This book will be of interest to scholars, students and practitioners in the fields of ethnomusicology, music education, social learning and community music. It applies concepts and approaches from these disciplines with ethnographic data to identify a pedagogy for the learning and teaching of traditional music in community-based organisations.

Music, Sound, and Documentary Film in the Global South, edited by Christopher L. Ballengee, represents an important step toward thinking about the production and analysis of the soundscapes of documentary film, all while exploring a range of social, cultural, technological, and theoretical questions relevant to current trends in Global South studies. Written by a diverse set of authors, including filmmakers, academics, and cultural critics, the ten essays in this book provide fresh evaluations of the place of music and sound in documentary films outside the European-American milieu. On the whole, the authors illuminate how the invention of documentary film was at first a product of the colonialist project. Yet over time, access to filmmaking technologies led to the creation of documentary films relevant for local communities and national identities. In this sense, documentary film in the Global South might be broadly defined as a mode of personally or politically mediated storytelling that, by one route or another, has become a useful and recognizable means of memorializing traumatic histories and critiquing everyday lived experience. As the essays in this volume attest, close readings of documentary soundscapes provide fresh perspectives on ways of hearing and ways of being heard in the Global South.

In Opera as Art: Philosophical Sketches, Paul Thom argues for opera as an art, standing alongside other artforms that employ visual and sonic media to embody the great themes of human life. Thom contends that in great operatic art, the narrative and expressive content collaborate with the work's aesthetic qualities towards achieving this aim. This argument can be extended to modern operatic productions. At their best, these stagings are works of art in themselves, whether they give faithful renditions of the operas they stage and whether their aims go beyond interpretation to commentary and critique. This book is a philosophical introduction to the key practices that comprise the world of opera: the making of the work; its interpretation by directors, critics, and spectators; and the making of an operatic production. Opera has always existed in a context of philosophical ideas, and this book is written for opera-lovers who would like to learn something about that philosophical context.

A defense of Schenkerian analysis of tonality in music. A wide range of music -- from Bach to Mozart and Brahms -- is marked by its use of some form of what is generally called "tonality": the tendency of music to focus melodically on some stable pitch or tonic and for its harmony to use functional triads. Yet few terms in music theory are more enigmatic than that seemingly simple word "tonality." Matthew Brown's Explaining Tonality: Schenkerian Theory and Beyond considers a number of disparate ways in which functional tonality has been understood. In particular, it focuses on the comprehensive theory developed by Heinrich Schenker in his monumental three-part treatise Neue musikalische Theorien und Phantasien [1906-1935]. Schenker systematically investigated the ways in which lines and chords behave both locally within individual tonal phrases and globally across entire compositions. Explaining Tonality shows why Schenker was able to elucidate tonal relationships so successfully and the many advantages that his explanations have over those of his rivals. In addition, it proposes some ways in which Schenker's approach can be extended to tonal features in works from before Bach [such as Monteverdi] and after Brahms [such as Debussy, Stravinsky, and much popular music of today]. Along the way, the book explores six methodological criteria that help in building, testing, and evaluatinga plausible theory of tonality or, indeed, any other musical phenomenon: accuracy, scope, fruitfulness, consistency, simplicity, and coherence. It reveals how understanding the tonality of a piece can shed light on other aspects of musical composition. And, in conclusion, it describes some ways in which Schenkerian theory might fruitfully develop in the future. Matthew Brown is Professor of Music Theory at the Eastman School of Music, Universityof Rochester, and author of Debussy's "Iberia" [Oxford University Press].

In The Sonic Persona, Holger Schulze undertakes a critical study of some of the most influential studies in sound since the 19th century in the natural sciences, the engineering sciences, and in media theory, confronting them with contemporary artistic practices, with experimental critique, and with disturbing sonic experiences. From Hermann von Helmholtz to Miley Cyrus, from FLUXUS to the Arab Spring, from Wavefield Synthesis to otoacoustic emissions, from premillennial clubculture to postdemocratic authoritarianism, from signal processing to human echolocation: This book presents a fundamental critique concerning recent sound theories and their anthropological concepts - and proposes an alternate, a more plastic, a visceral framework for research in the field of a cultural anthropology of sounding and listening. This anthropology of sound takes its readers and listeners on a research expedition to the multitude of alien humanoids and their surprising sonic personae: in dynamic and generative tension between predetermined auditory dispositives, miniscule and not seldomly ignored sound practices, and idiosyncratic sensory corpuses: a critique of the senses. I'm going to prove the impossible really exists.

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.

Using cine-ethnomusicology as a focus, Cineworlding introduces readers to ways of thinking eco-cinematically. Screens are omnipresent, we carry digital cinema production equipment in our pockets, but this screen-based technological revolution has barely impacted social science scholarship. Mixing existential phenomenological fiction about social science digital cinema research practice followed by theoretical reflection and discussion of methods, this book has emerged from a decade-long inquiry into cineworlding and a desire to help others produce digital media to engage creatively with the digital networks that surround us.

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.

The monograph concerns one of the most important trends in contemporary classical Polish music. The ‟new romanticism� represented the reaction to the crisis of the avant-garde in the 70s. It appeared in works by the ‟1933 generation� (Penderecki, Górecki, Kilar), ‟the Stalowa Wola generation� (Knapik, Lasoń, Krzanowski), and others. This music matched tradition with contemporary techniques and strong emotionalism. Its romantic dimension and seriousness were in sheer contrast to the ‟double-coding� of Postmodernism. It stemmed from the political situation in Poland during the ‟Iron Curtain� times. The book also focuses on the topic’s American (Schonberg, Rochberg) and European contexts. The author also analyzes 104 compositions and 30 interviews (incl. with Penderecki) to present an even fuller picture.

The MIDI Manual: A Practical Guide to MIDI within Modern Music Production, Fourth Edition, is a complete reference on MIDI. Written by David Miles Huber (a 4x Grammy-nominated musician, producer and author), this best-selling guide provides clear explanations of what MIDI 1.0 and 2.0 are, acting as a guide for electronic instruments, the DAW, MIDI sequencing and how to make best use of them. You will learn how to set up an efficient MIDI system and how to get the most out of your production room and ultimately ... your music. Packed full of useful tips and practical examples on sequencing and mixing techniques, The MIDI Manual also covers in-depth information on system interconnections, controllers, groove tools, the DAW, synchronization and more. For the first time, the MIDI 2.0 spec is explained in light of the latest developments and is accompanied with helpful guidelines for the long-established MIDI 1.0 spec and its implementation chart. Illustrated throughout with helpful photos and screenshots, this is the most readable and clearly explained book on MIDI available.

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

"On and Off the Bandstand" is a study of American history, invention, and culture that focuses on the evolution of popular music. Efforts to keep the best of the bandstand alive in the twentieth century, as well as today, are enthusiastically celebrated.

Before reliable lighting and central heating, entertainment mainly occurred outdoors. Without microphones, a band performance was the centerpiece of choice for numerous celebrations. Outstanding conductors and musicians were major celebrities in their day. The basic instrumentation and musical language remained the same for over a hundred years-even as the venues moved indoors. Without breaks in continuity, each phase moved smoothly to the next, and newer artists respected their forbearers and cherished their accomplishments. Marching bands, concert bands, ragtime bands, and swing bands are still here today, but they have retired to the background.

The band era was accompanied by some remarkable innovations, such as sound recording and radio. These technologies played a crucial role and receive considerable attention as the story unfolds. In addition to its historical contributions, "On and Off the Bandstand" pays tribute to a handful of dedicated individuals who have become advocates for the music of their parents' and grandparents' time.

Brazilian music has been central to Brazil's national brand in the U.S. and U.K. since the early-1960s. From bossa nova in 1960s jazz and film, through the 1970s fusion and funk scenes, the world music boom of the late 1980s and the bossa nova remix revival at the turn of the millennium, and on to Brazilian musical distribution and branding in the streaming music era, Bossa Mundo: Brazilian Music in Transnational Media Industries focuses on watershed moments of musical breakthrough, exploring what the music may have represented in a particular historical moment alongside its deeper cultural impact. Through a discussion of the political meaning of mass-mediated music, author K. E. Goldschmitt argues for a shift in scholarly focus-from viewing music as simply a representation of Otherness to taking into account the broader media environment where listeners and intermediaries often have conflicting priorities. Goldschmitt demonstrates that the mediation of Brazilian music in an increasingly crowded transnational marketplace has lasting consequences for the creative output celebrated by Brazil. Like other culturally rich countries in Latin America-such as Cuba, Mexico, and Argentina-Brazil has captured the imagination of people in many parts of the world through its music, driving tourism and international financial investment, while increasing the country's prominence on the world stage Nevertheless, stereotypes of Brazilian music persist, especially those that valorize racial difference. Featuring interviews with key figures in the transnational circulation of Brazilian music, and in-depth discussions of well-known Brazilian musicians alongside artists who redefine what it means to be a Brazilian musician in the twenty-first century, Bossa Mundo shows the pernicious effects of branding racial diversity on musicians and audiences alike.

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.

In Heavy Metal Music in Latin America: Perspectives from the Distorted South, the editors bring together scholars engaged in the study of heavy metal music in Latin America to reflect on the heavy metal genre from a regional perspective. The contributors' southern voices diversify metal scholarship in the global north. An extreme musical genre for an extreme region, the contributors explore how issues like colonialism, dictatorships, violence, ethnic extermination and political persecution have shaped heavy metal music in Latin America, and how music has helped shape Latin American culture and politics.

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.

More than eighty years have passed since Edgard Varese's catalytic work for percussion ensemble, Ionisation, was heard in its New York premiere. A flurry of pieces for this new medium dawned soon after, challenging the established truths and preferences of the European musical tradition while setting the stage for percussion to become one of the most significant musical advances of the twentieth century. This 'revolution', as John Cage termed it, was a quintessentially modernist movement - an exploration of previously undiscovered sounds, forms, textures, and styles. However, as percussion music has progressed and become woven into the fabric of Western musical culture, several divergent paths, comprised of various traditions and a multiplicity of aesthetic sensibilities, have since emerged for the percussionist to pursue. This edited collection highlights the progressive developments that continue to investigate uncharted musical grounds. Using historical studies, philosophical insights, analyses of performance practice, and anecdotal reflections authored by some of today's most engaged performers, composers, and scholars, this book aims to illuminate the unique destinations found in the artistic journey of the modern percussionist.

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.

This book collects research contributions concerning quantitative approaches to characterize originality and universality in language. The target audience comprises researchers and experts in the field but the book may also be beneficial for graduate students. Creativity might be considered as a morphogenetic process combining universal features with originality. While quantitative methods applied to text and music reveal universal features of language and music, originality is a highly appreciated feature of authors, composers, and performers. In this framework, the different methods of traditional problems of authorship attribution and document classification provide important insights on how to quantify the unique features of authors, composers, and styles. Such unique features contrast, and are restricted by, universal signatures, such as scaling laws in word-frequency distribution, entropy measures, long-range correlations, among others. This interplay between innovation and universality is also an essential ingredient of methods for automatic text generation. Innovation in language becomes relevant when it is imitated and spread to other speakers and musicians. Modern digital databases provide new opportunities to characterize and model the creation and evolution of linguistic innovations on historical time scales, a particularly important example of the more general problem of spreading of innovations in complex social systems. This multidisciplinary book combines scientists from various different backgrounds interested in quantitative analysis of variations (synchronic and diachronic) in language and music. The aim is to obtain a deeper understanding of how originality emerges, can be quantified, and propagates.

Inspired by its use in literary theory, film criticism and the discourse of games design, Salome Voegelin's illuminating new book adapts and develops possible world theory in relation to sound. David K Lewis' Possible World is juxtaposed with Maurice Merleau-Ponty's life-world, to produce a meeting of the semantic and the phenomenological at the place of listening. The central tenet of this book is that at present traditional musical compositions and contemporary sonic outputs are approached and investigated through separate and distinct critical languages and histories. As a consequence, no continuous and comparative study of the field is possible. In Sonic Possible Worlds, Voegelin proposes a new analytical framework that can access and investigate works across genres and times, enabling a comparative engagement where composers such as Henry Purcell and Nadia Boulanger encounter sound art works by Shilpa Gupta and Christina Kubisch and where the soundscape compositions of Chris Watson and Francisco Lopez resound in the visual worlds of Louise Bourgeois.

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 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.