The notion of the individual creator, a product in part of the Western romantic ideal, is now troubled by accounts and explanations of creativity as a social construct. While in collectivist cultures the assimilation (but not the denial) of individual authorship into the complexities of group production and benefit has been a feature, the notion of the lone individual creator has been persistent. Systems theories acknowledge the role of others, yet at heart these are still individual views of creativity - focusing on the creative individual drawing upon the work of others rather than recognizing the mutually constitutive elements of social interactions across time and space. Focusing on the domain of music, the approach taken in this book falls into three sections: investigations of the people, processes, products, and places of collaborative creativity in compositional thought and practice; explorations of the ways in which creative collaboration provides a means of crossing boundaries between disciplines such as music performance and musicology; and studies of the emergence of creative thought and practice in educational contexts including that of the composer and the classroom. The volume concludes with an extended chapter that reflects on the ways in which the studies reported advance understandings of creative thought and practice. The book provides new perspectives to our understandings of the role of collaborative thought and processes in creative work across the domain of music including: composition, musicology, performance, music education and music psychology.

* Intense focus on the emergence of a new, post-Civil Rights Movement black identity * Offers an alternative history and musicology of the Black Power Movement * Defines Black Power Music - a musical and political reality * Explores the intense interconnections between black popular culture and black political culture * Essential reading for all students engaged in black popular music studies, African American studies, popular culture studies, ethnic studies as well as sociology, ethnomusicology and political science.

The study of music in commercials is well-suited for exploring the persuasive impact that music has beyond the ability to entertain, edify, and purify its audience. This book focuses on music in commercials from an interpretive text analytical perspective, answering hitherto neglected questions: What characterizes music in commercials compared to other commercial music and other music on TV? How does music in commercials relate to music outside the universe of commercials? How and what can music in commercials signify? Author Nicolai Graakjaer sets a new benchmark for the international scholarly study of music on television and its pervading influence on consumer choice.

An expert explains and analyzes the beloved art form An iconic symbol of Spain, flamenco has become a global phenomenon. Peter Manuel offers English-language readers a rare portrait of the music’s history, styles, and cultural impact. Beginning with flamenco’s Moorish and Roma influences, Manuel follows the music’s evolution through its consolidation in the mid-1800s and on to the vibrant contemporary scene. An investigation of flamenco’s major song-types looks at rhythm and compás, guitar technique, and many other aspects of the music while Manuel’s description and analysis of the repertoire range from soleares and bulerías to tangos. His overview of contemporary flamenco culture provides insight into issues that surround the music, including globalization, gender dynamics, notions of ownership, and the ongoing debates on purity versus innovation and the relative roles played by Gitanos and non-Gitanos. Multifaceted and entertaining, Flamenco Music is an in-depth study of the indelible art form that inspires enthusiasts and practitioners around the world.

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.

Discussion concerning the 'musicality' of Samuel Beckett's writing now constitutes a familiar critical trope in Beckett Studies, one that continues to be informed by the still-emerging evidence of Beckett's engagement with music throughout his personal and literary life, and by the ongoing interest of musicians in Beckett's work. In Beckett's drama and prose writings, the relationship with music plays out in implicit and explicit ways. Several of his works incorporate canonical music by composers such as Schubert and Beethoven. Other works integrate music as a compositional element, in dialogue or tension with text and image, while others adopt rhythm, repetition and pause to the extent that the texts themselves appear to be 'scored'. But what, precisely, does it mean to say that a piece of prose or writing for theatre, radio or screen, is 'musical'? The essays included in this book explore a number of ways in which Beckett's writings engage with and are engaged by musicality, discussing familiar and less familiar works by Beckett in detail. Ranging from the scholarly to the personal in their respective modes of response, and informed by approaches from performance and musicology, literary studies, philosophy, musical composition and creative practice, these essays provide a critical examination of the ways we might comprehend musicality as a definitive and often overlooked attribute throughout Beckett's work.

Jazz Improvisation Using Simple Melodic Embellishment teaches fundamental concepts of jazz improvisation, highlighting the development of performance skills through embellishment techniques. Written with the college-level course in mind, this introductory textbook is both practical and comprehensive, ideal for the aspiring improviser, focused not on scales and chords but melodic embellishment. It assumes some basic theoretical knowledge and level of musicianship while introducing multiple techniques, mindful that improvisation is a learned skill as dependent on hard work and organized practice as it is on innate talent. This jargon-free textbook can be used in both self-guided study and as a course book, fortified by an array of interactive exercises and activities: musical examples performance exercises written assignments practice grids resources for advanced study and more! Nearly all musical exercises-presented throughout the text in concert pitch and transposed in the appendices for E-flat, B-flat, and bass clef instruments-are accompanied by backing audio tracks, available for download via the Routledge catalog page along with supplemental instructor resources such as a sample syllabus, PDFs of common transpositions, and tutorials for gear set-ups. With music-making at its core, Jazz Improvisation Using Simple Melodic Embellishment implores readers to grab their instruments and play, providing musicians with the simple melodic tools they need to "jazz it up."

John Wallis (1616-1703), was one of the foremost British mathematicians of the seventeenth century, and is also remembered for his important writings on grammar and logic. An interest in music theory led him to produce translations into Latin of three ancient Greek texts - those of Ptolemy, Porphyry and Bryennius - and involved him in discussions with Henry Oldenburg, the Secretary of the Royal Society, Thomas Salmon and other individuals as his ideas developed. The texts presented in this volume cover the relationship of ancient and modern tuning theory, the building of organs, the phenomena of resonance, and other musical topics.

Examines the life and work of Scottish cellist and antiquarian John Gunn (1766-1824) through newly discovered sources. The Scottish cellist and antiquarian John Gunn (1766-1824) is unique among British writers on music in the late eighteenth and early nineteenth century. Learned and practical, at home in classical and modern languages, knowledgeable in a wide range of musical topics and with even wider-ranging interests, and committed to the ideal of progress through rational thought, he typified the Enlightenment. His published output was large and diverse: a cello treatise in two quite different editions; two books on the flute and one on the piano; a treatise on figured bass; a history of the harp in the Highlands; and a translation of a French work of music theory. The list of his unrealised publications is even longer, including a proof of the oriental origins of the Scots. He married Anne Young, a well-known Edinburgh piano teacher, and his letters cast new light on the circumstances and date of her death. Taking account of Gunn's diverse experiences as a musician-scholar in Cambridge, London and Edinburgh, studying his sundry occupations, and exploring his social connections through a recently unearthed cache of his letters, this study moves away from 'treatise archaeology' and offers a broader view than is usually possible with such figures. The book will be of interest to those studying historical performance practice, music education in Enlightenment Britain, and the dissemination of Enlightenment thought.

This book explores the web of pitch relations that generates the musical language of non-serialized twelve-tone music and supplies both the analytical materials and methods necessary for analyses of a vast proportion of the 20th century musical repertoire. It does so in a simple, clear, and systematic manner to promote an easily accessible and global understanding of this music. Since the chromatic scale is the primary source for the pitch materials of 20th-century music, common sub-collections of the various modes and interval cycles serve as the basis for their mutual transformation. It is precisely this peculiarity of the non-serialized twelve-tone system that allows for an array of pitch relations and modal techniques hitherto perceived difficult if not impossible to analyze. Susanni and Antokoletz present the principles, concepts, and materials employed for analysis using a unique theoretic-analytical approach to the new musical language. The book contains a large number of original analyses that explore a host of composers including Ives, Stravinsky, Bartok, Messiaen, Cage, Debussy, Copland, and many more, providing insight into the music of the tonal revolution of the twentieth century and contributing an important perspective to how music works in general."

The gayat al-matlub fi 'ilm al-adwar wa-'l-durub by Ibn Kurr is the only theoretical text of any substance that can be considered representative of musicological discourse in Cairo during the first half of the fourteenth century CE. Indeed, nothing comparable survives from the whole Mamluk period, which extends from 1260 until the Ottoman invasion and conquest of Egypt in 1516. But its value does not derive merely from its fortuitous isolation: it is important, rather, because of the richness of the information it provides with regard to modal and rhythmic structures, and also because of the extent to which the definitions it offers differ from those set forth in an interrelated series of major theoretical works in both Arabic and Persian that span the period from the middle of the thirteenth century to the late fifteenth. Alongside the presumption of transregional uniformity these texts suggest, it consequently asserts the significance of local particularism. Owen Wright provides a critical edition of the text itself, together with a glossary, prefaced by an introduction and a detailed commentary and analysis. The introduction provides immediate context, situating the work in relation to the dominant theoretical tradition of the period and providing biographical information about the author, active in Cairo during the first half of the fourteenth century.

Despite the ups and downs of his personal life and professional career-even in the face of deafness-Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, the music historian Mark Evan Bonds argues, provides the key to understanding the composer's life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington's Victory. Beethoven's works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.

Music cultures today in rural and urban Mongolia and Inner Mongolia emerge from centuries-old pastoralist practices that were reshaped by political movements in the twentieth century. Mongolian Sound Worlds investigates the unique sonic elements, fluid genres, social and spatial performativity, and sounding objects behind new forms of Mongolian music--forms that reflect the nation's past while looking towards its globalized future. Drawing on fieldwork in locations across the Inner Asian region, the contributors report on Mongolia's genres and musical landscapes; instruments like the morin khuur, tovshuur, and Kazakh dombyra; combined fusion band culture; and urban popular music. Their broad range of concerns include nomadic herders' music and instrument building, ethnic boundaries, heritage-making, ideological influences, nationalism, and global circulation. A merger of expert scholarship and eyewitness experience, Mongolian Sound Worlds illuminates a diverse and ever-changing musical culture. Contributors: Bayarsaikhan Badamsuren, Otgonbaayar Chuulunbaatar, Andrew Colwell, Johanni Curtet, Charlotte D'Evelyn, Tamir Hargana, Peter K. Marsh, K. Oktyabr, Rebekah Plueckhahn, Jennifer C. Post, D. Tserendavaa, and Sunmin Yoon

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.

Robert P. Morgan is one of a small number of music theorists writing in English who treat music theory, and in particular Schenkerian theory, as part of general intellectual life. Morgan's writings are renowned within the field of music scholarship: he is the author of the well-known Norton volume Twentieth-Century Music, and of additional books relating to Schenkerian and other theory, analysis and society. This volume of Morgan's previously published essays encompasses a broad range of issues, including historical and social issues and is of importance to anyone concerned with modern Western music. His specially written introduction treats his writings as a whole but also provides additional material relating to the articles included in this volume.

Popular Music and the Postcolonial addresses the often-overlooked relationship between the fields of popular music and postcolonial studies, and it has implications for ethnomusicology, cultural and literary studies, history, sociology, and political economy. Popular music in its many forms exploded in popularity, following developments in sound technology and shifting population demographics, in the 1960s, the era of radical agitation against empires in the global south but also within the very heart of Europe. Popular music aided in fostering and documenting such resistance to violent oppression and in liberating the hearts and minds of the colonized. This collection offers a timely intervention in this field, showing popular music's role in defining or undermining certain colonial and postcolonial nations, in expanding and complicating the domain of postcolonial theorists-including the "founder" of postcolonial studies Edward Said-and in decolonizing the ears of its diverse, sometimes antagonistic, audiences. This book was originally published as a special issue of Popular Music and Society.

In studies of gender and sexuality in popular music, the concept of difference is often a crucial analytic used to detect social agency; however, the alternative analytic of ambiguity has never been systematically examined. While difference from heterosexual norms is taken to be the multivalent sign of resistance, oppression, and self-invention, it can lead to inflated claims of the degree and power of difference. This book offers critically-oriented case studies that examine the theory and politics of ambiguity. Ambiguity means that there are both positive and negative implications in any gender and sexuality practices, both sameness and difference from heteronormativity, and unfixed possibility in the diverse nature of discourse and practice (rather than just "difference" among fixed multiplicities). Contributors present a diverse array of approaches through music, sound, psyche, body, dance, performance, race, ethnicity, power, discourse, and history. A wide variety of popular music genres are broached, including gay circuit remixes, punk rock, Goth music, cross-dress performance, billboard 100 songs, global pop, and nineteenth-century minstrelsy. The authors examine the ambiguities of performance and reception, and address the vexed question of whether it is possible for genuinely new forms of gender and sexuality to emerge musically. This book makes a distinctive contribution to studies of gender and sexuality in popular music, and will be of interest to fields including Popular Music Studies, Musicology/Ethnomusicology, Cultural Studies, Queer Studies, and Media Studies.

The Routledge Companion to Aural Skills Pedagogy offers a comprehensive survey of issues, practice, and current developments in the teaching of aural skills. The volume regards aural training as a lifelong skill that is engaged with before, during, and after university or conservatoire studies in music, central to the holistic training of the contemporary musician. With an international array of contributors, the volume captures diverse perspectives on aural-skills pedagogy, and enables conversation between different regions. It addresses key new developments such as the use of technology for aural training and the use of popular music. This book will be an essential resource and reference for all university and conservatoire instructors in aural skills, as well as students preparing for teaching careers in music.

Heinrich Schenker: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a composer and theorist.

Interpreting Music Video introduces students to the musical, visual, and sociological aspects of music videos, enabling them to critically analyze a multimedia form with a central place in popular culture. With highly relevant examples drawn from recent music videos across many different genres, this concise and accessible book brings together tools from musical analysis, film and media studies, gender and sexuality studies, and critical race studies, requiring no previous knowledge. Exploring the multiple dimensions of music videos, this book is the perfect introduction to critical analysis for music, media studies, communications, and popular culture.

Interpreting Music Video introduces students to the musical, visual, and sociological aspects of music videos, enabling them to critically analyze a multimedia form with a central place in popular culture. With highly relevant examples drawn from recent music videos across many different genres, this concise and accessible book brings together tools from musical analysis, film and media studies, gender and sexuality studies, and critical race studies, requiring no previous knowledge. Exploring the multiple dimensions of music videos, this book is the perfect introduction to critical analysis for music, media studies, communications, and popular culture.

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.

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.

Understanding Post-Tonal Music is a student-centered textbook that explores the compositional and musical processes of twentieth-century post-tonal music. Intended for undergraduate or general graduate courses on the theory and analysis of twentieth-century music, this book will increase the accessibility of post-tonal music by providing students with tools for understanding pitch organization, rhythm and meter, form, texture, and aesthetics. By presenting the music first and then deriving the theory, Understanding Post-Tonal Music leads students to greater understanding and appreciation of this challenging and important repertoire. The updated second edition includes new "Explorations" features that guide students to engage with pieces through listening and a process of exploration, discovery, and discussion; a new chapter covering electronic, computer, and spectral musics; and additional coverage of music from the twenty-first century and recent trends. The text has been revised throughout to enhance clarity, both by streamlining the prose and by providing a visual format more accessible to the student.

Volume 13 deals with the interaction of music and politics, considering a broad range of genres, authors, composers, and artists in Germany since the nineteenth century. A particularly iconic image of German Reunification is that of Mstislav Rostropovich playing from J. S. Bach's cello suites in front of the Berlin Wall on November 11, 1989. Thirty years on, it is timely to reconsider the cross-fertilization of music and politics within the German-speaking context. Frequently employed as a motivational force, a propaganda tool, or even a weapon, music can imbue a sense of identity and belonging, triggering both comforting and disturbing memories. Playing a key role in the formation of Heimat and "Germanness," it serves ideological, nationalistic, and propagandistic purposes conveying political messages and swaying public opinion. This volume brings together essays by historians, literary scholars, and musicologists on topics concerning the increasing politicization of music, especially since the nineteenth century. They cover a broad spectrum of genres, musicians, and thinkers, discussing the interplay of music and politics in "classical" and popular music: from the rediscovery and repurposing of Martin Luther in nineteenth-century Germany to the exploitation of music during the Third Reich, from the performative politics of German punk and pop music to the influence of the events of 1988/89 on operatic productions in the former GDR - up to the relevance of Ernst Bloch in our contemporary post-truth society.