Defining Modernism investigates the intellectual connections among three leading nineteenth-century European modernists - Baudelaire, Nietzsche, and Richard Wagner. Through a close reading of Baudelaire's and Nietzsche's essays on art and culture, Wagner's role in the two writers' attempts to define the radically new concept of « modernism is elucidated. Gogrof-Voorhees explores the affinity between the two writers, which emerges from a juxtaposition of their formulations of the idea of a fractured, contradictory modernity that at once embraces, scatters, and reevaluates an entire constellation of ideas, including romanticism, pessimism, decadence, and nihilism.

The Music of the Netherlands Antilles: Why Eleven Antilleans Knelt before Chopin's Heart is not your usual musical scholarship. In October 1999, eleven Antilleans attended the service held to commemorate the 150th anniversary of Frederic Chopin's death. This service, held in the Warsaw church where the composer's heart is kept in an urn, was an opportunity for these Antilleans to express their debt of gratitude to Chopin, whose influence is central to Antillean music history. Press coverage of this event caused Dutch novelist and author Jan Brokken to start writing this book, based on notes he took while living on Curacao from 1993 to 2002. Anyone hoping to discover an overlooked chapter of Caribbean music and music history will be amply rewarded with this Dutch-Caribbean perspective on the pan-Caribbean process of creolization. On Curacao, the history and legacy of slavery shaped culture and music, affecting all of the New World. Brokken's portraits of prominent Dutch Antillean composers are interspersed with cultural and music history. He puts the Dutch Caribbean's contributions into a broader context by also examining the nineteenth-century works by pianist Louis Moreau Gottschalk from New Orleans and Manuel Saumell from Cuba. Brokken explores the African component of Dutch Antillean music-examining the history of the rhythm and music known as tambu as well as American jazz pianist Chick Corea's fascination with the tumba rhythm from Curacao. The book ends with a discussion of how recent Dutch Caribbean adaptations of European dance forms have shifted from a classical approach to contemporary forms of Latin jazz.

This volume provides a transnational study of the impact of musical cultures in the Eastern Baltics-Lithuania, Latvia, Poland, and Russia-at the end of the Cold War and in the early post-Communist period. Throughout the book, the contributors explore and conceptualize transnational musical collaboration and the diffusion of information, people, and ideas focusing on musical activity which shaped the moral and artistic outlook of several generations. The volume sheds light on the transformative power of politically and socially engaged music and offers a deeper understanding of the artistic potential of societies and its impact on social and political change.

Discordant Democracy: Noise, Affect, Populism, and the Presidential Campaign paints a portrait of the political experience at a pivotal time in American political and social history. The modern political campaign is aestheticized and assimilated into mass culture, divorced from fact and policy, and nakedly tethered to emotional appeal. Through a multi-modal comparative examination of the sonic and emotional cultures of the 2008 and 2016 campaigns, Justin Patch raises critical queries about our affective relationship to modern politics and the impact of emotional campaigning on democracy. Discordant Democracy asks: how do campaign sounds affect us; what role do we the electorate play in creating and sustaining these sounds and affects; and what actions do they generate? Theories from anthropology, cognitive science, sound studies and philosophy are engaged to grapple with these questions and connect bombastic mass-mediated political events, campaign media and individual sonic experience. The analyses complicate notions of top-down campaigning, political spin, and enthusiastic millennial populism by examining our role in producing and animating political sounds through conversation, applause, laughter, media, and music.

A fascinating aspect of the study of music in medieval Islamic and Judaic writings is the broad and interdisciplinary nature of the works and treatises in which it is covered. In addition, such works verbalize an art that was transmitted orally and took shape spontaneously, typically with improvisation during performance. As a result of this outlook the musical concept (or science) is often intertwined with practice (or history). This second collection by Amnon Shiloah brings together twenty-two studies exemplifying such multi-faceted viewpoints on the world of sounds and its virtue. The first studies concern the origin and originators of music and to how its essential constituents came into being; included here is the art of dance along with the controversial attitudes towards it. Next comes the symbolic, philosophical and metaphorical interpretation of music; one of the major ideas epitomizing this approach claimed that the pursuit of knowledge is the path to human perfection and happiness. There follow studies on the transmission of knowledge, along with some annotated key works dealing with therapeutic effects. The last articles focus on cultural traditions elaborated on European soil developing a particular style and musical practice, centred on the Iberian Peninsula, which was the scene of one of the most fascinating examples of cultural interchange.

John Birchensha (c.1605-?1681) is chiefly remembered for the impression that his theories about music made on the mathematicians, natural philosophers and virtuosi of the Royal Society in the 1660s and 1670s, and for inventing a system that he claimed would enable even those without practical experience of music to learn to compose in a short time by means of 'a few easy, certain, and perfect Rules'-his most famous composition pupil being Samuel Pepys in 1662. His great aim was to publish a treatise on music in its philosophical, mathematical and practical aspects (which would have included a definitive summary of his rules of composition), entitled Syntagma musicA|. Subscriptions for this book were invited in 1672-3, and it was due to be published by March 1675; but it never appeared, and no final manuscript of it survives. Consequently knowledge about his work has hitherto remained extremely sketchy. Recent research, however, has brought to light a number of manuscripts which allow us at last to form a more complete view of Birchensha's ideas. Almost none of this material has been previously published. The new items include an autograph treatise of c.1664 ('A Compendious Discourse of the Principles of the Practicall & Mathematicall Partes of Musick') which Birchensha presented to the natural philosopher Robert Boyle, and which covers concisely much of the ground that he intended to cover in Syntagma musicA|; a detailed synopsis for Syntagma musicA| which he prepared for a meeting of the Royal Society in February 1676; and an autograph notebook (now in Brussels) containing his six rules of composition with music examples, presumably written for a pupil. Bringing all this material together in a single volume will allow scholars to see how Birchensha's rules and theories developed over a period of fifteen years, and to gain at least a flavour of the lost Syntagma musicA|.

The Oxford Handbook of Sound and Image in Western Art is the first book to examine, under one umbrella, different kinds of analogies, mutual influences, integrations and collaborations of audio and visual in different art forms: painting, sculpture, installation, architecture, performance art, animation, film, video art, visual music, multimedia, experimental music, sound art, opera, theatre and dance. Sitting at the cutting edge of the field of music and visual arts, the book offers a unique, at times controversial view of this rapidly evolving area of study. The book is organized around three core thematic sections. The first, Sights & Sounds, concentrates on interaction between the experience of seeing and the experience of hearing. Sound, Space & Matter expands the idea of music to include environmental sounds, vibrating frequencies, homemade instruments, linguistic utterances, noise and silence. Architecture, likewise, faces a similar discourse that examines non-material spaces, environments, human habitats, performances, destruction and void. Enhanced by advanced digital technologies, this aesthetic shift opened the door for endless experiments, which give a new context to theoretical issues such as medium, matter and process in creating and perceiving art. In the third section, Performance, Performativity & Text, music as a performing art provides the point of departure. The new light shed by modernism and the avant-garde on the performative aspect of music have led it - together with sound and text - to become active in new ways in contemporary dance, theatre and the visual arts. The chapters in the handbook make and prove their arguments using case studies in contemporary art, music, and sound as illustrations, building upon exsiting thought as a foundation for discussion. Artists, curators, students and scholars will find here a panoramic view of cutting-edge discourse in the field, by an international roster of scholars and practitioners.

Byron Almen proposes an original synthesis of approaches to musical narrative from literary criticism, semiotics, historiography, musicology, and music theory, resulting in a significant critical reorientation of the field. This volume includes an extensive survey of traditional approaches to musical narrative illustrated by a wide variety of musical examples that highlight the range and applicability of the theoretical apparatus. Almen provides a careful delineation of the essential elements and preconditions of musical narrative organization, an eclectic analytical model applicable to a wide range of musical styles and repertoires, a classification scheme of narrative types and subtypes reflecting conceptually distinct narrative strategies, a wide array of interpretive categories, and a sensitivity to the dependence of narrative interpretation on the cultural milieu of the work, its various audiences, and the analyst. A Theory of Musical Narrative provides both an excellent introduction to an increasingly important conceptual domain and a complex reassessment of its possibilities and characteristics.

When he emerged from the nightclubs of Greenwich Village, Bob Dylan was often identified as a "protest" singer. As early as 1962, however, Dylan was already protesting the label: "I don't write no protest songs," he told his audience on the night he debuted "Blowin' in the Wind." "Protest" music is largely perceived as an unsubtle art form, a topical brand of songwriting that preaches to the converted. But popular music of all types has long given listeners food for thought. Fifty years before Vietnam, before the United States entered World War I, some of the most popular sheet music in the country featured anti-war tunes. The labor movement of the early decades of the century was fueled by its communal "songbook." The Civil Rights movement was soundtracked not just by the gorgeous melodies of "Strange Fruit" and "A Change Is Gonna Come," but hundreds of other gospel-tinged ballads and blues. In Which Side Are You On, author James Sullivan delivers a lively anecdotal history of the progressive movements that have shaped the growth of the United States, and the songs that have accompanied and defined them. Covering one hundred years of social conflict and progress across the twentieth century and into the early years of the twenty-first, this book reveals how protest songs have given voice to the needs and challenges of a nation and asked its citizens to take a stand - asking the question "Which side are you on?"

Since rock's beginnings, there have been groupies. These chosen few women who bed, but not often wed, the musicians of their dreams are almost as much a part of music history as the musicians themselves. Pamela Des Barres, the world's foremost supergroupie, here offers an all-access backstage pass to the world of rock stars and the women who love them. Having had her own affairs with legends such as Keith Moon and Jimmy Page--as documented in her bestselling memoir "I'm with the Band"--Pamela now turns the spotlight onto other women who have found their way into the hearts and bedrooms of some of the world's greatest musicians. In "Let's Spend the Night Together, "she tells, in their own words, the stories of these amazing women who went way beyond the one-night stand. Here you'll get to know 24 outrageous groupies, including - Tura Satana, Miss Japan Beautiful, who taught Elvis how to dance and gave him lessons in lovemaking - Cassandra Peterson, aka Elvira, Mistress of the Dark, who tangled with Tom Jones in Sin City - Soulful Miss Mercy, who discovered that not only does the rest of the world listen to Al Green while making love--so does Al Green - Cynthia Plaster Caster, who redefined art and made history when Jimi Hendrix plunged his member into her plaster mold - The mysterious Miss B, who reveals Kurt Cobain's penchant for lip gloss and pantyhose - and over a dozen more

Beethoven's seventy-two settings of traditional Irish airs constitute his most prolific output in any genre. The arrangements were commissioned in the early nineteenth century by the Scottish editor and publisher, George Thomson, who sent airs, but no texts, to Beethoven. Poetry, mostly by less well-known poets, was attached to the finished settings before publication by Thomson, and perhaps therein lies the reason why the songs never achieved the popularity which they deserve: many of the poems have been judged to be of inferior quality. In this edition, the first in which all Beethoven's Irish folksong settings are published together, the late baritone, broadcaster and musicologist, Tomas O Suilleabhain, selected texts, mostly by Burns and Moore, which he felt were more appropriate to the airs and to Beethoven's settings.

In the 1990s, expressive culture in the Caribbean was becoming noticeably more feminine. At the annual Carnival of Trinidad and Tobago, thousands of female masqueraders dominated the street festival on Carnival Monday and Tuesday. Women had become significant contributors to the performance of calypso and soca, as well as the musical development of the steel pan art form. Drawing upon ethnographic fieldwork conducted by the author in Trinidad and Tobago, What She Go Do demonstrates how the increased access and agency of women through folk and popular musical expressions has improved inter-gender relations and representation of gender in this nation. This is the first study to integrate all of the popular music expressions associated with Carnival - calypso, soca, and steelband music - within a single volume. The book includes interviews with popular musicians and detailed observation of musical performances, rehearsals, and recording sessions, as well as analysis of reception and use of popular music through informal exchanges with audiences. The popular music of the Caribbean contains elaborate forms of social commentary that allows singers to address various sociopolitical problems, including those that directly affect the lives of women. In general, the cultural environment of Trinidad and Tobago has made women more visible and audible than any previous time in its history. This book examines how these circumstances came to be and what it means for the future development of music in the region.

Contributions by Luther Allison, John Broven, Daniel Droixhe, David Evans, William Ferris, Jim O'Neal, Mike Rowe, Robert Sacre, Arnold Shaw, and Dick Shurman Fifty years after Charley Patton's death in 1934, a team of blues experts gathered five thousand miles from Dockery Farms at the University of Liege in Belgium to honor the life and music of the most influential artist of the Mississippi Delta blues. This volume brings together essays from that international symposium on Charley Patton and Mississippi blues traditions, influences, and comparisons. Originally published by Presses Universitaires de Liege in Belgium, this collection has been revised and updated with a new foreword by William Ferris, new images added, and some essays translated into English for the first time. Patton's personal life and his recorded music bear witness to how he endured and prevailed in his struggle as a black man during the early twentieth century. Within this volume, that story offers hope and wonder. Organized in two parts--""Origins and Traditions"" and ""Comparison with Other Regional Styles and Mutual Influence""--the essays create an invaluable resource on the life and music of this early master. Written by a distinguished group of scholars, these pieces secure the legacy of Charley Patton as the fountainhead of Mississippi Delta blues.

Contributions by Luther Allison, John Broven, Daniel Droixhe, David Evans, William Ferris, Jim O'Neal, Mike Rowe, Robert Sacre, Arnold Shaw, and Dick Shurman Fifty years after Charley Patton's death in 1934, a team of blues experts gathered five thousand miles from Dockery Farms at the University of Liege in Belgium to honor the life and music of the most influential artist of the Mississippi Delta blues. This volume brings together essays from that international symposium on Charley Patton and Mississippi blues traditions, influences, and comparisons. Originally published by Presses Universitaires de Liege in Belgium, this collection has been revised and updated with a new foreword by William Ferris, new images added, and some essays translated into English for the first time. Patton's personal life and his recorded music bear witness to how he endured and prevailed in his struggle as a black man during the early twentieth century. Within this volume, that story offers hope and wonder. Organized in two parts--""Origins and Traditions"" and ""Comparison with Other Regional Styles and Mutual Influence""--the essays create an invaluable resource on the life and music of this early master. Written by a distinguished group of scholars, these pieces secure the legacy of Charley Patton as the fountainhead of Mississippi Delta blues.

In The Past Is Always Present, Tore Tvarno Lind examines the musical revival of Greek Orthodox chant at the monastery of Vatopaidi within the monastic society of Mount Athos, Greece. In particular, Lind focuses on the musical activities at the monastery and the meaning of the past in the monks' efforts at improving their musical performance practice through an emphasis on tradition. Based on a decade of intense fieldwork and extensive interviews with members of Athos' monastic community, Lind covers a vast array of topics. From musical notation and the Greek oral tradition to CD covers and music production, the tension between tradition and modernity in the musical activity of the Athonite community raises a clear challenge to the quest to bring together Orthodox spirituality and quietude with musical production. The Past Is Always Present addresses all of these matters by focusing on the significance and meaning of the local chanting style. As Lind argues, Byzantine chant cannot be fully grasped in musicological terms alone, outside the context of prayer. Yet because chant is fundamentally a way of communicating with God, the sound generated must be exactly right, pushing issues of music notation, theory, and performance practice to the forefront. Byzantine chant, Lind ultimately argues, is a modern phenomenon as the monastic communities of Mount Athos negotiate with the realities of modern Orthodox identity in Greece. By reporting on the musical revival activities of this remarkable community through the topics of notation, musical theory, drone-singing, and spiritual silence, Lind looks at the ways in which Athonite heritage is shaped, touching upon the Byzantine chant's contemporary relationship with practice of pilgrimage and the phenomenon of religious tourism. Offering unique insights into the monastic culture at Mount Athos, The Past Is Always Present is for those especially interested in sacred music, past and present Greek culture, monastic life, religious tourism, and the fields of ethnomusicology and anthropology.

Short, clear chapters each focus on a single topic, presenting necessary information thoroughly and clearly, in a manner that's easy for students to grasp Large number of musical examples allows students to better understand techniques by seeing them in multiple contexts Companion website provides video demonstrations that help students understand techniques in action

Exploring American Folk Music: Ethnic, Grassroots, and Regional Traditions in the United States reflects the fascinating diversity of regional and grassroots music in the United States. The book covers the diverse strains of American folk music--Latin, Native American, African, French-Canadian, British, and Cajun--and offers a chronology of the development of folk music in the United States. The book is divided into discrete chapters covering topics as seemingly disparate as sacred harp singing, conjunto music, the folk revival, blues, and ballad singing. It is among the few textbooks in American music that recognizes the importance and contributions of Native Americans as well as those who live, sing, and perform music along our borderlands, from the French speaking citizens in northern Vermont to the extensive Hispanic population living north of the Rio Grande River, recognizing and reflecting the increasing importance of the varied Latino traditions that have informed our folk music since the founding of the United States. Another chapter includes detailed information about the roots of hip hop and this new edition features a new chapter on urban folk music, exploring traditions in our cities, with a case study focusing on Washington, D.C. Exploring American Folk Music also introduces you to such important figures in American music as Bob Wills, Lydia Mendoza, Bob Dylan, and Muddy Waters, who helped shape what America sounds like in the twenty-first century. It also features new sections at the end of each chapter with up-to-date recommendations for ""Suggested Listening,"" ""Suggested Reading,"" and ""Suggested Viewing.""

"Everything But Bach, Beethoven and Brahms," comprises this multicultural repertoire guide for pianists, composers, music teachers and students, world music enthusiasts and scholars. It identifies pieces in the contemporary solo piano literature which show world music influences not traditionally associated with the standard repertoire of Western European art music. The resulting annotated bibliography therefore includes pieces which use or attempt to emulate non-Western scales, modes, folk tunes, rhythmic, percussive or harmonic devices and timbres. Axford highlights the music cultures of the Middle East and North Africa, Sub-Saharan Africa, India, the Far East, Indonesia, Oceania, ethnic North America, Latin America and Spain, and Eastern Europe, Russia, and Scandinavia. Separate bibliographies for each world music region show examples of contemporary solo piano pieces that demonstrate some of the traditional musical influences associated with the region.

Honoring God and the City is a documentary history of musical activities at Venetian lay confraternities from their origins in the thirteenth century to their suppression in the early nineteenth, demonstrating the vital role they played in the cultural life of Venice.

In On Site, In Sound Kirstie A. Dorr examines the spatiality of sound and the ways in which the sonic is bound up in perceptions and constructions of geographic space. Focusing on the hemispheric circulation of South American musical cultures, Dorr shows how sonic production and spatial formation are mutually constitutive, thereby pointing to how people can use music and sound to challenge and transform dominant conceptions and configurations of place. Whether tracing how the evolution of the Peruvian folk song "El Condor Pasa" redefined the boundaries between national/international and rural/urban, or how a pan-Latin American performance center in San Francisco provided a venue through which to challenge gentrification, Dorr highlights how South American musicians and activists created new and alternative networks of cultural exchange and geopolitical belonging throughout the hemisphere. In linking geography with musical sound, Dorr demonstrates that place is more than the location where sound is produced and circulated; it is a constructed and contested domain through which social actors exert political influence.

The first study to explore the crucial influence of Kurt Weill on operas and musicals by Marc Blitzstein and Leonard Bernstein. Theodor Adorno famously proclaimed that the model of Kurt Weill could not be repeated. Yet Weill's stage works set an inescapable precedent for composers on both sides of the Atlantic. Rebecca Schmid explores how Weill's formal innovations in particular laid the groundwork for operas and musicals by Marc Blitzstein and Leonard Bernstein, although both composers resisted or downplayed his aesthetic contribution to American tradition. Comparative analysis based on Harold Bloom's Anxiety of Influence and other modes of intertextuality reveals that the principles of Weill's opera reform would catalyze an indigenous movement in sophisticated, socially engaged music theatre. Weill, Blitzstein, and Bernstein: A Study of Influence focuses on works that represent different phases of Weill's mission to renew the genre of opera, evolving from Die Dreigroschenoper to the musical play Lady in the Dark and the Broadway Opera Street Scene. Blitzstein and Bernstein in turn defied formal boundaries with The Cradle Will Rock, Regina, Trouble in Tahiti, Candide, and West Side Story - part of a short-lived movement in mid-twentieth century America that coincided with a renaissance for Weill's German-period works following the premiere of Blitzstein's translation, The Threepenny Opera, under Bernstein's baton. The unpublished A Pray by Blecht, for which Bernstein rejoined Stephen Sondheim and Jerome Robbins, his collaborators on West Side Story, deepens the connection of Bernstein's aesthetic to Weill.

The exhilarating mix of humour, philosophy, fact and whimsy that marks these essays derives from more than 200 lectures Bruce Adolphe has given over more of the past decade, at the Chamber Music Society of Lincoln Centre and at music festivals around the States. The composer of four operas as well as chamber music, concertos and orchestral works, Adolphe has written for Itzhak Perlman, David Shifrin, the Beaux Arts Trio, the Orpheus Chamber Orchestra and many other renowned musicians. His essays, however divergent their apparent subjects, all serve a common purpose: to deepen our understanding of how music comes to be and how it may be enjoyed.

Musical leadership is associated with a specific profession-the conductor-as well as being a colloquial metaphor for human communication and cooperation at its best. This book examines what musical leadership is, by delving into the choral conductor role, what goes on in the music-making moment and what it takes to do it well. One of the unique features of the musical ensemble is the simultaneity of collective discipline and individual expression. Music is therefore a potent laboratory for understanding the leadership act in the space between leader and team. The musical experience is used to shed light on leading and following more broadly, by linking it to themes such as authority, control, empowerment, intersubjectivity, sensemaking and charisma. Jansson develops the argument that musical leadership involves the combination of strong power and deep sensitivity, a blend that might be equally valid in other leadership domains. Aesthetic knowledge and musical perception therefore offer untapped potential for leadership and organisational development outside the art domain.