While interpretation of musical scores is amongst the most frequent of musical activities, it is also, strangely, one of the least researched. This collection of essays seeks to remedy this deficit by illuminating ways in which today's curious musician - interested in probing beyond the dictates of a faintly understood score - can engage more deeply and thoughtfully with the act of interpretation. Skilful musical interpretation draws on a vast range of knowledges. The chapters of this collection accordingly address a similarly broad set of issues, including notation, rhetoric, theory, historiography, performers past and present, instrument builders, concert presenters, reception history, and more. Written by leading experts from a variety of musical subdisciplines, these essays are designed to be accessible and practically relevant for musical performance. Many of the chapters utilize case studies and, as such, will be useful for university and conservatory level students as well as music scholars. The chapters in this book were originally published as a special issue of the Journal of Musicological Research.

When Genres Collide is a provocative history that rethinks the relationship between jazz and rock through the lens of the two oldest surviving and most influential American popular music periodicals: Down Beat and Rolling Stone. Writing in 1955, Duke Ellington argued that the new music called rock 'n' roll "is the most raucous form of jazz, beyond a doubt." So why did jazz and rock subsequently become treated as separate genres? The rift between jazz and rock (and jazz and rock scholarship) is based on a set of received assumptions about their fundamental differences, but there are other ways popular music history could have been written. By offering a fresh examination of key historical moments when the trajectories and meanings of jazz and rock intersected, overlapped, or collided, it reveals how music critics constructed an ideological divide between jazz and rock that would be replicated in American musical discourse for decades to follow. Recipient of and Honorable Mention in the PROSE Award, Music & the Performing Arts 2018.

The Brazilian "berimbau," a musical bow, is most commonly associated with the energetic martial art/dance/game of "capoeira." This study explores the berimbau's stature from the 1950s to the present in diverse musical genres including bossa nova, samba-reggae, MPB (Popular Brazilian Music), electronic dance music, Brazilian art music, and more. Berimbau music spans oral and recorded historical traditions, connects Latin America to Africa, juxtaposes the sacred and profane, and unites nationally constructed notions of Brazilian identity across seemingly impenetrable barriers.

"The Berimbau: Soul of Brazilian Music" is the first work that considers the berimbau beyond the context of capoeira, and explores the bow's emergence as a national symbol. Throughout, this book engages and analyzes intersections of musical traditions in the Black Atlantic, North American popular music, and the rise of global jazz. This book is an accessible introduction to Brazilian music for musicians, Latin American scholars, capoeira practitioners, and other people who are interested in Brazil's music and culture.

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

This revised, enhanced edition of the life and works of composer and Admiral Jean Cras traces, through new research, the remarkable career of this celebrated composer, decorated war hero, scientist and inventor. As Henri Duparc's only protege, his "spiritual son" enjoyed the same level of esteem during the 1920s as his friends Ravel and Roussel. This edition sustains the renaissance of Jean Cras and includes a new chapter devoted to the composer's early songs, to be released concurrently. " Le Canadien Paul-Andre Bempechat, est parfaitement francophone mais c'est en anglais qu'il redige cette somme dediee a Jean Cras ... Tout y est, ... sa carriere marine, ... l'inventeur brilliant, l'esthete petri d'humanisme, le musicien dans son oeuvre. ... Le portrait est vivant, Jean Cras se tient devant vous et tous les secrets de son art subtil sont demontres. " - Diapason "There is no doubt that, in subsequent studies of Jean Cras's life and works, this book will be the first source to which the researcher turns. Bempechat's deft and skilful blending of a beautifully written and engaging biography with lucid and erudite musical analysis, interspersed with tales of military history and scientific discovery, has resulted in a book that is absolutely engaging on its own, as it tells the life story of a most extraordinary man." - Nineteenth-Century Music Review

Throughout the history of slavery, enslaved people organized resistance, escape, and rebellion. Sustaining them in this struggle was their music, some examples of which are sung to this day. While the existence of slave songs, especially spirituals, is well known, their character is often misunderstood. Slave songs were not only lamentations of suffering or distractions from a life of misery. Some songs openly called for liberty and revolution, celebrating such heroes as Gabriel Prosser and Nat Turner, and, especially, celebrating the Haitian Revolution. The fight for freedom also included fugitive slaves, free Black people, and their white allies who brought forth a set of songs that were once widely disseminated but are now largely forgotten, the songs of the abolitionists. Often composed by fugitive slaves and free Black people, and first appearing in the eighteenth century, these songs continued to be written and sung until the Civil War. As the movement expanded, abolitionists even published song books used at public meetings. Mat Callahan presents recently discovered songs composed by enslaved people explicitly calling for resistance to slavery, some originating as early as 1784 and others as late as the Civil War. He also presents long-lost songs of the abolitionist movement, some written by fugitive slaves and free Black people, challenging common misconceptions of abolitionism. Songs of Slavery and Emancipation features the lyrics of fifteen slave songs and fifteen abolitionist songs, placing them in proper historical context and making them available again to the general public. These songs not only express outrage at slavery but call for militant resistance and destruction of the slave system. There can be no doubt as to their purpose: the abolition of slavery, the emancipation of African American people, and a clear and undeniable demand for equality and justice for all humanity.

this volume seeks to explore the constructive potential of noise in contemporary musical practices. Rather than viewing noise as a 'defect', this volume aims at studying its aesthetic and cultural potential. This book includes work on avant-garde music developed in the domain of classical music as well.

The Sami are Europe s only recognized indigenous people living across regions of Norway, Sweden, Finland and the Russian Kola peninsula. The subjects of a history of Christianization, land dispossession, and cultural assimilation, the Sami have through their self-organization since World War II worked towards Sami political self-determination across the Nordic states and helped forge a global indigenous community. Accompanying this process was the emergence of a Sami music scene, in which the revival of the distinct and formerly suppressed unaccompanied vocal tradition of joik was central. Through joiking with instrumental accompaniment, incorporating joik into forms of popular music, performing on stage and releasing recordings, Sami musicians have played a key role in articulating a Sami identity, strengthening Sami languages, and reviving a nature-based cosmology. Thomas Hilder offers the first book-length study of this diverse and dynamic music scene and its intersection with the politics of indigeneity. Based on extensive ethnographic research, Hilder provides portraits of numerous Sami musicians, studies the significance of Sami festivals, analyzes the emergence of a Sami recording industry, and examines musical projects and cultural institutions that have sought to strengthen the transmission of Sami music. Through his engaging narrative, Hilder discusses a wide range of issues revival, sovereignty, time, environment, repatriation and cosmopolitanism to highlight the myriad ways in which Sami musical performance helps shape notions of national belonging, transnational activism, and processes of democracy in the Nordic peninsula. Sami Musical Performance and the Politics of Indigeneity in Northern Europe will not only appeal to enthusiasts of Nordic music, but, by drawing on current interdisciplinary debates, will also speak to a wider audience interested in the interplay of music and politics. Unearthing the challenges, contradictions and potentials presented by international indigenous politics, Hilder demonstrates the significance of this unique musical scene for the wider cultural and political transformations in twenty-first century Europe and global modernity."

Our understanding of music is inherently metaphorical, and metaphoricity pervades all sorts of musical discourses, be they theoretical, analytical, philosophical, pedagogical, or even scientific. The notions of "body" and "force" are the two most pervasive and comprehensive scientific metaphors in musical discourse. Throughout various intertwined contexts in history, the body-force pair manifests multiple layers of ideological frameworks and permits the conceptualization of music in a variety of ways. Youn Kim investigates these concepts of body and force in the emerging field of music psychology in the late nineteenth and early twentieth centuries. The field's discursive space spans diverse contexts, including psychological theories of auditory perception and cognition, pedagogical theories on the performer's bodily mechanism, speculative and practical theories of musical rhythm, and aesthetical discussion of the power of music. This investigation of body and force aims to illuminate not just the past scene of music psychology but also the notions of music that are being constructed at present.

This book studies George Crumb's Winds of Destiny (2004) and Black Angels (1970) as artefacts of collective memory and cultural trauma. It situates these two pieces in Crumb's output and unpacks the complex methodologies needed to understand these pieces as contributions and challenges to traditional narratives of the Civil War and the Vietnam War. This book shows how this association began and how it endures through connections to iconic Vietnam War media, including films and books. Together these analyses show the legacy of trauma in American collective memory, which is in a continuous crisis. \This book will be of interest to students of contemporary American music, American studies, and memory studies. It benefits readers by newly situating Crumb's music within these three fields of study.

Offers a comprehensive guide to approaching a degree in music, tailored to the needs of first-year undergraduate students. Questions for discussion, chapter-by-chapter assignments, and downloadable eResources provide practical tools to develop students' professional, practical and academic skills. Includes contributions from faculty across all areas of music that establish foundations to prepare students for all types of music specialities.

This book offers a detailed analysis of the history of female musicians in the Highlife music tradition of the Republic of Ghana, particularly the challenges and constraints these women faced and overcame. Highlife - a form of West African music infusing Ghana's traditional Akan dance rhythms and melodies with European instruments and harmonies - grew in popularity throughout the 20th century and hit its peak in the 1970s and 1980s. Although women played significant roles in the evolution and survival of the genre, few of their contributions have been thoroughly explored or documented. Despite being disregarded and ignored in many spheres, female Highlife musicians thrived and became trailblazers in the Ghanaian music industry, making particularly vibrant contributions to Highlife music in the 1970s. This book presents the voices of female Highlife artists and documents the ideological transformations expressed through their musical works, exploring the challenges they confronted throughout their musical careers and their contributions to music and culture in Ghana.

This book presents the first English introduction to the broad history of the Gothic mode in Spain. It focuses on key literary periods, such as Romanticism, the fin-de-siecle, spiritualist writings of the early-twentieth century, and the cinematic and literary booms of the 1970s and 2000s. With illustrative case studies, Aldana Reyes demonstrates how the Gothic mode has been a permanent yet ever-shifting fixture of the literary and cinematic landscape of Spain since the late-eighteenth century. He proposes that writers and filmmakers alike welcomed the Gothic as a liberating and transgressive artistic language.

This book is designed for composers, orchestral musicians, conductors, orchestral managers and programmers as well as for music students and their instructors/supervisors who want to investigate contemporary Australian concert music for orchestra and are interested in the nature of contemporary symphonism. It is also intended for musically informed concert-goers and music lovers eager to explore an unfamiliar but rich repertory of fine symphonies.

Scholarship applied alonsgide personal voices and vivid narratives to present potential meanings to music participation Potential meanings to music participation explored across age groups, communities and spaces Ten original studies presenting diverse portrait of music engagement A valuable resource for scholars, professionals, and students working in school and community music or music education research, as well as readers interested in general education, social psychology, lifelong learning, and aging studies.

From its use in literary theory, film criticism and the discourse of games design, Salomé Voegelin expands ‘possible world theory’ to think the worlding of sound in music, in art and in the everyday. The modal logic of possible worlds, articulated principally via David K. Lewis and developed through Maurice Merleau-Ponty’s phenomenological life-worlds, creates a view on the invisible slices of the world and reflects on how to make them count, politically and aesthetically. How to make them thinkable and accessible as the possibility of the everyday and of art: to reach a new materialist understanding from the invisible and to develop an ear for the as yet inaudible. This revised edition continues Voegelin’s exploration of the sonic possibility of the world into the sonic possibility and impossibility of the body. Listening to work by �ine O’Dwyer, Hannah Silva and Jocy de Oliveira, it considers sonic possible worlds’ radical power to rethink normative constructions and to fabulate a different body from its sound: Hearing the Continuum Between Plural Bodies; between humans, humanoid aliens, monsters, vampires, plants, things and anything we have no name for yet but which a sonic philosophy might start to hear and call.

Very Short Introductions: Brilliant, Sharp, Inspiring The world teems with different kinds of music - traditional, folk, classical, jazz, rock, pop - and each type of music tends to come with its own way of thinking. Drawing on a wealth of accessible examples ranging from Beethoven to Chinese zither music, this Very Short Introduction considers the history of music and thinking about music, focussing on its social and cultural dimensions. Nicholas Cook balances the Western Classical traditions within the context of many other musical cultures in today's world, tracing the way in which their development since the eighteenth century has conditioned present-day thinking and practice both within and beyond the West. He also considers the nature of music as a real-time performance practice; the role of music in contexts of social and political action; and the nature of musical thinking, including the roles played in it by instruments, notations, and creative imagination. In this new edition Cook explores the impact of digital technology on the production and consumption of music, including how it has transformed participatory music-making and the music business. He also discusses music's position in a globalized world, from the role it played in historical processes of colonisation and decolonisation to its present-day significance as a vehicle of cross-cultural communication. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

The last half-decade has seen the rapid and expansive development of video game music studies. As with any new area of study, this significant sub-discipline is still tackling fundamental questions concerning how video game music should be approached. In this volume, experts in game music provide their responses to these issues. This book suggests a variety of new approaches to the study of game music. In the course of developing ways of conceptualizing and analyzing game music it explicitly considers other critical issues including the distinction between game play and music play, how notions of diegesis are complicated by video game interactivity, the importance of cinema aesthetics in game music, the technicalities of game music production and the relationships between game music and art music traditions. This collection is accessible, yet theoretically substantial and complex. It draws upon a diverse array of perspectives and presents new research which will have a significant impact upon the way that game music is studied. The volume represents a major development in game musicology and will be indispensable for both academic researchers and students of game music.

A new history of twentieth-century North Africa, that gives voice to the musicians who defined an era and the vibrant recording industry that carried their popular sounds from the colonial period through decolonization. If twentieth-century stories of Jews and Muslims in North Africa are usually told separately, Recording History demonstrates that we have not been listening to what brought these communities together: Arab music. For decades, thousands of phonograph records flowed across North African borders. The sounds embedded in their grooves were shaped in large part by Jewish musicians, who gave voice to a changing world around them. Their popular songs broadcast on radio, performed in concert, and circulated on disc carried with them the power to delight audiences, stir national sentiments, and frustrate French colonial authorities. With this book, Christopher Silver provides the first history of the music scene and recording industry across Morocco, Algeria, and Tunisia, and offers striking insights into Jewish-Muslim relations through the rhythms that animated them. He traces the path of hit-makers and their hit records, illuminating regional and transnational connections. In asking what North Africa once sounded like, Silver recovers a world of many voices—of pioneering impresarios, daring female stars, cantors turned composers, witnesses and survivors of war, and national and nationalist icons—whose music still resonates well into our present.

Wasn't That a Mighty Day: African American Blues and Gospel Songs on Disaster takes a comprehensive look at sacred and secular disaster songs, shining a spotlight on their historical and cultural importance. Featuring newly transcribed lyrics, the book offers sustained attention to how both Black and white communities responded to many of the tragic events that occurred before the mid-1950s. Through detailed textual analysis, Luigi Monge explores songs on natural disasters (hurricanes, floods, tornadoes, and earthquakes); accidental disasters (sinkings, fires, train wrecks, explosions, and air disasters); and infestations, epidemics, and diseases (the boll weevil, the jake leg, and influenza). Analyzed songs cover some of the most well-known disasters of the time period from the sinking of the Titanic and the 1930 drought to the Hindenburg accident, and more. Thirty previously unreleased African American disaster songs appear in this volume for the first time, revealing their pertinence to the relevant disasters. By comparing the song lyrics to critical moments in history, Monge is able to explore how deeply and directly these catastrophes affected Black communities; how African Americans in general, and blues and gospel singers in particular, faced and reacted to disaster; whether these collective tragedies prompted different reactions among white people and, if so, why; and more broadly, how the role of memory in recounting and commenting on historical and cultural facts shaped African American society from 1879 to 1955.

This volume of primary source material examines the organisation of music in Britian during the ninteenth century. Sources explore music careers and professions, music societies, festivals and concerts, and popular music. The collection of materials are accompanied by an introduction by Rosemary Golding, as well as headnotes contextualising the pieces. This collection will be of great value to students and scholars.

"Inklings" nannte sich eine Gruppe von Schriftstellern und Geisteswissenschaftlern in Oxford, deren bekannteste Mitglieder J.R.R. Tolkien und C.S. Lewis waren. Die Inklings-Gesellschaft e.V. widmet sich seit 1983 dem Studium und der Verbreitung der Werke dieser und ihnen nahestehender Autoren sowie der Analyse des Phantastischen in Literatur, Film und Kunst allgemein. Ihre Jahrestagungen werden in Jahrbuchern dokumentiert. Dieser Band enthalt Beitrage zum Thema "Die Musik und die Phantastik" sowie mehrere Rezensionen aktueller, relevanter Sekundarliteratur. "Inklings" was the name of a group of Oxford scholars and writers; its best-known members were J.R.R. Tolkien and C.S. Lewis. The German Inklings-Gesellschaft, founded in 1983, is dedicated to the discussion and dissemination of the works of these authors and of writers commonly associated with them and to the study of the fantastic in literature, film and the arts in general. The proceedings of the annual Inklings conferences are published in yearbooks. This volume contains papers discussing the role of music in fantasy as well as several reviews of recent relevant publications.

The term 'lyric' has evolved, been revised, redefined and contested over the centuries. In this fascinating introduction, Scott Brewster: traces the history of the term from its classical origins through the early modern, Romantic and Victorian periods and up to the twenty-first century demonstrates the influence of lyric on poetic practice, literature, music and other popular cultural forms uses three aspects -- the lyric 'self', love and desire and the relationship between lyric, poetry and performance -- as focal points for further discussion not only charts the history of lyric theory and practice but re-examines assumptions about the lyric form in the context of recent theoretical accounts of poetic discourse. Offering clarity and structure to this often intense and emotive field, Lyric offers essential insights for students of literature, performance, music and cultural studies.

Music, Passion, and Cognitive Function examines contemporary cognitive theories of music, why they cannot explain music's power over us, and the origin and evolution of music. The book presents experimental confirmations of the theory in psychological and neuroimaging research, discussing the parallel evolution of consciousness, musical styles, and cultures since Homer and King David. In addition, it explains that 'in much wisdom is much grief' due to cognitive dissonances created by language that splits the inner world. Music enables us to survive in this sea of grief, overcomes discomforts and stresses of acquiring new knowledge, and unifies the soul, hence the power of music.

No music scholar has made as profound an impact on contemporary thought as Susan McClary, a central figure in what has been termed the 'new musicology'. In this volume seventeen distinguished scholars pay tribute to her work, with essays addressing three approaches to music that have characterized her own writings: reassessing music's role in identity formation, particularly regarding gender, sexuality, and race; exploring music's capacity to define and regulate perceptions and experiences of time; and advancing new modes of analysis more appropriate to those aspects and modes of musicking ignored by traditional methods. Contributors include, in overlapping categories, many fellow pioneers, current colleagues, and former students, and their essays, like McClary's own work, address a wide range of repertories ranging from the established canon to a variety of popular genres. The collection represents the generational arrival of the 'new' musicology into full maturity, dividing fairly evenly between pre-eminent scholars of music and a group of younger scholars who have already made their mark in significant ways. But the collection is also, and fundamentally, interdisciplinary in nature, in active conversation with such fields as history, anthropology, philosophy, aesthetics, media studies, film music studies, dramatic criticism, women's studies, and cultural studies.