What are the musical sounds that people remember in the diaspora? What are the sounds they create? Recognising the importance that people attach to musical performances, this book explores the significance of widespread Caribbean genres in diaspora politics. Tina K. Ramnarine uses ethnographic approaches to unravel creative processes of memory, innovation and production and to interrogate geographies of musical canons, hybridity discourses and culture theory. She challenges us to rethink diaspora as only being about displacement, to move beyond the limits of marginalisation and otherness, and to imagine the possibilities of 'beautiful cosmos'. Asking 'where is home in the diaspora?' this book presents radical perspectives in the study of diaspora.

If there's a cultural artefact capable of withstanding the vagaries and fickleness of the digital age as well as the printed book, it's the vinyl record . . . In Listening to the Wind, Ian Preece sets out on an international road trip to capture the essence of life for independent record labels operating in the twenty-first century. Despite it all - from algorithms and streaming to the death of the high street and the gutting of the music press - releasing a record to serve its 'own beautiful purpose', as 4AD's Ivo Watts Russell once said, is a flame that still burns through these pages. With countless labels, albums and artists to be discovered, this book is for those who share that inextinguishable love for music. **Features extensive, original interviews with the likes of Analog Africa, Light in the Attic, Thrill Jockey, International Anthem, Dust-to-Digital, Pressure Sounds, Heavenly, Touch, Mississippi, Sublime Frequencies and more!**

John Wallis (1616-1703), was one of the foremost British mathematicians of the seventeenth century, and is also remembered for his important writings on grammar and logic. An interest in music theory led him to produce translations into Latin of three ancient Greek texts - those of Ptolemy, Porphyry and Bryennius - and involved him in discussions with Henry Oldenburg, the Secretary of the Royal Society, Thomas Salmon and other individuals as his ideas developed. The texts presented in this volume cover the relationship of ancient and modern tuning theory, the building of organs, the phenomena of resonance, and other musical topics.

Western opera is a globalized and globalizing phenomenon and affords us a unique opportunity for exploring the concept of "orientalism," the subject of literary scholar Edward Said's modern classic on the topic. Nicholas Tarling's Orientalism and the Operatic World places opera in the context of its steady globalization over the past two centuries. In this important survey, Tarling first considers how the Orient appears on the operatic stage in Britain, France, Germany, Russia, and the United States before exploring individual operas according to the region of the "Orient" in which the work is set. Throughout, Tarling offers key insights into such notable operas as George Frideric Handel's Berenice, Giuseppe Verdi's Aida, Giacomo Puccini's Madama Butterfly, Pietro Mascagni's Iris, and others. Orientalism and the Operatic World argues that any close study of the history of Western opera, in the end, fails to support the notion propounded by Said that Westerners inevitably stereotyped, dehumanized, and ultimately sought only to dominate the East through art. Instead, Tarling argues that opera is a humanizing art, one that emphasizes what humanity has in common by epic depictions of passion through the vehicle of song. Orientalism and the Operatic World is not merely for opera buffs or even first-time listeners. It should also interest historians of both the East and West, scholars of international relations, and cultural theorists.

When Namibia gained its independence from South Africa in 1990, the new government began dismantling the divisive apartheid state and building a unified nation-state. What does this new nation look like from the perspective of ordinary citizens? In Lyrical Nationalism in Post-Apartheid Namibia, Wendi Haugh provides an ethnographic portrayal of the nation as imagined by people living in the former ethnic homeland of Ovamboland, with a particular focus on the lyrics of songs composed and performed by Catholic youth. The author argues that these youth draw on conflicting ideologies-hierarchical and egalitarian, nationalist and cosmopolitan-from multiple sources to construct a multi-faceted sense of national identity. She reveals how their vision of the nation-framed as neutrally national-is deeply rooted in specific local histories and cultures.

Software mediates a great deal of human musical activity. The writing, running, and maintenance of code lies at the heart of such software. Code Musicology: From Hardwired to Software argues why it is time for a "code musicology," then outlines what that should entail. A code musicology opens a conduit between musicology and software studies, providing insights into both of these now interlinked fields along the way. It extends an ethnomusicology of technoculture from the world of hardware and the hardwired to software, code, and algorithms. For popular music studies, it helps direct attention to a newly relevant industrial focus-IT and software-centered transnational commerce-as a result of sectorial transformation. Denis Crowdy demonstrates how analysis from software studies, critical code studies, and the digital humanities offers insights into power relations, diversity, and commerce in music. Crowdy weaves readings of code and application programming interfaces (APIs) into the discussion, as well as ethnomusicological fieldwork exploring music and mobile phones from the Global South. Analysis of the author's own music apps and associated distribution infrastructure provides unique insights into the machinations of music "appification."

The gayat al-matlub fi 'ilm al-adwar wa-'l-durub by Ibn Kurr is the only theoretical text of any substance that can be considered representative of musicological discourse in Cairo during the first half of the fourteenth century CE. Indeed, nothing comparable survives from the whole Mamluk period, which extends from 1260 until the Ottoman invasion and conquest of Egypt in 1516. But its value does not derive merely from its fortuitous isolation: it is important, rather, because of the richness of the information it provides with regard to modal and rhythmic structures, and also because of the extent to which the definitions it offers differ from those set forth in an interrelated series of major theoretical works in both Arabic and Persian that span the period from the middle of the thirteenth century to the late fifteenth. Alongside the presumption of transregional uniformity these texts suggest, it consequently asserts the significance of local particularism. Owen Wright provides a critical edition of the text itself, together with a glossary, prefaced by an introduction and a detailed commentary and analysis. The introduction provides immediate context, situating the work in relation to the dominant theoretical tradition of the period and providing biographical information about the author, active in Cairo during the first half of the fourteenth century.

A vivid (and startling) example of the "new musicology", Beethoven's Kiss is an interdisciplinary study of romantic pianism in relation to gender and sexuality, ultimately underscoring the extent to which the piano resonates with intimations of both homosexuality and mortality. The first chapter, on the amateur pianist, scrutinizes the way Andre Gide and Roland Barthes discuss piano playing, their favorite composers - and their homosexuality. Situating these discussions within the histories of sexuality and amateur pianism, the author argues that connections between musical and sexual mastery are shaped by the "performance" of class and gender. The second chapter examines the homoerotic basis of the creation of nineteenth-century piano music and the equally homoerotic basis of the twentieth-century recreation of this music. The title of the third chapter, "Beethoven's Kiss", refers to the apocryphal story that Beethoven kissed Liszt, then eleven, in public. The author recounts other quasi-sexual myths about nineteenth-century child prodigies, examining how and why these stories used to circulate and why they no longer do so. The next chapter examines the different ways nineteenth- and twentieth-century audiences sexualize famous pianists and polarize them along gender and sexual lines. The fifth chapter describes the gender, sexual, and class positioning of the "maiden" piano teacher in a variety of texts - interviews, memoirs, short stories, novels, and films. The book concludes with a far-ranging analysis of Liberace, who (with his silver candelabra) tried to perform upper-class status, who (with his devotion to Chopin) tried to perform highbrow taste, and who (with his closetedlifestyle) tried to perform heterosexuality.

This is a pioneering attempt to rearticulate the relationship between music and the problems of mimesis, between presentation and re-presentaion. Four "scenes" comprise the book, all four of them responses to Wagner: two by French poets (Baudelaire and Mallarme), two by German philosophers (Heidegger and Adorno).
It is dificult to realize how profoundly Wagner affected the cultural and ideological sensibilities of the nineteenth century. Wagnerism rapidly spread throughout Europe, partly because of Wagner's propagandizing talent and the zeal of his adherents. But the main reason for his ascendance was the sudden appearance of what the century had desperately tried to produce since the beginnings of Romanticism - a work of art on the scale of great Greek and Christian art. At last, here it was: the secret of what Hegel called the "religion of art" rediscovered.
The first two scenes of the book present a historical sequence that is punctuated by the Franco-Prussian War and the Paris Commune, in which the universal unbridling of nations and classes is prefigured. The second two register certain effects of Wagnerism that are not just ideological but make themselves felt in a new political configuration of the "national" and the "social."

Music theory is often seen as independent from - even antithetical to - performance. While music theory is an intellectual enterprise, performance requires an intuitive response to the music. But this binary opposition is a false one, which serves neither the theorist nor the performer. In Interpreting Chopin Alison Hood brings her experience as a performer to bear on contemporary analytical models. She combines significant aspects of current analytical approaches and applies that unique synthetic method to selected works by Chopin, casting new light on the composer's preludes, nocturnes and barcarolle. An extension of Schenkerian analysis, the specific combination of five aspects distinguishes Hood's method from previous analytical approaches. These five methods are: attention to the rhythms created by pitch events on all structural levels; a detailed accounting of the musical surface; 'strict use' of analytical notation, following guidelines offered by Steve Larson; a continual concern with what have been called 'strategies' or 'premises'; and an exploration of how recorded performances might be viewed in terms of analytical decisions, or might even shape those decisions. Building on the work of such authors as William Rothstein, Carl Schachter and John Rink, Hood's approach to Chopin's oeuvre raises interpretive questions of central interest to performers.

Am Ende des 19. Jahrhunderts setzt sich die tschechische Gesellschaft intensiv mit neuen spirituellen Stroemungen wie Theosophie, Anthroposophie und Okkultismus auseinander. Durch die UEbersetzungen der Werke von Huysmans, Strauss, Nietzsche, Steiner und anderen einflussreichen europaischen Denkern gerat der Katholizismus immer starker in den Konflikt mit der Moderne. Die Bewegung Katolicka moderna versucht in Boehmen den Katholizismus zu erneuern. Zu den Mitarbeitern der Zeitschrift Novy zivot zahlen wichtige tschechische Kunstlerpersoenlichkeiten. Auch die Autoren der Zeitschrift Moderni revue streben eine entsprechende Reform religioes ausgerichteter Kunst an. Die tschechische Musik dieser Zeit widerspiegelt die vielfaltige Auseinandersetzung mit den neuen Denkrichtungen. Charakteristisch fur die betreffenden Werke ist der Synkretismus in Form einer persoenlichen Synthese aus verschiedenen Formen der Spiritualitat. In diesem Kongressband werden neben den Beitragen zu diesen Fragen bislang unbekannte Dokumente zur tschechischen Musik der Jahrhundertwende veroeffentlicht und die Rezeptionswege von massgebenden Komponisten der Zeit (Dvorak, Janacek, Haba, Schulhoff, Novak, Martinu) untersucht. At the end of the 19th century, Czech society was preoccupied with new spiritual trends such as theosophy, anthroposophy, pantheism and occultism. The ideas of Schure, Huysmans, Peladan, Renan, Strauss, Nietzsche, Steiner, Blavatsky and other influential European thinkers were compiled and made available thanks to numerous translations. At the same time, Catholicism was coming into increasing conflict with modernism. One of the attempts at its revival in Bohemia was represented by the movement Catholic Modernism. The contributors to the review Novy zivot (New Life) were distinct personalities of Czech cultural life. The authors of the magazine Moderni revue (Modern Review) strove for reform of religion-oriented arts too. Czech music of that period reflects the multifaceted encounters with the new intellectual trends. Works are characterised by syncretism, in the form of a personal synthesis of various types of spirituality. In addition, the congress proceedings comprise research into hitherto unknown documents dealing with Czech music at the turn of the 19th and 20th centuries, as well as the paths of reception of the foremost composers of the time (Dvorak, Janacek, Haba, Schulhoff, Novak, Martinu).

Mystical Love in the German Baroque: Theology, Poetry, Music identifies the cultural and devotional conventions underlying expressions of mystical love in poetry and music of the German baroque. It sheds new light on the seemingly erotic overtones in settings of the Song of Songs and dialogues between Christ and the faithful soul in late 17th- and early 18th-century cantatas by Heinrich Schutz, Dieterich Buxtehude, and Johann Sebastian Bach. While these compositions have been interpreted solely as a secularizing tendency within devotional music of the baroque period, Isabella van Elferen demonstrates that they need to be viewed instead as intensifications of the sacred. Based on a wide selection of previously unedited or translated 17th- and 18th-century sources, van Elferen describes the history and development of baroque poetic and musical love discourses, from Schutz's early works through Buxtehude's cantatas and Bach's cantatas and Passions. This long and multilayered discursive history of these compositions considers the love poetry of Petrarch, European reception of petrarchan imagery and traditions, its effect on the madrigal in Germany, and the role of Catholic medieval mystics in baroque Lutheranism. Van Elferen shows that Bach's compositional technique, based on the emotional characteristics of text and music rather than on the depiction of single words, allows the musical expression of mystical love to correspond closely to contemporary literary and theological conceptions of this affect."

- Highly accessible and code-free introduction to game audio, suitable for a wide range of undergraduate courses, such as music production, sound design and composition - Accompanied by eresources, including downloadable projects for each chapter - A great addition to our growing catalogue of game audio titles

A pioneering study of how American composer Aaron Copland helped shape the sound of the Hollywood film industry and introduced the moviegoing public to modern musical styles. One of the most influential and beloved American composers, Aaron Copland played a critical role in shaping what is often recognized as the "American sound." He is best known for achieving this through his works for the concert hall and ballet. Yet his film scores, though less familiar nowadays, were equally influential. Between 1939 and 1949, Copland composed the music for five major Hollywood films: Lewis Milestone's Of Mice and Men (1939), Sam Wood's Our Town (1940), Lewis Milestone's The North Star (1943) and The Red Pony (1949), and William Wyler's The Heiress (1949). These were high-prestige projects, based on literary works by such respected figures as Henry James, Lillian Hellman, and John Steinbeck. Using the film medium to introduce the moviegoing public to modern musical styles, Copland challenged Hollywood's traditional uses of music in film. His innovative approaches enhanced important national themes running through these films while also contributing to Hollywood's transformation as the Great Depression gave way to wartime tribulation and, eventually, postwar prosperity and Red Scare paranoia. Aaron Copland's Hollywood Film Scores explores Copland's scores, interviews, and lectures, tracing his legacy and lasting influence on Hollywood's sound.

Perspectives on the Performance of French Piano Music offers a range of approaches central to the performance of French piano music of the nineteenth and twentieth centuries. The contributors include scholars and active performers who see performance not as an independent activity but as a practice enriched by a wealth of historical and analytical approaches. To underline the usefulness of contextual understanding for performance, each author highlights the choices performers must confront with examples drawn from particular repertoires and composers. Topics explored include editorial practice, the use of early recordings, emergent disciplines such as analysis-and-performance, and traditions passed down from teacher to student. Themes that emerge demonstrate the importance of editions as a form of communication, the challenges of notation, the significance of detail and of deeper continuity, the importance of performing and teaching traditions, and the influence of cross disciplinary frameworks. A link to a set of performed examples on the Brigham Young University-Hawai'i website allows readers to hear and compare performances and interpretations of the music discussed. The volume will appeal to musicologists and analysts interested in performance, performers, students, and piano teachers.

Der in das Historische Archiv der Stadt Köln im April 1994 verbrachte und bislang unbeachtete künstlerische Nachlass des deutsch-britischen Tänzers und Choreografen Ernest Berk eröffnete dem Autor die Möglichkeit der Erforschung eines weiteren Gebiets künstlerischer Tätigkeit Berks: der Komposition elektronischer Musik im Spannungsfeld zwischen Musique concrète und Modern Dance. - Ernest Berk wurde am 12. Oktober 1909 in Köln geboren, von wo aus er nach Ausbildung am Kölner Wigman-Institut (Ausdruckstanz) und an der Rheinischen Musikhochschule (Komposition) an verschiedenen Orten als Solotänzer und Choreograf tätig wurde. 1934 ging Berk nach England. Hier war sein Streben, durch breit gefächertes Kunstschaffen neue Formen des Tanzes publik zu machen, weshalb er 1955 sein eigenes Studio für elektronische Musik in London gründete. Mit dessen Instrumentarium schuf er ein Gesamtwerk von ca. 230 Tonbandkompositionen für Ballett, Ausdruckstanz, Film und Fernsehen. 1985 folgte Berk einem Ruf der Hochschule der Künste in Berlin und erweiterte hier seine Aktivitäten durch Lehrtätigkeit, als Schauspieler am Theater und in Spielfilmen. Berk starb am 30. September 1993.

Now available in paperback! Bela Bartok's Mikrokosmos is a collection of 153 pieces for piano designed by the composer as a series graded according to difficulty. The pieces were written between 1926 and 1939, and have become by far the best-known series of teaching pieces by a major composer in the twentieth century. This in-depth study investigates Bartok's Mikrokosmos from three main viewpoints: the genesis of the pieces, their pedagogical value, and their stylistic qualities. The book is intended for piano teachers, students, and performers as well as anyone interested in Bartok's life and work as pianist, educator, and composer. Cloth originally published in 2002 under ISBN 0-8108-4427-3.

There is a need for historical studies in music education that focuses on the common person. Historians in general have been doing this for years, but music education history has yet to catch up to the field. Although there have been many biographies and biographical studies about the more well-known music educators, little has been done investigating what teaching was like for the average teacher, and even less is known about teaching music in the early years of music education in the United States. A Musician and Teacher in Nineteenth Century New England: Irving Emerson, 1843-1903 argues that understanding history requires knowledge of the people who lived during the time. This book focuses on what Irving Emerson's life was like as a musician and music teacher during this early and critical period of music education. During this time in history, the growth of music as a curricular study in the United States, from singing schools to classroom singing and note-reading, paralleled Emerson's teaching career. It was because of the groundwork established by music teachers like Irving Emerson that the music curriculum developed in the twentieth century to include music appreciation, instrumental music ensembles and marching band, along with general music classes and choral music education. This is an invaluable resource to music educators, musicians, and historians alike in understanding the beginnings and formation of what is today music appreciation in the education system.

More than forty years after the composer's death, the music of Roberto Gerhard (1896-1970) continues to be recorded and performed and to attract international scholarly interest. The Roberto Gerhard Companion is the first full length scholarly work on this composer noted for his sharp intellect and original, exploring mind. This book builds on the outcomes of two recent international conferences and includes contributions by scholars from Spain, the USA and UK. The essays collected here explore themes and trends within Gerhard's work, using individual or groups of works as case studies. Among the themes presented are the way Gerhard's work was shaped by his Catalan heritage, his education under Pedrell and Schoenberg, and his very individual reaction to the latter's teaching and methods, notably Gerhard's very distinctive approach to serialism. The influence of these and other cultural and literary figures is an important underlying theme that ties essays together. Exiled from Catalonia from 1939, Gerhard spent the remainder of his life in Cambridge, England, composing a string of often ground-breaking compositions, notably the symphonies and concertos composed in the 1950s and 1960s. A particular focus in this book is Gerhard's electronic music. He was a pioneer in this genre and the book will contain the first rigorous studies of this music as well as the first accurate catalogue of this electronic output. His ground-breaking output of incidental music for radio and the stage is also given detailed consideration.

Felix Mendelssohn is one of the most celebrated figures of the early Romantic period. As a composer of sacred texts, he is chiefly remembered today for the oratorios Paulus (1836) and Elijah (1846). In this groundbreaking study, Siegwart Reichwald offers a meticulous analysis of Paulus, beginning with a general overview of the oratorio traditions of the early nineteenth century. He details the phases of the compositional process of Paulus as well as principles governing its development. Numerous musical examples, figures, and tables accompany the text. This thorough treatment of Paulus, while shedding light on Mendelssohn's approach to the oratorio and to sacred music in general, will be of interest to students of musicology.

Babes in Toyland was one of the most influential and underrated bands of the 1990s. They rode the wave of the Minneapolis grunge scene crafting a unique sound composed of self-taught instrumentation and unabashed banshee raging vocals. Their stage presence was enigmatic, their lyrics vitriolic, and their Kinderwhore fashion ironic and easy to emulate. But what made them most inspiring was their ethos and a unique brand of sisterhood that inspired fans to create Riot Grrl and form legendary bands such as 7 year Bitch, Bikini Kill, and Hole. Despite the media's politicization of them as an "all-female" band, the Babes insisted their music wasn't a political statement but about personal expression. They would dismiss labeling their act as feminist, but their actions sent a positive message of what a female space within music could look like. Now, almost 30 years after their most seminal record, Fontanelle, was released, the legend of the band is being resurrected and re-spun to reclaim their proper space and context in the history of music and women in rock.

R. Murray Schafer: A Creative Life is the authoritative exploration of the life and work of this preeminent Canadian composer, artist, educator, and activist. Working closely with the composer and his family, L. Brett Scott has created the most up-to-date and accurate exploration of Schafer. Scott draws on many public and private sources, including the composer's own journals and correspondence, which have not been previously available to researchers. Scott discusses Schafer's extensive writings, including his research writings on Ezra Pound and E. T. A. Hoffmann, and his multiple works of fiction. The volume also includes a detailed summary of Schafer's work in the field of acoustic ecology and recognition of his role as founder of the World Soundscape Project as well as an overview of his writings on creative music education. With complete discussions of his theater works, choral compositions, compositions for voice, chamber pieces, orchestral compositions, and early and transitional works and a chronological list of compositions and select discography, this volume presents the most comprehensive study of Schafer and his enduring legacy.

Helie Salomon's Scientia artis musice (1274), is a practical manual devoted to basic concepts, psalmody, vocal pedagogy, the musical hand in singing, clefs as indicators of the tone (mode) to which a piece belongs, and practical instruction in the singing of four-voice parallel organum. Joseph Dyer presents the first, much-needed, modern edition of Salomon's treatise, accompanied by a full English translation, comprehensive introduction and commentary. This edition corrects errors in the 1784 edition of Martin Gerbert, includes the music of chants omitted by Gerbert from the tonary, and makes available reproductions in colour of the eight illustrations in the treatise.

(Book). For those who want to learn the inner workings of music without, as author Dave Stewart notes, "getting bogged down in a lot of fearsome technicalities," this is an enlightening exploration of the theory and practice of music. Picking up where The Musician's Guide to Reading & Writing Music leaves off, Stewart uses the same amusing style, clear examples, and practical advice to encourage readers not just to read music, but to write some of their own. The book sheds light on tonality, chord sequences, scales and modes, tempo, rhythm, improvisation and composition, chords and chord voicings, MIDI, and more. 128 pages, 6 1/8 x 9 1/4