Sound Inventions is a collection of 34 articles taken from Experimental Musical Instruments, the seminal journal published from 1984 through 1999. In addition to the selected articles, the editors have contributed introductory essays, placing the material in cultural and temporal context, providing an overview of the field both before and after the time of original publication. The Experimental Musical Instruments journal contributed extensively to a number of sub-fields, including sound sculpture and sound art, sound design, tuning theory, musical instrument acoustics, timbre and timbral perception, musical instrument construction and materials, pedagogy, and contemporary performance and composition. This book provides a picture of this important early period, presenting a wealth of material that is as valuable and relevant today as it was when first published, making it essential reading for anyone researching, working with or studying sound.

With the rise of nationalism in the Republic of Korea, music has come to play a central role in the discourse of identity. This volume asks what Koreans consider makes music Korean, and how meaning is ascribed to musical creation. Keith Howard explores specific aspects of creativity that are designed to appeal to a new audience that is increasingly westernized yet proud of its indigenous heritage - updates of tradition, compositions, and collaborative fusions. He charts the development of the Korean music scene over the last 25 years and interprets the debates, claims and statistics by incorporating the voices of musicians, composers, scholars and critics. Koreanness is a brand identity with a discourse founded on heritage, hence Howard focuses on music that is claimed to link to tradition, and on music compositions where indigenous identity is consciously incorporated. The volume opens with SamulNori, a percussion quartet known throughout the world that was formed in 1978 but is rooted in local and itinerant bands stretching back many centuries. Parallel developments in vocal genres, folksongs and p'ansori ('epic storytelling through song') are considered, then three chapters explore compositions written both for western instruments and for Korean instruments, and designed both for Korean and international audiences. Over time, Howard shows how the two musical worlds - kugak, traditional music, and yangak, western music - have collided, and how fusions have emerged. This volume documents how identity has been negotiated by musicians, composers and audiences. Until recently, references to tradition were common and, by critics and musicologists, required. Western music increasingly encroached on the market for Korean music and doubts were raised about the future of any music identifiably Korean. Today, Korean musical production exudes a resurgent confidence as it amalgamates Korean and western elements, as it arranges and incorporates the old in the new, and as it creates a music suitable for the contemporary world.

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

The Creative Electronic Music Producer examines the creative processes of electronic music production, from idea discovery and perception to the power of improvising, editing, effects processing, and sound design. Featuring case studies from across the globe on musical systems and workflows used in the production process, this book highlights how to pursue creative breakthroughs through exploration, trial and error tinkering, recombination, and transformation. The Creative Electronic Music Producer maps production's enchanting pathways in a way that will fascinate and inspire students of electronic music production, professionals already working in the industry, and hobbyists.

Why are some popular musical forms and performers universally reviled by critics and ignored by scholars-despite enjoying large-scale popularity? How has the notion of what makes "good" or "bad" music changed over the years-and what does this tell us about the writers who have assigned these tags to different musical genres? Many composers that are today part of the classical "canon" were greeted initially by bad reviews. Similarly, jazz, country, and pop musics were all once rejected as "bad" by the academy that now has courses on these and many other types of music. This book addresses why this is so through a series of essays on different musical forms and performers. It looks at alternate ways of judging musical performance beyond the critical/academic nexus, and suggests new paths to follow in understanding what makes some music "popular" even if it is judged to be "bad." For anyone who has ever secretly enjoyed ABBA, Kenny G, or disco, "Bad Music" will be a guilty pleasure!

"The Craft of Modal Counterpoint" is the companion book to Benjamin's "The Craft of Tonal Counterpoint," recently republished in a second edition by Routledge. Modal counterpoint is the style of composition that was employed until the "tonal" revolution pioneered by Bach; it is the basis for most Early Music.
Benjamin, a composer and pedagogue, offers a complete analysis of this important musical style. He begins by covering general aspects of the style, then covers in detail two, three, and four-part counterpoint. The Motet, an important form of vocal composition in this period, is studied separately. The book concludes with a brief anthology of key scores, 15 in all, for the student to study further. Also includes 132 musical examples.

This lively and lucid introduction to the philosophy of music concentrates on the issues that illuminate musical listening and practice. It examines the conceptual debates relevant to the understanding and performing of music and grounds the philosophy to practical matters throughout. Ideal for a beginning readership with little philosophical background, the author provides an overview of the central debates enlivened by a real sense of enthusiasm for the subject and why it matters. The book begins by filling in the historical background and offers readers a succinct summary of philosophical thinking on music from the Ancient Greeks to Eduard Hanslick and Edmund Gurney. Chapter 2 explores two central questions: what is it that makes music, or, to be precise, some pieces of music, works of art? And, what is the work of music per se? Is it just what we hear, the performance, or is it something over and above that, something we invent or discover? Chapter 3 discusses a problem pecullar to music and one at the heart of philosophical discussion of it, can music have a meaning? And if so, what can it be? Chapter 4 considers whether music can have value. Are there features about music that make it good, features which can be specified in criteria? Is a work good if and only if it meets with the approval of an ideally qualified listener? How do we explain differences of opinion? Indeed, why do we need to make judgements of the relative value of pieces of music at all? This engaging and stimulating book will be of interest to students of aesthetics, musical practitioners and the general reader looking for a non-technical treatment of the subject.

Philosophy of Music is for anyone who has ever wondered whether or not music means anything or why some music is thought to be more significant than other music. It is a lively and lucid introduction to the aesthetics of music and to the issues that illuminate musical listening, understanding and practice. The book assumes no philosophical training on the part of its readers, only an interest in music and our reactions to it. It provides an authoritative analysis of the central issues, enlivened with a real sense of enthusiasm for the subject and its importance. At the heart of the book lie three key questions: What is the work of music? Can it have meaning? Can music have value? R. A. Sharpe guides the reader through the philosophical arguments and conceptual debates surrounding these questions while anchoring the discussion throughout to instances and examples from Western classical music and jazz. Unlike some other accounts of the philosophy of music, which view music as a branch of metaphysics, raising questions about sounds, tones and musical movement, Sharpe's approach is problem-orientated and the questions he raises are predominantly questions about the value of music, about the individuality of our assessments and about the way in which we prize music for its power to move us. He argues persuasively, and controversially for a philosopher, that when it comes to music philosophical analysis has its limitations and that one should not be surprised that the aesthetics of music can harbour contradictions and that our judgement of the value of music may be impossible to make internally consistent. This engaging and stimulating book will be of wide interest to music-lovers, critics, practitioners alike as well as students of aesthetics looking for a non-technical treatment of the subject.

* Intense focus on the emergence of a new, post-Civil Rights Movement black identity * Offers an alternative history and musicology of the Black Power Movement * Defines Black Power Music - a musical and political reality * Explores the intense interconnections between black popular culture and black political culture * Essential reading for all students engaged in black popular music studies, African American studies, popular culture studies, ethnic studies as well as sociology, ethnomusicology and political science.

A timely addition to Routledge's "Criticism and Analysis of Early Music" series, this collection of essays examines the common compositional practice of borrowing or imitation in fifteenth-and sixteenth-century music, addressing how and why borrowing was used, the significance of borrowing, the techniques of borrowing, and its recognizable features. The book provides a broad overview of this common practice and sheds light on previously unexplored aspects of early musical borrowing. It functions as both an introduction to the subject as well as a guide for further research. The contributors, all highly regarded in their field, offer new insights that will change the way we view borrowing.

Twentieth- and Twenty-First-Century Song Cycles: Analytical Pathways Toward Performance presents analyses of fourteen song cycles composed after the turn of the twentieth century, with a focus on offering ways into the musical and poetic structure of each cycle to performers, scholars, and students alike. Ranging from familiar works of twentieth-century music by composers such as Schoenberg, Britten, Poulenc, and Shostakovich to lesser-known works by Van Wyk, Sviridov, Wheeler, and Sanchez, this collection of essays captures the diversity of the song cycle repertoire in contemporary classical music. The contributors bring their own analytical perspectives and methods, considering musical structures, the composers' selection of texts, how poetic narratives are expressed, and historical context. Informed by music history, music theory, and performance, Twentieth- and Twenty-First-Century Song Cycles offers an essential guide into the contemporary art-music song cycle for performers, scholars, students, and anyone seeking to understand this unique genre.

This introduction to the essential elements of music is ideal for students preparing for examinations, as well as an excellent resource for everyone learning to read music.

For a century and more, the idea of democracy has fuelled musicians' imaginations. Seeking to go beyond music's proven capacity to contribute to specific political causes, musicians have explored how aspects of their practice embody democratic principles. This may involve adopting particular approaches to compositional material, performance practice, relationships to audiences, or modes of dissemination and distribution. Finding Democracy in Music is the first study to offer a wide-ranging investigation of ways in which democracy may thus be found in music. A guiding theme of the volume is that this takes place in a plurality of ways, depending upon the perspective taken to music's manifold relationships, and the idea of democracy being entertained. Contributing authors explore various genres including orchestral composition, jazz, the post-war avant-garde, online performance, and contemporary popular music, as well as employing a wide array of theoretical, archival, and ethnographic methodologies. Particular attention is given to the contested nature of democracy as a category, and the gaps that frequently arise between utopian aspiration and reality. In so doing, the volume interrogates a key way in which music helps to articulate and shape our social lives and our politics.

How to Make It in the New Music Business has become the go-to resource for "do it yourself" musicians eager to make a living in a turbulent industry. Inspiring thousands to stop waiting around for that "big break", Ari Herstand returns, maintaining that a stable career can be built by taking advantage of the tools at our fingertips. Including the latest trends and developments in the bustling UK music scene, he offers inspiring success stories across media. With the overarching theme of making real connections with human beings, it is a must-have for anyone navigating the complex yet advantageous modern music landscape.

Schoenberg's Op.23 for solo piano, written between 1920 and 1923, represented a move from his atonal music of the preceding twelve years to 12-note music. In this analysis of the five pieces which make up Op.23, Kathryn Bailey discusses the ways in which Schoenberg clearly explores new ideas in these pieces in the context of his old style. Op.23 marked the development of a new way of organizing pitches and establishing centres of gravity in the absence of tonality; but it was also an extension of what had gone before. While moving on from Op.23 was not a big step for Schoenberg, it represented a climacteric in the history of musical composition. It was a long time before anyone outside of Schoenberg's circle would be able to see past the revolutionary idea of composing from a single pre-determined arrangement of the 12 notes of the chromatic scale to notice that in most ways this New Music answered the same conditions and fulfilled the same expectations that music had for generations.

Musica ficta is the practice of sharpening or flattening certain notes to avoid awkard intervals in medieval and Renaissance music. This collection gathers Margaret Bent's influential writings on this controversial subject from the past thirty years. Bent analyses what scholarship has produced in the last thirty years, and corrects and clarifies her own positions.

This best-selling text gives music majors and minors a solid foundation in the theory of music. It strengthens their musical intuition, builds technical skills, and helps them gain interpretive insights. The goal of the text is to instruct readers on the practical application of knowledge. The analytical techniques presented are carefully designed to be clear, uncomplicated, and readily applicable to any repertoire. The two-volume format ensures exhaustive coverage and maximum support for students and faculty alike. Volume I serves as a general introduction to music theory while Volume II offers a survey of the theoretical underpinnings of musical styles and forms from Gregorian Chant through the present day. The supplemental instructor's materials provide clear-cut solutions to assignment materials. Music in Theory and Practice is a well-rounded textbook that integrates the various components of musical structure and makes them accessible to students at the undergraduate level.

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

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.

Punk rock and hip-hop. Disco and salsa. The loft jazz scene and the downtown composers known as Minimalists. In the mid-1970s, New York City was a laboratory where all the major styles of modern music were reinvented--block by block, by musicians who knew, admired, and borrowed from one another. Crime was everywhere, the government was broke, and the infrastructure was collapsing. But rent was cheap, and the possibilities for musical exploration were limitless."Love Goes to Buildings on Fire "is the first book to tell the full story of the era's music scenes and the phenomenal and surprising ways they intersected. From New Year's Day 1973 to New Year's Eve 1977, the book moves panoramically from post-Dylan Greenwich Village, to the arson-scarred South Bronx barrios where salsa and hip-hop were created, to the lower Manhattan lofts where jazz and classical music were reimagined, to ramshackle clubs like CBGB and the Gallery, where rock and dance music were hot-wired for a new generation.

* Describes the creative energy of two highly respected 20th century artists, Iannis Xenakis both as engineer and composer, and Roger Reynolds, Pulitzer prize winning musician in 1989 * Will appeal to the professional sector of musicians and architects, and students in both of these disciplines * Connects the creative path of architecture and music, i.e., Xenakis' treatment of "light" in an architectural context parallels his use of varying textural density in his music. * Analyzes chamber works Achorripsis, Thallein, and his string quartet, Tetras, which pertain to the interactive house design

As a monograph dealing with an individual raga, this book is a novel addition to the literature on Indian music, and therefore one without much precedent.

Igor Stravinsky left behind a complex heritage of music and ideas. There are many examples of discrepancies between his literate statements about music and musicians and his musical compositions and activity. Per Dahl presents a model of communication that unveils a clear and logical understanding of Stravinsky's heritage, based on the extant material available. From this, Dahl argues the case for Stravinsky's music and his ideas as separate entities, representing different modes of communication. As well as describing a triangular model of communication, based on a tilted and extended version of Ogden's triangle, Dahl presents an empirical investigation of Stravinsky's vocabulary of signs and expressions in his published scores - his communicative mode towards musicians. In addition to simple statistics, Dahl compares the notation practice in the composer's different stylistic epochs as well as his writing for different sizes of ensembles. Dahl also considers Stravinsky's performances and recordings as modes of communication to investigate whether the multi-layered model can soften the discrepancies between Stravinsky the literary and Stravinsky the musician.