With a discography of over 1000 songs, 20 musicals and three motion pictures, the Lebanese singer and performer, Fairouz, is an artist of pan-Arab appeal, who has connected with listeners from diverse backgrounds and geographies for over four often tumultuous decades. In this book, Dima Issa explores the role of Fairouz's music in creating a sense of Arab identity amidst changing political, economic context. Based on two years of research including 60 interviews, it takes an ethnographic approach, focussing on audience reception of Fairouz's music among the Arab diasporas of London and Doha. It shows that for discussants, talking about Fairouz meant discussing diasporic life, bringing to the surface notions of Arabness and authenticity, presence and absence, naturalization and citizenship, and the issue of gender. Conversations with the research respondents shed light on the idea of iltizam (commitment), or how members of the Arab diaspora hold on to attributes that they feel define and differentiate them from others.

Far from its sites of origin in the Global North, metal music thrives in the hands of musicians, fans, and scholars throughout other geographies of the world. Metal in the Global South, the latter defined as a geographical and symbolic space marked by the colonial dynamics of modernity, shines through in Defiant Sounds: Heavy Metal Music in the Global South. The volume brings together authors working from and/or with the Global South to reflect on the roles of metal music throughout their respective regions. With contributions spanning Latin America, Africa, the Middle East, Asia, Oceania, and Indigenous Nations, the essays position metal music at the epicenter of region-specific experiences of oppression marked by colonialism, ethnic extermination, political persecution, and war. More importantly, the authors stress how metal music is used throughout the Global South to face these oppressive experiences, foster hope, and promote an agenda that seeks to build a better world. It may be that metal's greatest contribution to human emancipation will be in the years to come, in places its originators never imagined. This volume offers evidence of that contribution already taking place in the geographical and symbolic space that we respectfully and emphatically call the Distorted South.

Experiencing Music Composition in Grades 3-5 is a practical guide to new, innovative, and natural composition techniques for young composers. Music Educators Michele Kaschub and Janice Smith bring a wealth of experience to bear a unique and thoughtfully curated series of materials that help teachers connect music education to young composers' everyday emotions and activities . Divided into four sections, Kaschub and Smith's book illustrates a creative roadmap for instilling a sense of creative independence in students ages 8-11. The first section introduces readers to three distinct compositional ideals that are as educationally significant as the music they help create: feelingful intention, musical expressivity, and artistic craftsmanship. These capacities help springboard children's work from sounds and brief musical gestures to thoughtfully created, expressive musical pieces. Section 2 includes fun and imaginative lessons that are accompanied by Sketchpages-graphic worksheets that support deep consideration of a project's purpose during the compositional process. Lessons also include invaluable suggestions for productive sharing in a variety of formats. Section 3 offers guidance and strategies for sharing work, providing feedback, and encouraging future growth in a manner that fosters a positive learning experience and acknowledges each composer's musical autonomy. Section 4 contains additional teacher guides focused on creating original music in different genres. These guides outline multiple approaches to corresponding lessons and jumpstart activity while serving as developmental models. Experiencing Music Composition: Grades 3-5 offers new ways to promote not only creative intuition in children but also independent thought, preparing students for a fulfilling relationship with music.

As any well-organized, carefully annotated bibliography does, this work by Southern and Wright brings order out of chaos. The 2,328 entries identify books, articles, sermons, pamphlets, and broadsides, among other formats, all centered on black folk culture with emphasis on the manifestations of that culture from 1600 to 1920 through song, dance, games, sermons, and illustrations. . . . This carefully done and useful bibliography is recommended for libraries on all campuses where there is an interest in the black experience. Choice African-American Traditions in Song, Sermon, Tale, and Dance is undeniably the most valuable resource available to scholars engaged in Afro-American folk culture research. An untapped wealth of primary information has been chronologically cataloged within this comprehensive, annotated guide. It covers a period of over 300 years of African-American cultural history in the United States. Materials fall into three categories: literary publications, iconographical records, and collections of song, tale, and sermon texts. Focusing on folk culture, 2,328 items were chosen for their historical relevance as well as to insure broad representation. Eileen Southern and Josephine Wright's bibliography provides researchers with the tools needed to shatter myths and stereotypes and to form concise theses supported by extensive evidence. The bibliography is divided into four major chronological sections: Colonial-Federalist, Antebellum, Post-Emancipation, and Early Twentieth Century. A fifth section, The WPA Slave Narrative Collection, includes materials (collected in the 1930s) that are essential to a serious discussion of American slavery. Within these five sections materials are classified as literature, artwork, and/or collections. Literature and artwork subsections are further divided into social activities, religious experience, song, and tale. Iconographical entries often compliment the literary ones and some themes run throughout the book. The materials are indexed by names of authors and artists, by subject, and by first lines of songs.

Brings new insights to the music of well-known European composers by telling a fascinating, little-known story about French music publishing, specifically through the lens of Jacques Durand's Édition Classique. French composers, performers and musicologists acted as editors of eighteenth- and nineteenth-century European 'classics', primarily for piano. Among these editors were Fauré, Saint-Saëns, Debussy, Ravel and Dukas; the objects of their enquiries included core works by Rameau, Bach, Mozart, Beethoven, Mendelssohn, Schumann and Chopin. Presenting six composer-editor case studies, the volume shows that the French 'accent', both musical and cultural, upon this predominantly Austro-German music was highly varied. Editorial responses range from scholarly approaches to those directed by performance or compositional agendas, and from pan-European to strongly patriotic stances. Intriguing intersections are revealed between old and new, and between French and cross-European canons. Beyond editing, the book explores the Édition's role in pedagogy and performance, including by pianists Robert Casadesus and Yvonne Loriod, and in the reassertion of contemporary French composition, especially regarding innovation around neoclassicism. It will interest a wide readership, including musicologists, performers and concert-goers, cultural historians and other humanities scholars.

Cutting-edge perspectives on a hot topic, with few competing titles on the market Contributor list includes some very well known professionals, as well as diverse academics from different disciplines Accessible and interdisciplinary introductory volume

Distinguished music theorist and composer David Lewin (1933-2003) applies the conceptual framework he developed in his earlier, innovative Generalized Musical Intervals and Transformations to the varied repertoire of the twentieth century in this stimulating and illustrative book. Analyzing the diverse compositions of four canonical composers--Simbolo from Dallapiccola's Quaderno musicale di Annalibera; Stockhausen's Klavierstuck III; Webern's Op. 10, No. 4; and Debussy's Feux d'articifice --Lewin brings forth structures which he calls "transformational networks" to reveal interesting and suggestive aspects of the music. In this complementary work, Lewin stimulates thought about the general methodology of musical analysis and issues of large-scale form as they relate to transformational analytic structuring. Musical Form and Transformation, first published in 1993 by Yale University Press, was the recipient of an ASCAP Deems Taylor Award.

Immersion is the new orthodoxy. Within the production, curation and critique of sound art, as well as within the broader fields of sound studies and auditory culture, the immersive is routinely celebrated as an experiential quality of sound, the value of which is inherent yet strengthened through dubious metaphysical oppositions to the visual. Yet even within the visual arts an acoustic condition grounded in Marshall McLuhan's metaphorical notion of acoustic space underwrites predispositions towards immersion. This broad conception of an acoustic condition in contemporary art identifies the envelopment of audiences and spectators who no longer perceive from a distance but immanently experience immersive artworks and environments. Immanence and Immersion takes a critical approach to the figures of immersion and interiority describing an acoustic condition in contemporary art. It is argued that a price paid for this predisposition towards immersion is often the conceptual potency and efficacy of the work undertaken, resulting in arguments that compound the marginalisation and disempowerment of practices and discourses concerned with the sonic. The variously phenomenological, correlational and mystical positions that support the predominance of the immersive are subject to critique before suggesting that a stronger distinction between the often confused concepts of immersion and the immanence might serve as a means of breaking with the figure of immersion and the circle of interiority towards attaining greater conceptual potency and epistemological efficacy within the sonic arts.

How do musical analysis and performance relate? In a unique collaborative approach to this question, theorist-pianist Daphne Leong partners with internationally renowned performers to interpret twentieth-century repertoire. Imaginative explorations of music by Ravel, Schoenberg, Bartok, Schnittke, Milhaud, Messiaen, Babbitt, Carter, and Morris illuminate focal issues such as the role of embodiment, the affordances of a score, the cultural understanding of notation, the use of metaphor, and - to round out the viewpoints of theorist and performers with those of composer and listeners - the role of structure in audience reception. Each exploration engages deeply with musical structure, redefined to encompass the creative activity of composers, performers, analysts, and listeners. Performances, demonstrations, and interviews online complement the book's written text; practical application and pedagogical guidance round out theoretical and analytical content. The collaborations themselves demonstrate different dimensions of knowledge at the intersection of analysis and performance, and illustrate Leong's theory of the things and people that facilitate cross-disciplinary collaboration in music. They also exemplify the antagonisms and synergies that emerge when theorists and performers meet. Both flexibly and rigorously conceived, Performing Knowledge is a brave crossing of disciplinary divides between scholarship and practice, a work of analysis shaped by the voices of performers.

In the first book to examine the overlooked relationship between musical improvisation and philosophical hermeneutics, Sam McAuliffe asks: what exactly is improvisation? And how does it relate to our being-in-the-world? Improvisation in Music and Philosophical Hermeneutics answers these questions by investigating the underlying structure of improvisation. McAuliffe argues that improvising is best understood as attending and responding to the situation in which one find itself and, as such, is essential to how we engage with the world. Working within the hermeneutic philosophical tradition - drawing primarily on the work of Martin Heidegger, Hans-Georg Gadamer, and Jeff Malpas - this book provides a rich and detailed account of the ways in which we are all already experienced improvisers. Given the dominance of music in discussions of improvisation, Part I of this book uses improvised musical performance as a case study to uncover the ontological structure of improvisation: a structure that McAuliffe demonstrates is identical to the structure of hermeneutic engagement. Exploring this relationship between improvisation and hermeneutics, Part II offers a new reading of Gadamer's philosophical hermeneutics, examining the way in which Gadamer's accounts of truth and understanding, language, and ethics each possess an essentially improvisational character. Working between philosophy and music theory, Improvisation in Music and Philosophical Hermeneutics unveils the hermeneutic character of musical performance, the musicality of hermeneutic engagement, and the universality of improvisation.

A History of Western Choral Music explores the various genres, key composers, and influential works essential to the development of the western choral tradition. Author Chester L. Alwes divides this exploration into two volumes which move from Medieval music and the Renaissance era up to the 21st century. Volume II begins at the transition from the Classical era to the Romantic, with an examination of the major genres common to both periods. Exploring the oratorio, part song, and dramatic music, it also offers a thorough discussion of the choral symphony from Beethoven to Mahler, through to the present day. It then delves into the choral music of the twentieth century through discussions of the major compositional approaches and philosophies that proliferated over the course of the century, from impressionism to serialism, neo-classicism to modernism, minimalism, and the avant-garde. It also considers the emerging tendency towards nationalistic composition amongst composers such as Bartok and Stravinsky, and discusses in great detail the contemporary music of the United States, and Great Britain. Framing discussion within the political, religious, cultural, philosophical, aesthetic, and technological contexts of each era, A History of Western Choral Music offers readers specialized insight into major composers and works while providing a cohesive understanding of choral music's place in Western history.

This book looks at the historic and contemporary links between music's connection to emotions and men's supposed discomfort with their own emotional experience. Looking at music tastes and distaste, it demonstrates how a sociological analysis of music and gender can actually lead us to think about emotions and gender inequalities in different ways.

Following methods known to have been adopted by Bach himself, the exercises provided in chorale harmonization are graded in such a way as to encourage the student to develop both technique and imagination within a closely-defined framework. The instrumental counterpoint section is based on Bach's two-and three-part Inventions. By close analysis the author helps the reader to recognize the procedures Bach adopted in various musical situations. The exercises are taken largely from Bach's keyboard works.

The idea of American musical theatre conjures up images of bright lights and big city, but its lifeblood is found in local and amateur productions at schools, community theatres, summer camps, and more. In Beyond Broadway, author Stacy Wolf considers the widespread presence and persistence of musical theatre in U.S. culture, and examines it as a live, pleasurable, participatory experience of creating, watching, and listening. Why does local musical theatre flourish in America? Why do so many Americans passionately engage in a century-old artistic practice that requires intense, person-to-person collaboration? Why do audiences flock to see musicals in their hometowns? How do corporations like Disney and Music Theatre International enable musical theatre's energetic movement through American culture? Touring from Maine to California, Wolf visits elementary schools, a middle school performance festival, afterschool programs, high schools, summer camps, state park outdoor theatres, community theatres, and dinner theatres, and conducts over 200 interviews with practitioners and spectators, licensors and Disney creatives. In Beyond Broadway, Wolf tells the story of musical theatre's abundance and longevity in the U.S. as a thriving, joyful activity that touches millions of lives.

When the story of modernity is told from a theological perspective, music is routinely ignored-despite its pervasiveness in modern culture and the manifold ways it has been intertwined with modernity's ambivalent relation to the Christian God. In conversation with musicologists and music theorists, this collection of essays shows that the practices of music and the discourses it has generated bear their own kind of witness to some of the pivotal theological currents and counter-currents shaping modernity. Music has been deeply affected by these currents and in some cases may have played a part in generating them. In addition, Jeremy Begbie argues that music is capable of yielding highly effective ways of addressing and moving beyond some of the more intractable theological problems and dilemmas which modernity has bequeathed to us. Music, Modernity, and God includes studies of Calvin, Luther, and Bach, an exposition of the intriguing tussle between Rousseau and the composer Rameau, and an account of the heady exaltation of music to be found in the early German Romantics. Particular attention is paid to the complex relations between music and language, and the ways in which theology, a discipline involving language at its heart, can come to terms with practices like music, practices which are coherent and meaningful but which in many respects do not operate in language-like ways.

Fifth-century Athenian musical and political theorist Damon was the first to study music's psychological, behavioural, and political effects, profoundly influencing debates on music theory throughout antiquity. Considered by Isokrates to be the most intelligent Athenian of his age, Damon worked alongside Perikles during the most vibrant decades of Athens' democracy. Probably using fourth-century BC sources, Olympiodoros records that 'Damon taught Perikles the songs through which Perikles harmonized the city'. However, musical and political entanglements caused this teacher-theorist to be ostracized from Athens for ten years, at the height of Perikles' power. Reconstructing Damon is the first comprehensive study of the most important theorist of music and poetic meter in ancient Athens, detailing his extensive influence, and providing the first systematic collection, translation, and critical examination of all ancient testimonia for him. In doing so, this volume makes an important contribution to a number of key fields, including classical Greek music and music theory, fifth-century philosophy (particularly the sophists), political history including the growth of democracy, and the life and career of Perikles.

A New Yorker Best Book of the Year The remarkable life of violinist and teacher Shinichi Suzuki, who pioneered an innovative but often-misunderstood philosophy of early childhood education-now known the world over as the Suzuki Method. The name Shinichi Suzuki is synonymous with early childhood musical education. By the time of his death in 1998, countless children around the world had been taught using his methods, with many more to follow. Yet Suzuki's life and the evolution of his educational vision remain largely unexplored. A committed humanist, he was less interested in musical genius than in imparting to young people the skills and confidence to learn. Eri Hotta details Suzuki's unconventional musical development and the emergence of his philosophy. She follows Suzuki from his youth working in his father's Nagoya violin factory to his studies in interwar Berlin, the beginnings of his teaching career in 1930s Tokyo, and the steady flourishing of his practice at home and abroad after the Second World War. As Hotta shows, Suzuki's aim was never to turn out disciplined prodigies but rather to create a world where all children have the chance to develop, musically and otherwise. Undergirding his pedagogy was an unflagging belief that talent, far from being an inborn quality, is cultivated through education. Moreover, Suzuki's approach debunked myths of musical nationalism in the West, where many doubted that Asian performers could communicate the spirit of classical music rooted in Europe. Suzuki touched the world through a pedagogy founded on the conviction that all children possess tremendous capacity to learn. His story offers not only a fresh perspective on early childhood education but also a gateway to the fraught history of musical border-drawing and to the makings of a globally influential life in Japan's tumultuous twentieth century.

When How to Make It in the New Music Business hit shelves in 2016, it instantly became the go-to resource for musicians eager to make a living in a turbulent industry. Widely adopted by music schools everywhere and considered "the best how- to book of its kind" (Music Connection), this essential work has inspired tens of thousands of aspiring artists to stop waiting around for that "big break" and take matters into their own hands. In this highly anticipated new edition, Ari Herstand reveals how to build a profitable career with the many tools at our fingertips in the post-COVID era and beyond, from conquering social media and mastering the digital landscape to embracing authentic fan connection and simply learning how to persevere. This edition breaks down these phenomena and more, resulting in a timeless must-have for anyone hoping to navigate the increasingly complex yet advantageous landscape that is the modern music business.

DIY House Shows and Music Venues in the US is an interdisciplinary study of house concerts and other DIY (‘do-it-yourself’) music venues in the US, such as warehouses, all-ages clubs and guerrilla shows, with its primary focus on West Coast American DIY locales. Focusing on DIY houses, music venues, social spaces, and local and translocal cultural geographies, the author examines how American DIY communities constitute themselves in relation to their social and spatial environment. The ethnographic approach shows the inner-workings of American DIY culture, and how the particular people within particular places strive to achieve a social ideal of an "intimate" community.

Music has long played a prominent role in cultural diplomacy, but until now no resource has comparatively examined policies that shape how non-western countries use music for international relations. Ethnomusicology and Cultural Diplomacy, edited by scholars David G. Hebert and Jonathan McCollum, demonstrates music's role in international relations worldwide. Specifically, this book offers "insider" views from expert contributors writing about music as a part of cultural diplomacy initiatives in Afghanistan, Uzbekistan, Iran, Syria, Japan, China, India, Vietnam, Ethiopia, South Africa, and Nigeria. Unique features include the book's emphasis on diverse legal frameworks, decolonial perspectives, and cultural policies that serve as a basis for how nations outside "the west" use music in their relationships with Europe and North America.

An engaging study -- the first ever -- of the principles used by noted scholars to unravel the masterpieces of Schoenberg, Stravinsky, and other modernists. For the past forty years, pitch-class set theory has served as a frame of reference for the study of atonal music, through the efforts of Allen Forte, Milton Babbitt, and others. It has also been the subject of sometimes furious debates between music theorists and historically oriented musicologists, debates that only helped heighten its profile. Today, as oppositions have become less clear-cut, and other analytical approaches to music are gaining prominence, the time has come for a history of pitch-class set theory, its dissemination, and its role in the reception of the music of Schoenberg, Stravinsky, and other modernist composers. Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts combines thorough discussions of musical concepts with an engaging historical narrative. Pitch-class theory is treated here as part of the musical and cultural landscape of the United States. The theory's remarkable rise to authority is related to the impact of the computer on the study of music in the 1960s, and to the American university in its double role as protector of high culture and provider of mass education. Michiel Schuijer teaches at the Conservatory of Amsterdam and the University of Amsterdam. His research focuses on topics at the interface between music theory and historical musicology.

Carl Schachter is one of the most pre-eminent practitioners in the world of the Schenkerian approach to the music of the eighteenth and nineteenth centuries, which focuses on the linear organization of music, and which now dominates discussions of the standard repertoire in university courses and in professional journals. This volume gathers some of his finest essays, including those on rhythm in tonal music, Schenkerian theory, and text setting, as well as a pair of analytical monographs on Bach's Fugue in B-flat major from Volume 1 of the Well-Tempered Clavier and Chopin's Fantasy, Op. 49.

In a stretch of just seven years, the Beatles recorded hundreds of songs which tower above those of their worthy peers as both the product of cultural leadership and an artistic reflection of their turbulent age, the1960s. Walter Everett and Tim Riley's What Goes On: The Beatles, Their Music, and Their Time blends historical narrative, musicology, and music analysis to tell the full story of the Beatles and how they redefined pop music. The book traces the Beatles' development chronologically, marking the band's involvement with world events such as the Vietnam War, strides in overcoming racial segregation, gender stereotyping, student demonstrations, and the generation gap. It delves deeply into their body of work, introducing the concepts of musical form, instrumentation, harmonic structure, melodic patterns, and rhythmic devices in a way that is accessible to musicians and non-musicians alike. Close readings of specific songs highlight the tensions between imagination and mechanics, songwriting and technology, and through the book's musical examples, listeners will learn how to develop strategies for creating their own rich interpretations of the potential meanings behind their favorite songs. Videos hosted on the book's companion website offer full definitions and performance demonstrations of all musical concepts discussed in the text, and interactive listening guides illustrate track details in real-time listening. The unique multimedia approach of What Goes On reveals just how great this music was in its own time, and why it remains important today as a body of singular achievement.