Music theory is often seen as independent from - even antithetical to - performance. While music theory is an intellectual enterprise, performance requires an intuitive response to the music. But this binary opposition is a false one, which serves neither the theorist nor the performer. In Interpreting Chopin Alison Hood brings her experience as a performer to bear on contemporary analytical models. She combines significant aspects of current analytical approaches and applies that unique synthetic method to selected works by Chopin, casting new light on the composer's preludes, nocturnes and barcarolle. An extension of Schenkerian analysis, the specific combination of five aspects distinguishes Hood's method from previous analytical approaches. These five methods are: attention to the rhythms created by pitch events on all structural levels; a detailed accounting of the musical surface; 'strict use' of analytical notation, following guidelines offered by Steve Larson; a continual concern with what have been called 'strategies' or 'premises'; and an exploration of how recorded performances might be viewed in terms of analytical decisions, or might even shape those decisions. Building on the work of such authors as William Rothstein, Carl Schachter and John Rink, Hood's approach to Chopin's oeuvre raises interpretive questions of central interest to performers.

Anthony Minghella's 1996 film The English Patient won nine Academy Awards_, including one for Best Original Score. Though Gabriel Yared had previously composed scores for several films, including Betty Blue, Camille Claudel, and Vincent & Theo, his work on The English Patient launched him into international public consciousness. His score for this film testifies to the continued appeal of a classical, noncommercial style of scoring, eschewing the use of contemporary pop music for a more 'timeless' sound. In Gabriel Yared's The English Patient: A Film Score Guide, author Heather Laing offers the most in-depth examination to date of the work of the composer. Laing examines Yared's approach to film scoring, his compositional techniques and the impact of his partnership with Minghella before and after The English Patient_through an exploration of such films as The Moon in the Gutter, Betty Blue, Tatie Danielle, IP5, The Lover, City of Angels, and The Talented Mr. Ripley. The integral role of music in The English Patient is contextualized within a detailed analysis of the film's narrative construction, themes, and motifs. The soundtrack is examined as a whole, and the specific 'soundworlds' of each character, location, and relationship are drawn out as the basis for the overall style and construction of the score. Musical themes are viewed in both musical and narrative terms, and musical connections between the themes are identified. A close analysis of the placement and development of musical themes throughout the film reveals the complex musical journey that forms a unique and integral element of the characters.

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.

A vivid (and startling) example of the "new musicology", Beethoven's Kiss is an interdisciplinary study of romantic pianism in relation to gender and sexuality, ultimately underscoring the extent to which the piano resonates with intimations of both homosexuality and mortality. The first chapter, on the amateur pianist, scrutinizes the way Andre Gide and Roland Barthes discuss piano playing, their favorite composers - and their homosexuality. Situating these discussions within the histories of sexuality and amateur pianism, the author argues that connections between musical and sexual mastery are shaped by the "performance" of class and gender. The second chapter examines the homoerotic basis of the creation of nineteenth-century piano music and the equally homoerotic basis of the twentieth-century recreation of this music. The title of the third chapter, "Beethoven's Kiss", refers to the apocryphal story that Beethoven kissed Liszt, then eleven, in public. The author recounts other quasi-sexual myths about nineteenth-century child prodigies, examining how and why these stories used to circulate and why they no longer do so. The next chapter examines the different ways nineteenth- and twentieth-century audiences sexualize famous pianists and polarize them along gender and sexual lines. The fifth chapter describes the gender, sexual, and class positioning of the "maiden" piano teacher in a variety of texts - interviews, memoirs, short stories, novels, and films. The book concludes with a far-ranging analysis of Liberace, who (with his silver candelabra) tried to perform upper-class status, who (with his devotion to Chopin) tried to perform highbrow taste, and who (with his closetedlifestyle) tried to perform heterosexuality.

This volume provides a transnational study of the impact of musical cultures in the Eastern Baltics-Lithuania, Latvia, Poland, and Russia-at the end of the Cold War and in the early post-Communist period. Throughout the book, the contributors explore and conceptualize transnational musical collaboration and the diffusion of information, people, and ideas focusing on musical activity which shaped the moral and artistic outlook of several generations. The volume sheds light on the transformative power of politically and socially engaged music and offers a deeper understanding of the artistic potential of societies and its impact on social and political change.

Where did the major scale come from? Why does most traditional non-Western music not share Western principles of harmony? What does the inner structure of a canon have to do with religious belief? Why, in historical terms, is J.S. Bach's music regarded as a perfect combination of melody and harmony? Why do clocks in church towers strike dominant-tonic-dominant-tonic? What do cathedrals have to do with monochords? How can the harmonic series be demonstrated with a rope tied to a doorknob, and how can it be heard by standing next to an electric fan? Why are the free ocean waves in Debussy's La Mer, the turbulent river waves in Smetana's Moldau, and the fountain ripples in Ravel's Jeux d'Eau pushed at times into four-bar phrases? Why is the metric system inherently unsuitable for organizing music and poetry? In what way does Plato's Timaeus resemble the prelude to Wagner's Das Rheingold? Just how does Beethoven's work perfectly illustrate fully functional tonality, and why were long-range works based on this type of tonality impossible before the introduction of equal temperament? In this new century, what promising materials are available to composers in the wake of harmonic experimentation and, some would argue, exhaustion? The answers to these seemingly complicated questions are not the sole province of music professors or orchestra conductors. In fact, as E. Eugene Helm demonstrates in Melody, Harmony, Tonality: An Introduction, they can just as easily be explained to amateurs, and their answers are important if we are to understand how Western music works. The full range of Western music is explored through 21 concise chapters on such topics as melody, harmony, counterpoint, texture, melody types, improvisation, music notation, free imitation, canon and fugue, vibration and its relation to harmony, tonality, and the place of music in architecture and astronomy. Intended for amateurs and professionals, concert-goers and conductors, Helm offers in down-to-earth language an explanation of the foundations of our Western music heritage, deepening our understanding and the listening experience of it for all. Melody, Harmony Tonality: An Introduction is the paperback edition of Melody, Harmony,Tonality: A Book for Connoisseurs and Amateurs.

Perspectives on the Performance of French Piano Music offers a range of approaches central to the performance of French piano music of the nineteenth and twentieth centuries. The contributors include scholars and active performers who see performance not as an independent activity but as a practice enriched by a wealth of historical and analytical approaches. To underline the usefulness of contextual understanding for performance, each author highlights the choices performers must confront with examples drawn from particular repertoires and composers. Topics explored include editorial practice, the use of early recordings, emergent disciplines such as analysis-and-performance, and traditions passed down from teacher to student. Themes that emerge demonstrate the importance of editions as a form of communication, the challenges of notation, the significance of detail and of deeper continuity, the importance of performing and teaching traditions, and the influence of cross disciplinary frameworks. A link to a set of performed examples on the Brigham Young University-Hawai'i website allows readers to hear and compare performances and interpretations of the music discussed. The volume will appeal to musicologists and analysts interested in performance, performers, students, and piano teachers.

The Music Theory in Practice series has helped more than one million musicians worldwide to learn about the notation and theory of music. Now fully revised, this workbook remains the best way to prepare for ABRSM's Grade 4 Theory of Music Exam. Features a clear explanation of music notation, many worked examples and practice exercises, definitions of important words and concepts, specimen exam questions and helpful tips for students. As well as supporting the ABRSM Theory syllabus, this workbook also provides an excellent resource for anyone wishing to develop general music literacy skills.

This book studies the different roles that jazz played in Poland in the course of the 20th century, from its implementation in the 1920s, through World War II to the Third Polish Republic. The author, sociologist and jazz musician, depicts how jazz was forbidden under Stalin, accepted and even supported in the Polish People's Republic and then welcomed in the open market of the Third Republic. The discussion of jazz in this work covers several levels: political, symbolic, cultural, and economic. The main point of the presented analysis are changes within jazz music itself, within the community of jazz musicians and relations between the field of jazz and the field of politics.

More than forty years after the composer's death, the music of Roberto Gerhard (1896-1970) continues to be recorded and performed and to attract international scholarly interest. The Roberto Gerhard Companion is the first full length scholarly work on this composer noted for his sharp intellect and original, exploring mind. This book builds on the outcomes of two recent international conferences and includes contributions by scholars from Spain, the USA and UK. The essays collected here explore themes and trends within Gerhard's work, using individual or groups of works as case studies. Among the themes presented are the way Gerhard's work was shaped by his Catalan heritage, his education under Pedrell and Schoenberg, and his very individual reaction to the latter's teaching and methods, notably Gerhard's very distinctive approach to serialism. The influence of these and other cultural and literary figures is an important underlying theme that ties essays together. Exiled from Catalonia from 1939, Gerhard spent the remainder of his life in Cambridge, England, composing a string of often ground-breaking compositions, notably the symphonies and concertos composed in the 1950s and 1960s. A particular focus in this book is Gerhard's electronic music. He was a pioneer in this genre and the book will contain the first rigorous studies of this music as well as the first accurate catalogue of this electronic output. His ground-breaking output of incidental music for radio and the stage is also given detailed consideration.

Little is known about the ways in which early modern musical cultures were integrated within their broader urban environments. Building on recent trends within urban musicology, the authors of this volume aim to transcend descriptive overviews of institutions and actors involved with music within a given city. Instead, they consider the urban environment as the constitutive context for the making of music as a significant aspect of urban society and identity.

Through selected case studies and by focusing on three musical circuits opera and theater music, sacred music, and secular songs this book contributes to a more effective understanding of music in late seventeenth- and eighteenth-century urban societies in the southern Netherlands and beyond. Musicological and historical research perspectives are fruitfully integrated, as well as insights from theater scholarship and literary criticism. With attention to the musical life behind the traditional institutions, the circulation of repertoires, and musical cultures in peripheral urban environments or in cities in decay, Music and the City reveals the societal dimension of music in urban life."

Ombra is the term which applies to an operatic scene involving the appearance of an oracle or demon, witches, or ghosts. Such scenes can be traced back to the early days of opera and were commonplace in the seventeenth century in Italy and France. Operas based on the legends of Orpheus, Iphigenia, and Alcestis provide numerous examples of ombra and extend well into the eighteenth century. Clive McClelland's Ombra: Supernatural Music in the Eighteenth Century is an in-depth examination of ombra and is many influences on classical music performance. McClelland reveals that ombra scenes proved popular with audiences not only because of the special stage effects employed, but also due to increasing use of awe-inspiring musical effects. By the end of the eighteenth century the scenes had come to be associated with an elaborate set of musical features including slow, sustained writing, the use of flat keys, angular melodic lines, chromaticism and dissonance, dotted rhythms and syncopation, tremolando effects, unexpected harmonic progressions, and unusual instrumentation, especially involving trombones. It is clearly distinct from other styles that exhibit some of these characteristics, such as the so-called 'Sturm und Drang' or 'Fantasia.' Futhermore, parallels can be drawn between these features and Edmund Burke's 'sublime of terror,' thus placing ombra music on an important position in the context of eighteenth-century aesthetic theory.

Occult traditions have inspired considerable musical ingenuity over the centuries, as well as some undeniable masterpieces. From the Pythagorean concept of a music of the spheres to the occult subculture of 20th-century pop and rock, music has often attempted to express mystical states of mind, cosmic harmony, the demonic and the divine--nowhere more so, perhaps, than in the music for occult and science fiction films such as The Mephisto Waltz, The Devil Rides Out, Star Trek, Close Encounters of the Third Kind, The Omen and The Exorcist. This wide-ranging survey explores how such film music works and uncovers its origins in Pythagorean and Platonic ideas about the divine order of the universe and its essentially numerical/musical nature. Chapters trace the influence of esoteric Freemasonry on Mozart and Beethoven, the birth of ""demonic"" music in the 19th century with composers such as Weber, Berlioz and Liszt, Wagner's racial mysticism, Schoenberg's numerical superstition, the impact of synesthesia on art music and film, the effect of theosophical ideas on composers such as Scriabin and Holst, supernatural opera and ballet, fairy music and, finally, popular music in the 1960s and '70s.

A group of resourceful kids start "solution-seekers.com," a website where "cybervisitors" can get answers to questions that trouble them. But when one questioner asks the true meaning of Christmas, the kids seek to unravel the mystery by journeying back through the prophecies of the Old Testament. What they find is a series of "S" words that reveal a "spectacular story " With creative characters, humorous dialogue and great music, The "S" Files is a children's Christmas musical your kids will love performing.

Taking a cue from Erving Goffman's classic work, Asylums, Tia DeNora develops a novel interdisciplinary framework for music, health and wellbeing. Considering health and illness both in medical contexts and in the often-overlooked realm of everyday life, DeNora argues that these identities are by no means mutually exclusive. Moreover, she suggests that the promotion of health and more specifically, mental health, involves a great deal more than a concern with medication, genetic predispositions, clinical and neuro-scientific procedures. Adopting a holistic, interactionist focus, Music Asylums reconnects states of wellness and wellbeing to encounters with others and - critically - to opportunities for aesthetic experience. Building on DeNora's earlier work on music as a technology of self in everyday life, the book presents music as an active ingredient of action, identity, capacity and consciousness. From there, it suggests that access to, and evaluation of, music is an important ethical matter. Intended for scholars and practitioners in psychiatry and psychology, palliative care, socio-music studies, music psychology and the allied health professions, Music Asylums showcases music's role in the existential project of being and staying well, mentally and physically, from moment-to-moment and across all realms of social life.

Arizona Dranes (1889-1963) was a true musical innovator whose recordings made for the Okeh label during the years 1926-1928 helped lay the foundations for what would soon be known as gospel music. Her unique blend of ragtime, barrelhouse, and boogie woogie piano plus her exciting and emotional Pentecostal style of singing influenced the development of gospel music for the next forty years and beyond. The School of Arizona Dranes: Gospel Music Pioneer covers the life and career of Dranes and situates her accomplishments in the broader history of African American gospel music and the rise of the Pentecostal movement. Starting with the earliest recordings of the music in the late nineteenth century, this book provides a history of African American sacred and gospel music that convincingly demonstrates the revolutionary nature of Dranes s musical accomplishment. Using specific examples, the author traces the far-reaching influence of Arizona Dranes on African American gospel piano playing and singing.

Like other major music genres, ska reflects, reveals, and reacts to the genesis and migration from its Afro-Caribbean roots and colonial origins to the shores of England and back across the Atlantic to the United States. Without ska music, there would be no reggae or Bob Marley, no British punk and pop blends, no American soundtrack to its various subcultures. In Ska: The Rhythm of Liberation, Heather Augustyn examines how ska music first emerged in Jamaica as a fusion of popular, traditional, and even classical musical forms. As a genre, it was a connection to Africa, a means of expression and protest, and a respite from the struggles of colonization and grinding poverty. Ska would later travel with West Indian immigrants to the United Kingdom, where British youth embraced the music, blending it with punk and pop and working its origins as a music of protest and escape into their present lives. The fervor of the music matched the energy of the streets as racism, poverty, and violence ran rampant. But ska called for brotherhood and unity. As series editor and pop music scholar Scott Calhoun notes: "Like a cultural barometer, the rise of ska indicates when and where social, political, and economic institutions disappoint their people and push them to re-invent the process for making meaning out of life. When a people or group embark on this process, it becomes even more necessary to embrace expressive, liberating forms of art for help during the struggle. In its history as a music of freedom, ska has itself flowed freely to wherever people are celebrating the rhythms and sounds of hope." Ska: The Rhythm Liberation should appeal to fans and scholars alike-indeed, any enthusiast of popular music and Caribbean, American, and British history seeking to understand the fascinating relationship between indigenous popular music and cultural and political history. Devotees of reggae, jazz, pop, Latin music, hip hop, rock, techno, dance, and world beat will find their appreciation of this remarkable genre deepened by this survey of the origins and spread of ska.

- 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

The translation of the third volume of Syntagma musicum, a multi-volume work by German composer and theorist Michael Praetorius (1571-1621). Volume III deals with terminolgy and performance practice, and offers us the most detailed commentary available from the 17th century about the performance of particular pieces of music. Praetorius is the most often quoted and excerpted writer on performance practice. In his translation, Kite=Powell has worked with a notoriously difficult syntax to produce a definitive English edition of this important work.

The Eurovision Song Contest (ESC) is more than a musical event that ostensibly "unites European people" through music. It is a spectacle: a performative event that allegorically represents the idea of "Europe." Since its beginning in the Cold War era, the contest has functioned as a symbolic realm for the performance of European selves and the negotiation of European identities. Through the ESC, Europe is experienced, felt, and imagined in singing and dancing as the interplay of tropes of being local and/or European is enacted. In Empire of Song: Europe and Nation in the Eurovision Song Contest, contributors interpret the ESC as a musical "mediascape" and mega-event that has variously performed and performs the changing visions of the European project. Through the study of the cultural politics of the ESC, contributors discuss the ways in which music operates as a dynamic nexus for making national identities and European sensibilities, generating processes of "assimilation" or "integration," and defining the celebrated notion of the "European citizen" in a global context. Scholars in the volume also explore the ways otherness and difference are produced, spectacularized, challenged, or even neglected in the televised musical realities of the ESC. For the contributing authors, song serves as a site for constituting Europe and the nation, on- and offstage. History and politics, as well as the constant production of European subjectivities, are sounded in song. The Eurovision song is a shifting realm where old and new states imagine their pasts, question their presents, and envision ideal futures in the New Europe. Essays in Empire of Song adopt theoretical and epistemological orientations in their exploration of "popular music" within ethnomusicology and critical musicology, questioning the idea of "Europe" and the "nation" through and in music, at a time when the European self appears more fragmented, if not entirely shattered. Bringing together ethnomusicology, music studies, history, social anthropology, feminist theory, linguistics, media ethnography, postcolonial theory, comparative literature, and philosophy, Empire of Song will interest students and scholars in a vast array of disciplines.

An insightful biography of the great composer, revealing Schubert’s complex and fascinating private life alongside his musical genius   Brilliant, short-lived, incredibly prolific—Schubert is one of the most intriguing figures in music history. While his music attracts a wide audience, much of his private life remains shrouded in mystery, and significant portions of his work have been overlooked.   In this major new biography, Lorraine Byrne Bodley takes a detailed look into Schubert’s life, from his early years at the Stadtkonvikt to the harrowing battle with syphilis that led to his death at the age of thirty-one. Drawing on extensive archival research in Vienna and the Czech Republic, and reconsidering the meaning of some of his best-known works, Bodley provides a fuller account than ever before of Schubert’s extraordinary achievement and incredible courage. This is a compelling new portrait of one of the most beloved composers of the nineteenth century.

The work of composer Manuel de Falla (1876-1946) ranges from late-romantic salon pieces to evocations of flamenco to stark neoclassicism. Yet his music has met with conflicting reactions, depending on the audience. In his native Spain, Falla is considered the most innovative composer of the first half of the twentieth century. Likewise, in the United States, Falla enjoyed a strong following in the concert hall. But many of his works, especially some of the "colorful" or "exotic" dances from The Three-Cornered Hat and El Amor Brujo, were taken up during the Latin music craze of the 1930s and 40s and appeared in everything from jazz and pop arrangements to MGM musicals. Similarly enigmatic are the details of Falla's life. He never sustained a lasting, intimate relationship with a woman, yet he created compelling female roles for the lyric stage. Although he became incensed when publishers altered his music, he more than once tinkered with Chopin and Debussy. Despite insisting that he was apolitical, Falla ultimately took sides in the Spanish Civil War, initially allying himself rather half-heartedly with Franco's Nationalists but later rejecting the honors they proffered. All his life, his rigorous brand of Roman Catholicism brought him both solace and agony in his quest for spiritual and artistic perfection.
In Sacred Passions: The Life and Music of Manuel de Falla, Carol A. Hess explores these contradictions and offers a fresh understanding of this fascinating composer. Building on over a decade of research, Hess examines Falla's work in terms of musical style and explores the cultural milieus in which he worked. During a seven-year sojourn to Paris just pior to World War I, Falla associated with composers Dukas, Stravinsky, Ravel, and the rest of the group known as les Apaches. Later, back in Spain, he played a pivotal role in the remarkable cultural renaissance known as the "Silver Age," during which Lorca, Bunuel, Dali, Unamuno-and of course Falla himself-made some of their boldest artistic statements.
Hess also explores a number of myths cultivated in earlier biographies, including Falla's supposed misogynistic tendencies and accusations of homosexuality, which have led some biographers to consider him a saint-like ascetic. She offers a balanced view of his behavior during the Spanish Civil War, a wrenching event for a Spaniard of his generation, and one that Falla biographers have left largely untouched. With superb analysis of his music and enlightening detail about its critical reception, Hess also examines Falla's status in some circles as little more than a high-class pop composer, given the mass appeal of much of his music. She incorporates recent research on Falla, draws upon untapped sources in the Falla archives, and reevaluates his work in terms of current issues in musicology.
Ultimately, Hess places Falla's variegated ouevre, which straddles popular and serious idioms, securely among the best of his better-known European contemporaries. What emerges is a gracefully written, balanced portrait of a man whose lofty spiritual values inspired singular musical utterances but were often at odds with the decidedly imperfect world he inhabited."

A year after the end of the Second World War, the first International Summer Course for New Music took place in the Kranichstein Hunting Lodge, near the city of Darmstadt in Germany. The course, commonly referred to later as the Darmstadt course, was intended to familiarize young composers and musicians with the music that, only a few years earlier, had been denounced as degenerate by the Nazi regime, and it soon developed into one of the most important events in contemporary music. Having returned to Germany in 1949 from exile in the United States, Adorno was a regular participant at Darmstadt from 1950 on. In 1955 he gave a series of lectures on the young Schoenberg, using the latter's work to illustrate the relation between tradition and the avant-garde. Adorno's three double-length lectures on the young Schoenberg, in which he spoke as a passionate advocate for the composer whom Boulez had declared dead, were his first at Darmstadt to be recorded on tape. The relation between tradition and the avant-garde was the leitmotif of the lectures that followed, which continued over the next decade. Adorno also dealt in detail with problems of composition in contemporary music, and he often accompanied his lectures with off-the-cuff musical improvisations. The five lecture courses he gave at Darmstadt between 1955 and 1966 were all recorded and subsequently transcribed, and they are published here for the first time in English. This volume is a unique document on the theory and history of the New Music. It will be of great value to anyone interested in the work of Adorno and critical theory, in German intellectual and cultural history, and in the history of modern music.

This book studies the working efficacy of Leonard Cohen's song Hallelujah in the context of today's network culture. Especially as recorded on YouTube, k.d. lang's interpretation(s) of Cohen's Hallelujah, embody acoustically and visually/viscerally, what Nietzsche named the 'spirit of music'. Today, the working of music is magnified and transformed by recording dynamics and mediated via Facebook exchanges, blog postings and video sites. Given the sexual/religious core of Cohen's Hallelujah, this study poses a phenomenological reading of the objectification of both men and women, raising the question of desire, including gender issues and both homosexual and heterosexual desire. A review of critical thinking about musical performance as 'currency' and consumed commodity takes up Adorno's reading of Benjamin's analysis of the work of art in the age of mechanical reproduction as applied to music/radio/sound and the persistent role of 'recording consciousness'. Ultimately, the question of what Nietzsche called the becoming-human-of-dissonance is explored in terms of both ancient tragedy and Beethoven's striking deployment of dissonance as Nietzsche analyses both as playing with suffering, discontent, and pain itself, a playing for the sake not of language or sense but musically, as joy.