Disruptive Divas: Feminism, Identity and Popular Music focuses on four female musicians who have marked contemporary popular culture in unexpected ways. Tori Amos, Courtney Love, Me'Shell Ndegéocello and P. J. Harvey have impelled and disturbed the boundaries of "acceptable" female musicianship. Burns and Lafrance give close readings to individual, representative songs by each of these artists, in order to make general statements about the role of women in popular music. The artists and songs selected explore a range of textural themes and musical studies. This book shows how this material has disrupted the general expectations of popular music style, performance and marketing and empowered women in their creativity.

Contents:
Preface Conventions Used in This Book 1. Modality: An Introduction to the Terminology and Concepts 2. The Discourse about Mode: Evidence of Textual and Musical Sources 3. Tinctoris and the Origin of Polyphonic Modality 4. Modus and Tonus: Two Attitudes towards Modes 5. The Rise and Fall of Polyphonic Modality 6. The Modes before Classical Vocal Polyphony: Evidence from Central-European Cycles 7. Zarlino and Polyphonic Modality in Italy 8. Conclusion: The Language of the Modes

From c.1750 to c.1810 the paths of music history and the history of painting converged with lasting consequences. The publication of Newton's Opticks at the start of the eighteenth century gave a 'scientific' basis to the analogy between sight and sound, allowing music and the visual arts to be defined more closely in relation to one another. This was also a period which witnessed the emergence of a larger and increasingly receptive audience for both music and the visual arts - an audience which potentially included all social strata. The development of this growing public and the commercial potential that it signified meant that for the first time it became possible for a contemporary artist to enjoy an international reputation. Nowhere is this better illustrated than in the career of Joseph Haydn. Although this phenomenon defies conventional modes of study, the book shows how musical pictorialism became a major creative force in popular culture. Haydn, the most popular living cultural personality of the period, proved to be the key figure in advancing the new relationship. The connections between the composer and his audiences and leading contemporary artists (including Tiepolo, Mengs, Kauffman, Goya, David, Messerschmidt, Loutherbourg, Canova, Copley, Fuseli, Reynolds, Gillray and West) are examined here for the first time. By the early nineteenth century, populism was beginning to be regarded with scepticism and disdain. Mozart was the modern Raphael, Beethoven the modern Michelangelo. Haydn, however, had no clear parallel in the accepted canon of Renaissance art. Yet his recognition that ordinary people had a desire to experience simultaneous aural and visual stimulation was not altogether lost, finding future exponents in Wagner and later still in the cinematic arts.

A piece a week Piano Grade 3 is ideal to be used alongside the Improve your sight-reading! Series graded piano books to support and improve the reading skills so fundamental to successful sight-reading. These fun, short pieces are specifically written to be learnt one per week. By continually reading accessible new repertoire, the crucial processing of information and hand-eye coordination are established and improved, developing confident sight-reading. The ability to sight-read fluently is a vital skill, enabling students to learn new pieces more quickly and play with other musicians. The best-selling Improve your sight-reading! Series, by renowned educationalist Paul Harris, is designed to develop sight-reading skills, especially in the context of graded exams.

Today, the names Bach and Mozart are mostly associated with Johann Sebastian Bach and Wolfgang Amadeus Mozart. But this volume of Bach Perspectives offers essays on the lesser-known musical figures who share those illustrious names alongside new research on the legendary composers themselves. Topics include the keyboard transcriptions of J. S. Bach and Johann Gottfried Walther; J. S. Bach and W. A. Mozart's freelance work; the sonatas of C. P. E. Bach and Leopold Mozart; the early musical training given J. C. Bach by his father and half-brother; the surprising musical similarities between J. C. Bach and W. A. Mozart; and the latest documentary research on Mozart's 1789 visit to the Thomasschule in Leipzig. An official publication of the American Bach Society, Bach Perspectives, Volume 14 draws on a variety of approaches and a broad range of subject matter in presenting a new wave of innovative classical musical scholarship. Contributors: Eleanor Selfridge-Field, Yoel Greenberg, Noelle M. Heber, Michael Maul, Stephen Roe, and David Schulenberg

Serial or 12-tone music has proved to be an enduring twentieth century style that has generated a wide range of writings. This much-needed work provides the only comprehensive up-to-date guide to research on serial music, offering an annotated bibliography with nearly 500 citations from books and journals from 1950 to 1995.

Music is central to any film, creating a tone for the movie that is just as vital as the visual and narrative components. In recent years, racial and gender diversity in film has exploded, and the making of musical scores has changed drastically.
"Hearing Film" offers the first critical examination of music in the films of the 1980s and 1990s and looks at the burgeoning role of compiled scores in the shaping of a film . In the first section, "A Woman Scored," Kassabian analyzes desire and agency in the music of such films as "Dangerous" "Liaisons, Desert Hearts, Bagdad Cafe, Dirty Dancing" and "Thelma and Louise." In "At the Twilight's Last Scoring," she looks at gender, race, sexuality and assimilation in the music of "The Hunt for Red October, Lethal Weapon 2" and "Indiana Jones and the Temple of Doom." And finally, in "Opening Scores," she considers how films such as "Dangerous Minds, The Substitute, Mississippi Masala" and "Corrina, Corrina" bring together several different entry points of identification through their scores.
Kassabian ensures that modern film criticism has a new chapter written through this book. Her important and long-overdue analysis is not to be ignored. Also includes 11 musical examples.

'In a word, I shall endeavour to show how our music, having been originally a shell-fish, with its restrictive skeleton on the outside and no soul within, has been developed by the inevitable laws of evolution, through natural selection and the survival of the fittest, into something human, even divine, with the strong, logical skeleton of its science inside, the fair flesh of God-given beauty outside, and the whole, like man himself, animated by a celestial, eternal spirit....' W.J. Henderson, The Story of Music (1889) Critical writing about music and music history in nineteenth-century Britain was permeated with metaphor and analogy. Music and Metaphor examines how over-arching theories of music history were affected by reference to various figurative linguistic templates adopted from other disciplines such as art, religion, politics and science. Each section of the book discusses a wide range of musicological writings and their correspondence with the language used to convey contemporary ideas such as the sublime, the ancient and modern debate, and, in particular, the theory of evolution. Bennett Zon reveals that through their application of metaphorical frameworks taken from art, religion and science, these writers and their work shed light on nineteenth-century perceptions of music history and illuminate the ways in which these disciplines affected notions of musical development.

This is the ultimate guide to the new digital world of music. Cutting through myths, it offers a step-by-step introduction to what's possible for performers, composers, and listeners-addressing legal and ethical issues as well as the nuts and bolts of what equipment to buy and what services are available. Written in a friendly, easy-to-understand way, this book will be the first and only reference needed for anyone wishing to enter the world of computer music.

This volume constitutes the first complete publication of Marina Lobanova's study - banned in Russia in 1979 as "too avant-garde" and published there only in a bowdlerized version in 1990.
Drawing on baroque, classical, romantic, and contemporary music, Dr. Lobanova proposes an original concept of musical syntax with special emphasis on the role of the categories of time, space, and motion. Embracing such aspects of cultural life as poetry and philosophy, she deals with the problems of cultural dialogue and the disintegration of the concept of "absolute music."

Major Label Mastering: Professional Mastering Process distills 25 years of mastering experience at Capitol Records into practical understandings and reliable systems. Containing unparalleled insights, this book reveals the mastering tricks and techniques used by Evren Goeknar at one of the world's most notable record labels. Beginning with the requisite competencies every Mastering Engineer must develop, Major Label Mastering delves into the particulars of the mastering studio, as well as fundamental mastering tools. Included among these tools is The Five Step Mastering Process, a rigorously tested system that equips the practitioner to successfully and confidently master a project to exacting standards of audio fidelity. Covering all bases, the book discusses both macro and micro considerations: from mindset approach and connecting with clients down to detailed guidelines for processing audio, advanced methods, and audio restoration. Each chapter ends with exercises intended to deepen understanding and skill, or to supplement course study. Suitable for all levels, this is a unique resource for students, artists, and recording and Mastering Engineers alike. Major Label Mastering is supplemented by digital resources including audio examples and video tutorials.

Caritas relates the 'true', yet largely undocumented story of Christine Carpenter, a 14th-century anchoress who moves towards insanity as her desire for a divine revelation continues to be unfulfilled after a period of three years locked in her cell. Although physically isolated, she is aware of the worldly life and love that she has abandoned. The very essence of the drama is the dogmatic refusal of her Bishop to release her from her vows. Set against the backcloth of the Peasants' Uprising (1381), the libretto/play juxtaposes sacred and secular worlds, the relative power and servitude of rulers and serfs, and the terrifying ordeal of Christine who is caught between the inflexibility of the established church and her personal religious expectations. Such a narrative was to offer rich opportunities for musical characterization and evocation of the historical context of the action, as well as substantial challenges in pacing and integrating the sequence of dramatic 'snap-shots' that culminate in a scene of total despair. The colourful juxtaposition of secular life and that of a recluse in Act One culminates in a Second Act finale of immense dramatic power in which Saxton's vocal and instrumental writing reaches new heights - a landmark both in his output and in late 20th century opera. Caritas - first performed in 1991 - occupies an important position in Robert Saxton's output and, as Thomas argues, in British opera during the closing decades of the 20th century. Thomas provides a detailed contextual setting in which to evaluate Caritas, as well as presenting an analytical commentary on the structure, musical language, instrumentation, staging and production of the opera. Thomas concludes with a reflection on the reception of Caritas as well as looking forward to Saxton's later and future works. A downloadable resource of the first performance is included.

John Rahn's prolific activities as a composer-theorist-teacher, inventor of computer sound-synthesis software, editor of Perspectives of New Music during the 1980s and 90s, and author of an exemplary text on atonal theory are conspicuously in the foreground of the academic music-intellectual world.
This collection of essays charts Rahn's progression from the construal of music's data structures to the articulation of its experiential structures, leading to the question of its moral infrastructures and its value systems of the internal and external worlds. This book shows Rahn's remarkable intellectual evolution, culminating in the recognition that the pressure bearing on discourse can only be contained by thought formulated in the non-referential language of the arts themselves. Also includes 18 musical examples.

John Rahn's prolific activities as a composer-theorist-teacher, inventor of computer sound-synthesis software, editor of Perspectives of New Music during the 1980s and 90s, and author of an exemplary text on atonal theory are conspicuously in the foreground of the academic music-intellectual world.
This collection of essays charts Rahn's progression from the construal of music's data structures to the articulation of its experiential structures, leading to the question of its moral infrastructures and its value systems of the internal and external worlds. This book shows Rahn's remarkable intellectual evolution, culminating in the recognition that the pressure bearing on discourse can only be contained by thought formulated in the non-referential language of the arts themselves. Also includes 18 musical examples.

Much of Franz Liszt's musical legacy has often been dismissed as 'trivial' or 'merely showy,' more or less peripheral contributions to nineteenth-century European culture. But Liszt was a mainstream composer in ways most of his critics have failed to acknowledge; he was also an incessant and often extremely successful innovator. Liszt's mastery of fantasy and sonata traditions, his painstaking settings of texts ranging from erotic verse to portions of the Catholic liturgy, and the remarkable self-awareness he demonstrated even in many of his most 'entertaining' pieces: all these things stamp him not only as a master of Romanticism and an early Impressionist, but as a precursor of Postmodern 'pop.' Liszt's Music places Liszt in historical and cultural focus. At the same time, it examines his principal contributions to musical literature -- from his earliest operatic paraphrases to his final explorations of harmonic and formal possibilities. Liszt's compositional methods, including his penchant for revision, problems associated with early editions of some of his works, and certain aspects of class and gender issues are also discussed. The first book-length assessment of Liszt as composer since Humphrey Searle's 1956 volume, Liszt's Music is illustrated with well over 100 musical examples.

How do people use music to heal themselves and others? Are the healing powers of music universal or culturally specific? The essays in this volume address these two central questions as to music's potential as a therapeutic source. The contributors approach the study of music healing from social, cultural and historical backgrounds, and in so doing provide perspectives on the subject which complement the wealth of existing literature by practitioners. The forms of music therapy explored in the book exemplify the well-being that can be experienced as a result of participating in any type of musical or artistic performance. Case studies include examples from the Bolivian Andes, Africa and Western Europe, as well as an assessment of the role of Islamic traditions in Western practices. These case studies introduce some new, and possibly unfamiliar models of musical healing to music therapists, ethnomusicologists and anthropologists. The book contributes to our understanding of the transformative and healing roles that music plays in different societies, and so enables us better to understand the important part music contributes to our own cultures.

The essays in this collection reflect the range and depth of musical life in the US from 1900 to 1950. Contributions consider the triumph of popular forms such as jazz, swing and blues, as well as the art music of composers such as Ives, Cage and Copland among others. American contributions to music technology and dissemination, and the role of these forms in extending the audience for music is also a focus.

Contents:
Introduction, Christle Collins Judd
Grammar of Early Music: Preconditions for Analysis, Margaret Bent
Exploring Tonal Structure in French Polyphonic Song of the Fourteenth Century, Sarah Fuller
Internal and External Views of the Modes, Frans Wiering
Josquin's Gospel Motets and Chant-Based Tonality, Christle Collins Judd
Tonal Coherence and the Cycle of Thirds in Josquin's Memoresto Verbitui, Timothy H. Steele
Concepts of Pitch in English Music Theory, c. 1560-1640, Jessie Ann Owens^H
Concepts of Key in 17th-Century English Keyboard Music, Candace Bailey
From Psalmody to Tonality, Harold Powers
Tonal Types and Modal Equivalence in Two Keyboard Cycles by Mursschhauser, Michael Dodds

Translated into English by N.V. Nersessian. The study of the Armenian system of notation called Khazs (Neumes) is of significance both for Armenian and Byzantine music from a historical and aesthetic point of view.

Improvisation was a crucial aspect of musical life in Europe from the late eighteenth century through to the middle of the nineteenth, representing a central moment in both public occasions and the private lives of many artists. Composers dedicated themselves to this practice at length while formulating the musical ideas later found at the core of their published works; improvisation was thus closely linked to composition itself. The full extent of this relation can be inferred from both private documents and reviews of concerts featuring improvisations, while these texts also inform us that composers quite often performed in public as both improvisers and interpreters of pieces written by themselves or others. Improvisations presented in concert were distinguished by a remarkable degree of structural organisation and complexity, demonstrating performers' consolidated abilities in composition as well as their familiarity with the rules for improvising outlined by theoreticians.

Composers, performers, listeners, critics and theorists all play vital roles in the creation of music culture; yet often each group can appear to hold widely divergent views of a musical work's aims and effects. As the title indicates, this book examines the parts played by these groups and the interaction between them. In the first of eleven essays, Robert Saxton discusses the difficulty in pin-pointing the moment of inspiration for a new composition; while Raymond Warren looks at the problems facing operatic performers, including those that arise when interpretations are suggested by the libretto but not in the music. The changing perception of the composer's art from the 14th century to the present day is charted by Wyndham Thomas, in particular attitudes towards arrangement. Two quite different views of the performer's responsibility in communicating the composer's intentions are taken by Charles Rosen and Susan Bradshaw, the latter arguing for the need to bridge the gap between theoretical and practical analysis of a work; and in two fascinating case studies, Eric Clarke and Jennifer Davidson highlight the ways in which attention to movements of the body in performance can reveal aspects of musical structure. The reception of music is tackled from a variety of perspectives in the book. In his assessment of audience reaction to Jonathan Harvey's 'The Riot', Adrian Beaumont concludes that our response is influenced by a complex web of expectations and previous musical experience. The influence of record sleeves in also determining a listener's response to music is discussed by Nicholas Cook; while Stephen Walsh and Adrian Thomas explore two milieux of critical reception - the first to the music of Stravinsky, and the second to works composed during the social-realist period in Poland. On a more personal level, Bojan Bujic's essay forms a fitting counterpart to Saxton's in his attempt to locate the ways in which we experience a new musica

Most music we hear comes to us via a recording medium on which sound has been stored. Such remoteness of music heard from music made has become so commonplace it is rarely considered.
Musical Performance: A Philosophical Study considers the implications of this separation for live musical performance and music-making. Rather than examining the composition or perception of music as most philosophical accounts of music do, Stan Godlovitch takes up the problem of how the tradition of active music playing and performing has been challenged by technology and what problems this poses for philosophical aesthetics. Where does does the value of musical performance lie? Is human performance of music a mere transfer medium? Is the performance of music more expressive than recorded music? Musical Performance poses questions such as these to develop a fascinating account of music today. musicians - but via some recording medium on which sound has been stored.