After placing Mozart's pianistic legacy in its larger biographical and cultural context, Kinderman addresses the lively gestural and structural aspects of Mozart's musical language and explores the nature of his creative process. Incorporating the most recent research throughout this encompassing study, Kinderman expertly surveys each of the major genres of the keyboard music, including the four-hand and two-piano works. Beyond examining issues such as Mozart's earliest childhood compositions, his musical rhetoric and expression, the social context of his Viennese concertos, and affinities between his piano works and operas, Kinderman's main emphasis falls on detailed discussion of selected individual compositions.

Of all the elements that combine to make movies, music sometimes seems the forgotten stepchild. Yet it is an integral part of the cinematic experience. Minimized as mere "background music," film scores enrich visuals with emotional mood and intensity, underscoring directors' intentions, enhancing audiences' reactions, driving the narrative forward, and sometimes even subverting all three. Trying to imagine The Godfather or Lawrence of Arabia with a different score is as difficult as imagining them featuring a different cast. In Experiencing Film Music: A Listener's Companion, Kenneth LaFave guides the reader through the history, ideas, personalities, and visions that have shaped the music we hear on the big screen. Looking back to the music improvised for early silent movies, LaFave traces the development of the film score from such early epic masterpieces as Max Steiner's work for Gone With the Wind, Bernard Herrmann's musical creations for Alfred Hitchcock's thrillers, Jerry Goldsmith's sonic presentation of Chinatown, and Ennio Morricone's distinctive rewrite of the Western genre, to John Williams' epoch-making Jaws and Star Wars. LaFave also brings readers into the present with looks at the work over the last decade and a half of Hans Zimmer, Alan Silvestre, Carter Brey, and Danny Elfman. Experiencing Film Music: A Listener's Companion opens the ears of film-goers to the nuance behind movie music, laying out in simple, non-technical language how composers and directors map what we hear to what we see-and, not uncommonly, back again.

In Local Fusions, author Barbara Rose Lange explores musical life in Hungary, Slovakia, and Austria between the end of the Cold War and the world financial crisis of 2008. With case studies from Budapest, Bratislava, and Vienna, the book looks at the ways that artists generated social commentary and tried new ways of working together as the political and economic atmosphere shifted during this time. Drawn from a variety of sources, the case studies illustrate how young musicians redefined a Central European history of elevating the arts by fusing poetry, local folk music, and other vernacular music with jazz, Asian music, art music, and electronic dance music. Their projects rejected exclusion based on ethnic background or gender prevalent in Central Europe's present far-right political movements, and instead embraced diverse modes of expression. Through this, the musicians asserted woman power, broadened masculinities, and declared affinity with regional minorities such as the Romani people.

Music and Music Education as Social Praxis is a brief introduction to a praxial theory of music education, defined by author. It is grounded in an interdisciplinary approach, for undergraduate and graduate students in music education. Drawing upon scholarship from a range of disciplines, including philosophy and sociology, the book emphasizes and highlights thinking of music as an active social practice and offers an alternative to existing approaches to music education. This text advocates for an alternative approach to teaching music, rooted in the social practice of music, and will supplement Foundations or Methods courses in the Music Education curriculum.

It has often been claimed, and frequently denied, that music derives some or all of its artistic value from the relation in which it stands to the emotions. This book presents and subjects to critical examination the chief theories about the relationship between the art of music and the emotions.

* The first book to analyse every Queen song - giving equal weight to album tracks alongside the hits . * Includes analysis of about 20 classic songs using the original 24 track master tapes. * Queen remain ever popular and active, and continue to tour despite the death of Freddie Mercury in 1991. This book examines Queen's music, album by album, track by track, in detail. Where possible, recourse to the original multi-track master tapes has provided extra insight. Those familiar hits are revisited, but those classic album cuts - like `Liar', `March of the Black Queen', `Death on Two Legs', and `Dragon Attack', `are given equal precedence. The book also examines the changes that these same four musicians went through - from heavy and pomp rock to pop as the chart hits began to flow - with a keen and unbiased eye. Whether as a fan your preference is for the albums `A Night at the Opera', `Jazz' or `Innuendo' this detailed and definitive guide will tell you all you need to know. Queen had strength in depth. These are the songs on which a legend was built.

It is undeniable that technology has made a tangible impact on the nature of musical listening. The new media have changed our relationship with music in a myriad of ways, not least because the experience of listening can now be prolonged at will and repeated at any time and in any space. Moreover, among the more striking social phenomena ushered in by the technological revolution, one cannot fail to mention music's current status as a commodity and popular music's unprecedented global reach. In response to these new social and perceptual conditions, the act of listening has diversified into a wide range of patterns of behaviour which seem to resist any attempt at unification. Concentrated listening, the form of musical reception fostered by Western art music, now appears to be but one of the many ways in which audiences respond to organized sound. Cinema, for example, has developed specific ways of combining images and sounds; and, more recently, digital technology has redefined the standard forms of mass communication. Information is aestheticized, and music in turn is incorporated into pre-existing symbolic fields. This volume - the first in the series Musical Cultures of the Twentieth Century - offers a wide-ranging exploration of the relations between sound, technology and listening practices, considered from the complementary perspectives of art music and popular music, music theatre and multimedia, composition and performance, ethnographic and anthropological research.

Ten years after the Human Genome Project's completion the life sciences stand in a moment of uncertainty, transition, and contestation. The postgenomic era has seen rapid shifts in research methodology, funding, scientific labor, and disciplinary structures. Postgenomics is transforming our understanding of disease and health, our environment, and the categories of race, class, and gender. At the same time, the gene retains its centrality and power in biological and popular discourse. The contributors to Postgenomics analyze these ruptures and continuities and place them in historical, social, and political context. Postgenomics, they argue, forces a rethinking of the genome itself, and opens new territory for conversations between the social sciences, humanities, and life sciences. Contributors. Russ Altman, Rachel A. Ankeny, Catherine Bliss, John Dupre, Michael Fortun, Evelyn Fox Keller, Sabina Leonelli, Adrian Mackenzie, Margot Moinester, Aaron Panofsky, Sarah S. Richardson, Sara Shostak, Hallam Stevens

SamulNori is a percussion quartet which has given rise to a genre, of the same name, that is arguably Korea's most successful 'traditional' music of recent times. Today, there are dozens of amateur and professional samulnori groups. There is a canon of samulnori pieces, closely associated with the first founding quartet but played by all, and many creative evolutions on the basic themes, made by the rapidly growing number of virtuosic percussionists. And the genre is the focus of an abundance of workshops, festivals and contests. Samulnori is taught in primary and middle schools; it is part of Korea's national education curriculum. It has dedicated institutes, and there are a number of workbooks devoted to helping wannabe 'samulnorians'. It is a familiar part of Korean performance culture, at home and abroad, in concerts but also in films and theatre productions. SamulNori uses four instruments: kkwaenggwari and ching small and large gongs, and changgo and puk drums. These are the instruments of local percussion bands and itinerant troupes that trace back many centuries, but samulnori is a recent development of these older traditions: it was first performed in February 1978. This volume explores this vibrant percussion genre, charting its origins and development, the formation of the canon of pieces, teaching and learning strategies, new evolutions and current questions relating to maintaining, developing, and sustaining samulnori in the future.

First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Particularly since the 1950s, cars and popular music have been constantly associated. As complementary goods and intertwined technologies, their relationship has become part of a widely shared experience-one that connects individuals and society, private worlds and public spheres. Popular Music and Automobiles aims to unpack that relationship in more detail. It explores the ways in which cars and car journeys have shaped society, as well as how we have shaped them. Including both broad synergies and specific case studies, Popular Music and Automobiles explores how attention to an ongoing relationship can reveal insights about the assertion and negotiation of identity. Using methods of enquiry that are as diverse as the topics they tackle, its contributors closely consider specific genders, genres, places and texts.

This book draws attention to the reception of Oskar Kolberg's folklorist's work outside of Poland. It also presents the work of other scholars active in Eastern Europe from the nineteenth century to the present day, many of them poorly known, despite their lofty achievements. The contributions by authors from Lithuania, Belarus, Ukraine, Russia, Slovakia and Poland reflect on how Kolberg's work is being continued by scholars today and how the musical repertoire that he recorded is functioning. This book unites the results of the international conference "The Kolbergs of Eastern Europe", organised by the College of Eastern Europe and the Institute of Musicology of the University of Wroclaw.

Master musical skills quickly and easily! From classical music to new age, hard rock, and pop, music has always played an important role in everyday life. Whether you're an intermediate musician or an aspiring music major, The Everything Essential Music Theory Book is a guide to mastering one of the most important tools for every musician: musical understanding. This compact, portable volume covers all the basics, including: The construction of chords and scales How to understand rhythm and time signatures How keys are identified and organized Creating harmonization and melody With each clear and easy-to-understand chapter, musician and educator Marc Schonbrun takes you through the essentials of music theory--the very glue that holds music together.

The study of music within multimedia contexts has become an increasingly active area of scholarly research. However, the application of such studies to musical genres outside the 'classical' film canon, or in television and other media remains largely unexplored in any detail. Tristian Evans demonstrates how postminimal music interacts with other media forms, focusing on the film music by Philip Glass, but also taking into account works by other composers such as Steve Reich, Terry Riley, John Adams and others inspired by minimalist and postminimal practices. Additionally, Evans develops innovative ways of analysing this music, based on an interdisciplinary approach, and draws on research from areas that include philosophy, linguistics and film theory. The book offers one of the first in-depth studies of Philip Glass's music for film, considering The Hours and Dracula, Naqoyqatsi, Notes on a Scandal and Watchmen, while examining re-applications of the music in new cinematic and televisual contexts. The book will appeal to musicologists but also to those working in the fields of film music, cultural studies, media studies and multimedia.