'I'm going to camp out on the land ... try and get my soul free'. So sang Joni Mitchell in 1970 on 'Woodstock'. But Woodstock is only the tip of the iceberg. Popular music festivals are one of the strikingly successful and enduring features of seasonal popular cultural consumption for young people and older generations of enthusiasts. From pop and rock to folk, jazz and techno, under stars and canvas, dancing in the streets and in the mud, the pleasures and politics of the carnival since the 1950s are discussed in this innovative and richly-illustrated collection. The Pop Festival brings scholarship in cultural studies, media studies, musicology, sociology, and history together in one volume to explore the music festival as a key event in the cultural landscape - and one of major interest to young people as festival-goers themselves and as students.

This book provides an in-depth introduction and overview of current research in computational music analysis. Its seventeen chapters, written by leading researchers, collectively represent the diversity as well as the technical and philosophical sophistication of the work being done today in this intensely interdisciplinary field. A broad range of approaches are presented, employing techniques originating in disciplines such as linguistics, information theory, information retrieval, pattern recognition, machine learning, topology, algebra and signal processing. Many of the methods described draw on well-established theories in music theory and analysis, such as Forte's pitch-class set theory, Schenkerian analysis, the methods of semiotic analysis developed by Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative Theory of Tonal Music. The book is divided into six parts, covering methodological issues, harmonic and pitch-class set analysis, form and voice-separation, grammars and hierarchical reduction, motivic analysis and pattern discovery and, finally, classification and the discovery of distinctive patterns. As a detailed and up-to-date picture of current research in computational music analysis, the book provides an invaluable resource for researchers, teachers and students in music theory and analysis, computer science, music information retrieval and related disciplines. It also provides a state-of-the-art reference for practitioners in the music technology industry.

Migration studies is an area of increasing significance in musicology as in other disciplines. How do migrants express and imagine themselves through musical practice? How does music help them to construct social imaginaries and to cope with longings and belongings? In this study of migration music in postsocialist Albania, Eckehard Pistrick identifies links between sound, space, emotionality and mobility in performance, provides new insights into the controversial relationship between sound and migration, and sheds light on the cultural effects of migration processes. Central to Pistrick's approach is the essential role of emotionality for musical creativity which is highlighted throughout the volume: pain and longing are discussed not as a traumatising end point, but as a driving force for human action and as a source for cultural creativity. In addition, the study provides a fascinating overview about the current state of a rarely documented vocal tradition in Europe that is a part of the mosaic of Mediterranean singing traditions. It refers to the challenges imposed onto this practice by heritage politics, the dynamics of retraditionalisation and musical globalisation. In this sense the book constitutes an important study to the dynamics of postsocialism as seen from a musicological perspective. Winner of the 2017 Stavro Skendi Book Prize for Achievement in Albanian Studies, Society for Albanian Studies Dr. Pistrick's book, in the committee's judgment, impressively connects ethnomusicology, anthropology and migration studies. Linking sound with space and emotionality, it offers a new understanding of the role of the oral tradition within Albanian communities, in particular its ability to deal creatively with painful experiences and the realities of migration. Association for Slavic, East European & Eurasian Studies

Set against a volatile political landscape, Irish republican culture has struggled to maintain continuity with the past, affirm legitimacy in the present, and generate a sense of community for the future. Lullabies and Battle Cries explores the relationship between music, emotion, memory, and identity in republican parading bands, with a focus on how this music continues to be utilized in a post-conflict climate. As author Jaime Rollins shows, rebel parade music provides a foundational idiom of national and republican expression, acting as a critical medium for shaping new political identities within continually shifting dynamics of republican culture.

There have been far-reaching changes in the way music theorists and analysts view the nature of their disciplines. Encounters with structuralist and post-structuralist critical theory, and with linguistics and cognitive sciences, have brought the theory and analysis of music into the orbit of important developments in intellectual history. This book presents the work of a group of scholars who, without seeking to impose an explicit redefinition of either theory or analysis, explore the limits of both in this context. Essays on the languages of analysis and theory, and on practical issues such as decidability, ambiguity and metaphor, combine with studies of works by Debussy, Schoenberg, Birtwistle and Boulez, together making a major contribution to an important debate in the growth of musicology.

Existential semiotics is a new paradigm which combines classical semiotics with continental philosophy. It does not mean a return to existentialism, albeit philosophers from Hegel and Kierkegaard to Heidegger, Jaspers and Sartre are its sources of inspiration. It introduces completely new sign categories and concepts to the field, recasting the whole of semiotics, communication and signification as integral to a transcendental art. The volume contains essays on music, the voice, silence, calligraphy, metaphysics, myth, aesthetics, entropy, cultural heritage, film, the Bible, among other subjects.

Revolutionary approaches to compositional practice and musicological research have been associated with Otto Laske's work for over a quarter of a century. Laske's scientific understanding of the compositional process has made it possible to systematically formalize computer-assisted and computer synthesized music. In this book, international scholars survey new directions in compositional and musicological practices as influenced by Laske's pioneering work. These two seemingly independent areas of inquiry, composition, and musicology, are presented as a comprehensive integration. The essays offer an interdisciplinary examination of issues imbued with ethnographic considerations of the musical experience, research in perception and brain functions, the design of computer-based neural networks that emulate human musical activities, investigations into the psychological make-up of artists, and a unique perspective on how computers are used in many different areas of music. Compositional and cognitive musicological research are placed in a historical perspective and accompanied with contemporary issues surrounding this research. An interview with Otto Laske and two of his own essays are also included.

This study of Otto Laske will appeal to musicologists and students of music theory and composition. Its interdisciplinary content will also interest scholars in a variety of fields including electronic music, ethnomusicology, computer science, artificial intelligence and other cognitive sciences, psychology, and philosophy. Researchers will appreciate the comprehensive bibliography of Laske's compositions and writings.

The Fundamentals Text That Emphasizes Music Making. This music fundamentals textbook is for both aspiring music majors and non-majors. Based on an anthology of works from music literature, it features clear, concise explanations, extensive written exercises, and a variety of suggested in-class activities. It emphasizes process of making music-emphasizing, at every stage, that music is to be heard and made-not merely seen and learned in the abstract. All of the key topics are covered: music notation; rhythm; scales; intervals; triads; basic harmonic progressions. Several supplements are available for this text. An Audio CD is available including performances of key works analyzed in the text. The examples are also available in Finale files on MySearchLab that students can use to directly work on exercises on their computers. Teaching and Learning Experience *Personalize Learning- MySearchLab delivers proven results in helping students succeed, provides engaging experiences that personalize learning, and comes from a trusted partner with educational expertise and a deep commitment to helping students and instructors achieve their goals. *Improve Critical Thinking- Written exercises and assignments both in traditional written and electronic formats reinforce concepts. *Engage Students- In-class activities, including singing, dictation, and keyboard exercises are designed to supplement and reinforce the theory lessons. *Support Instructors- Supported by the best instructor resources on the market; MySearchLab and an Instructor's Manual.

For undergraduate/graduate-level courses in Twentieth-Century Techniques, and Post-Tonal Theory and Analysis taken by music majors. A primer-rather than a survey-this text offers exceptionally clear, simple explanations of basic theoretical concepts for the post-tonal music of the twentieth century. Emphasizing hands-on contact with the music-through playing, singing, listening, and analyzing-it provides six chapters on theory, each illustrated with musical examples and fully worked-out analyses, all drawn largely from the classical pre-war repertoire by Schoenberg, Stravinsky, Bartok, Berg, and Webern. Straus takes a paced, methodical, logical approach to each topic. He introduces it in context and - perhaps most significantly of all - uses language that's so transparent that merely to follow his descriptions, explanations and illustrations carefully is to understand each aspect of the theory under consideration. Mark Sealey, Classical.net

Music Sociology explores 16 different genres to demonstrate that music everywhere reflects social values, organisational processes, meanings and individual identity. Presenting original ethnographic research, the contributors use descriptions of subcultures to explain the concepts of music sociology, including the rituals that link people to music, the past and each other. Music Sociology introduces the sociology of music to those who may not be familiar with it and provides a basic historical perspective on popular music in America and beyond.

This book is a pioneering attempt to explore the fascinating and hardly known realm of reciting poetry in medieval and Renaissance Italy. The study of more than 50 treatises on both music and poetry, as well as other literary sources and documents from the period between 1300 and 1600, highlights above all the practice of parlar cantando («speaking through singing - the term found in De li contrasti, a fourteenth-century treatise on poetry) as rooted in the art of reciting verses. Situating the practice of parlar cantando in the context of late medieval poetic delivery, the author sheds new light on the origin and history of late Renaissance opera style, which their inventors called stile recitativo, rappresentativo or, exactly, parlar cantando. The deepest roots of the Italian tradition of parlar cantando are thus revealed, and the cultural background of the birth of opera is reinterpreted and revisited from the much broader perspective of what appears to be the most important Italian mode of music making between the age of Dante and Petrarch and the beginning of Italian opera around 1600.

This book examines the theory and the practice of music, in relation to the writing of four major modernist figures: Walter Pater, Ezra Pound, James Joyce, and Gertrude Stein. Brad Bucknell examines modernist writers' relationship and engagement with music, from theories about music and musical-literary relations to the composition of music and libretti. Bucknell's study investigates how music, as a discrete artistic mode of expression, and a recurring theme in the work of these four writers, reveals the intricate and varied nature of the modernist project.

A musical phrase, or, for that matter, a musical unit of any size or shape, becomes an image whenever we imagine it to be invested with a content whose origins lie outside music. Such a content, according to the theory developed here, constitutes the image's conventional significance; it accounts for whatever strikes us about the image as having a common and familiar ring. That being so, the origins in question must be coincident with the fundamental ideas--the archetypes--that have been traditionally represented as underlying and unifying Western culture. As the theoretical constructs they are, arehctypes are never encountered directly. It is in the form of their local variants that we make contact with the archetypes, and it is at this local level that the present book sets its sights: style, the typical or shared element in the musical imagery of a time and place, is studies as a function of Zeitgeist, the complex of beliefs, values, and ideals of a community. The approach is both thematic and historical, in keeping with a key objective of archetypal criticism. Far from repudiating the popular notion that music expresses the human emotions, this study attempts to recast emotion theory by examining musical images for kinds of behavior from which we may infer not only emotion (pathos, effectus) but also personality (ethos). Ethical and affective distinctions are very sharply drawn, in an effort to clarify and widen the vocabulary of musical commentary, as well as to provide cultural and historical backing for contents long considered the cliches of musical expression.

This volume of essays draws together recent work on historical music theory of the Renaissance. The collection spans the major themes addressed by Renaissance writers on music and highlights the differing approaches to this body of work by modern scholars, including: historical and theoretical perspectives; consideration of the broader cultural context for writing about music in the Renaissance; and the dissemination of such work. Selected from a variety of sources ranging from journals, monographs and specialist edited volumes, to critical editions, translations and facsimiles, these previously published articles reflect a broad chronological and geographical span, and consider Renaissance sources that range from the overtly pedagogical to the highly speculative. Taken together, this collection enables consideration of key essays side by side aided by the editor's introductory essay which highlights ongoing debates and offers a general framework for interpreting past and future directions in the study of historical music theory from the Renaissance.

A compiled set of studies in the contrapuntal style of harmony.

This book celebrates Madvillainy as a representation of two genius musical minds melding to form one revered supervillain. A product of circumstance, the album came together soon after MF DOOM's resurgence and Madlib's reluctant return from avant-garde jazz to hip-hop. Written from the alternating perspectives of three fake music journalist superheroes-featuring interviews with Wildchild, M.E.D., Walasia, Daedalus, Stones Throw execs, and many other real individuals involved with the album's creation-this book blends fiction and non-fiction to celebrate Madvillainy not just as an album, but as a folkloric artifact. It is one specific retelling of a story which, like Madvillain's music, continues to spawn infinite legends.

Metaphysics and Music in Adorno and Heidegger explains how two notoriously opposed German philosophers share a rethinking of the possibility of metaphysics via notions of music and waiting. This is connected to the historical materialist project of social change by way of the radical Italian composer Luigi Nono.

This volume gathers together a cross-section of essays and book chapters dealing with the ways in which musicians and their music have been pressed into the service of political, nationalist and racial ideologies. Arranged chronologically according to their subject matter, the selections cover Western and non-Western musics, as well as art and popular musics, from the eighteenth century to the present day. The introduction features detailed commentaries on sources beyond those included in the volume, and as such provides an invaluable and comprehensive reading list for researchers and educators alike. The volume brings together for the first time seminal articles written by leading scholars, and presents them in such a way as to contribute significantly to our understanding of the use and abuse of music for ideological ends.