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.

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.

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.

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.

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.

(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

The translation of the third volume of Syntagma musicum, a multi-volume work by German composer and theorist Michael Praetorius (1571-1621). Volume III deals with terminolgy and performance practice, and offers us the most detailed commentary available from the 17th century about the performance of particular pieces of music. Praetorius is the most often quoted and excerpted writer on performance practice. In his translation, Kite=Powell has worked with a notoriously difficult syntax to produce a definitive English edition of this important work.

Taking a cue from Erving Goffman's classic work, Asylums, Tia DeNora develops a novel interdisciplinary framework for music, health and wellbeing. Considering health and illness both in medical contexts and in the often-overlooked realm of everyday life, DeNora argues that these identities are by no means mutually exclusive. Moreover, she suggests that the promotion of health and more specifically, mental health, involves a great deal more than a concern with medication, genetic predispositions, clinical and neuro-scientific procedures. Adopting a holistic, interactionist focus, Music Asylums reconnects states of wellness and wellbeing to encounters with others and - critically - to opportunities for aesthetic experience. Building on DeNora's earlier work on music as a technology of self in everyday life, the book presents music as an active ingredient of action, identity, capacity and consciousness. From there, it suggests that access to, and evaluation of, music is an important ethical matter. Intended for scholars and practitioners in psychiatry and psychology, palliative care, socio-music studies, music psychology and the allied health professions, Music Asylums showcases music's role in the existential project of being and staying well, mentally and physically, from moment-to-moment and across all realms of social life.

When the story of modernity is told from a theological perspective, music is routinely ignored - despite its pervasiveness in modern culture and the manifold ways it has been intertwined with modernity's ambivalent relation to the Christian God. In conversation with musicologists and music theorists, in this collection of essays Jeremy Begbie aims to show that the practices of music and the discourses it has generated bear their own kind of witness to some of the pivotal theological currents and counter-currents shaping modernity. Music has been deeply affected by these currents and in some cases may have played a part in generating them. In addition, Begbie argues that music is capable of yielding highly effective ways of addressing and moving beyond some of the more intractable theological problems and dilemmas which modernity has bequeathed to us. Music, Modernity, and God includes studies of Calvin, Luther and Bach, an exposition of the intriguing tussle between Rousseau and the composer Rameau, and an account of the heady exaltation of music to be found in the early German Romantics. Particular attention is paid to the complex relations between music and language, and the ways in which theology, a discipline involving language at its heart, can come to terms with practices like music, practices which are coherent and meaningful but which in many respects do not operate in language-like ways.

This book analyses religion and change in relation to music within the context of contemporary progressive Judaism. It argues that music plays a central role as a driving force for religious change, comprising several elements seen as central to contemporary religiosity in general: participation, embodiment, experience, emotions and creativity. Focusing on the progressive Anglo-Jewish milieu today, the study investigates how responses to these processes of change are negotiated individually and collectively and what role is allotted to music in this context. Building on ethnographic research conducted at Leo Baeck College in London (2014-2016), it maps how theologically unsystematic life-views take form through everyday musical practices related to institutional religion, identifying three theoretically relevant processes at work: the reflexive turn, the turn within and the turn to tradition.

Transnational Memory and Popular Culture in East and Southeast Asia explores the significance of transnational popular culture in the formation and mediation of collective memories across the region. It looks at case studies including: the politics of cinematic remembering of Hong Kong films on Southeast Asia, the digital and holographic enshrinement of departed celebrities like Wong Kar Kui, Bruce Lee and Teresa Teng and the dredging of personal memories of the encounters with the Korean Wave in Singapore. In addition, it explores how cultural memories are used as focal points of staging cultural revival and movements in Singapore and Taiwan. Contrary to the assumptions of the importance of newness in modern popular culture productions, the continued relevance of this otherwise dated material reflects the significance of these texts in the development and strengthening of collective cultural memories. The discussion of such issues has often been grounded geo-spatially on the "national" and contemporary contexts, this volume will develop a more temporalized and transnational perspective in the shaping of otherwise local cultural identifications.

This book studies the working efficacy of Leonard Cohen's song Hallelujah in the context of today's network culture. Especially as recorded on YouTube, k.d. lang's interpretation(s) of Cohen's Hallelujah, embody acoustically and visually/viscerally, what Nietzsche named the 'spirit of music'. Today, the working of music is magnified and transformed by recording dynamics and mediated via Facebook exchanges, blog postings and video sites. Given the sexual/religious core of Cohen's Hallelujah, this study poses a phenomenological reading of the objectification of both men and women, raising the question of desire, including gender issues and both homosexual and heterosexual desire. A review of critical thinking about musical performance as 'currency' and consumed commodity takes up Adorno's reading of Benjamin's analysis of the work of art in the age of mechanical reproduction as applied to music/radio/sound and the persistent role of 'recording consciousness'. Ultimately, the question of what Nietzsche called the becoming-human-of-dissonance is explored in terms of both ancient tragedy and Beethoven's striking deployment of dissonance as Nietzsche analyses both as playing with suffering, discontent, and pain itself, a playing for the sake not of language or sense but musically, as joy.

- 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

Andreas Werckmeister (1645 - 1706), a late seventeenth-century German Lutheran organist, composer, and music theorist, is the last great advocate and defender of the Great Tradition in music, with its assumptions that music is a divine gift to humanity, spiritually charged yet rationally accessible, the key being a complex of mathematical proportions which govern and are at the root of the entire universe and all which that embraces. Thus understood, music is the audible manifestation of the order of the universe, allowing glimpses, sound-bites of the very Creator of a well-tempered universe, and of our relationship to each other, our environment, and the divine powers which placed us here. This is the subject matter of the conversation which Werckmeister wishes to have with us, his readers, particularly in his last treatise, the Musicalische Paradoxal-Discourse. But he does not make it easy for today's readers. He assumes certain proficiencies from his readers, including detailed biblical knowledge, a fluency in Latin, and a familiarity with treatises and publications concerning music, theology, and a number of related disciplines. He writes in a rather archaic German, riddled with obscure references which require a thorough explanation. With its extensive commentary and translation of the treatise, this book seeks to bridge Werckmeister's world with that of the twenty-first century. Werckmeister wrote for novice and professional musicians alike, an author who wanted to consider with his readers the basic and existential questions and issues regarding the wondrous art of music, questions as relevant then as they are now.

Ubiquitous Musics offers a multidisciplinary approach to the pervasive presence of music in everyday life. The essays address a variety of situations in which music is present alongside other activities and does not demand focused attention from (sometimes involuntary) listeners. The contributors present different theoretical perspectives on the increasing ubiquity of music and its implications for the experience of listening. The collection consists of nine essays divided into three sections: Histories, Technologies, and Spaces. The first section addresses the historical origins of functional music and the debates on how reproduced music, including a wide range of styles and genres, spread so quickly across so many environments. The second section focuses on more contemporary sound technologies, including mobile phones in India, the role of visible playback technology in film, and listening to portable digital players. The final section reflects on settings such as malls, stores, gyms, offices and cars in which ubiquitous musics are often present, but rarely thought about. This last section - and ultimately the whole collection - seeks to foster a wider understanding of listening practices by lending a fresh, critical ear.

Creating Global Music in Turkey looks at the rise of "world music" in Turkey by analyzing this country's various "traditional" or ethnic music forms. The book focuses on the uniquely Turkish musical forms exemplified by Gypsy, Sufi, and Folk music, and explores how these have been incorporated into the global discourses of world music. In doing so, the book also shows how the place-making strategies of globalization are embodied through the construction of an "authentic" Istanbul sound under the label of world music. The reader is invited to consider each musical tradition as being a unique realm in its incorporation into world music. The process of incorporation and appropriation is explained by examination of the specificities of each realm. This book is unique within the relevant literature, focusing on the production of a global cultural form outside of the Western world. It uses the findings of comprehensive ethnographic research to reveal to the reader the strategies of actors, the discursive mechanisms in the field, and how the world music markets operate.

Singer-Songwriters and Musical Open Mics is an ethnographic exploration of New York City's live music events where musicians signup and perform short sets. This sociological study dispels the common assumption that open mics are culturally monolithic and reserved for novice musicians. Open mics allow musicians at different locations within their musical development and career to interactively perform, practice, and network with other musicians. Important themes in the book include: the tension between self and society in the creative process, issues of creative authenticity and authorship, and on-going cultural changes central to the Do-It-Yourself cultural zeitgeist of the early 21st century. The open mic's cultural antecedents include a radio format, folk hootenannies, and the jazz jam session. Drawing from multiple qualitative methods, Aldredge describes how open mics have etched a vital organizational place in the western and urban musical landscape. Open mics represent a creative place where the boundaries of practicing and performing seemingly blur. This allows for a range of social settings from more competitive, stratified, and homogenous music scenes to culturally diverse weekly events often stretching late into the night.

There is a paucity of material regarding how choral music specifically was performed in the 1800s. The Historically Informed Performance (HIP) movement has made remarkable advancements in choral music of the Renaissance, Baroque, and Classical periods, with modest forays into the music of Beethoven, Schubert, Mendelssohn, and other early nineteenth-century composers; however, there are no sources with a comprehensive examination of how choral music was performed. Using more than one-hundred musical examples, illustrations, tables, and photographs and relying on influential, contemporaneous sources, David Friddle details the performance practices of the time, including expressive devices such as articulation, ornamentation, phrasing, tempo, and vibrato, along with an in-depth discussion of period pronunciation, instruments, and orchestral/choral placement. Sing Romantic Music Romantically: Nineteenth-Century Choral Performance Practices fills a gap in choral scholarship and moves forward our knowledge of how choral music sounded and was performed in the nineteenth century. The depth of research and abundance of source material makes this work a must-have for choral professionals everywhere.

Brian Eno's seminal album Ambient 1: Music for Airports continues to fascinate and charm audiences, not only as a masterpiece of ambient music, but as a powerful and transformative work of art. Author John T. Lysaker situates this album in the context of twentieth-century art music, where its ambitions and contributions to avant garde music practice become even more apparent. To appreciate the album's multifaceted character, Lysaker advocates for "prismatic listening," an attentiveness that continually shifts registers in the knowledge that no single approach can grasp the work as a whole. Exploring each of the album's four tracks and their unique sonic arrangements, Brian Eno's Ambient 1: Music for Airports argues that the album must be approached from at least three angles: as an ambient contribution to lived environments that draws upon cybernetics and the experiments of Erik Satie, as an exploration of what John Cage has termed the "activity of sounds," and as a work of conceptual art that asks us to think freshly about artistic creativity, listening, and the broad ecology of interactions that not only make art possible, but the full range of human meaning. If one listens in this way, Music for Airports becomes a sonic image that blurs the nature-culture distinction and rescues the most interesting concerns of avant-garde music from the social isolation of concert halls and performance spaces.

This volume presents essays on the theory, methodology, and disciplinary history of Systematic and Comparative Musicology as well as on concepts of current empirical research. Part 1 is devoted to Systematic Musicology which is viewed as a transdisciplinary approach to fundamental music research, on the one hand, and as a field of learning which is offered as an academic subject in universities, on the other. Part 1 also includes articles which illustrate modern research concepts many of which are based on experimental and other empirical methods as well as on computational and modelling approaches. The articles concern problems which range from acoustics and psychoacoustics to neuromusicology and music cognition. Part 2 addresses issues in Comparative Musicology and Ethnomusicology, for instance the relevance of comparative methods as applied to the study of non-western musical phenomena. Further, sound analysis combined with fieldwork as well as modelling based on ethnomathematical considerations are given special notice. Aspects of theory and disciplinary history are also covered in this section which moreover includes findings obtained from actual fieldwork.

Provides examples that instructors can readily apply in their teaching, enabling deeper inclusion of Black composers in the music theory curriculum on a practical level This book includes discussion of a wide variety of genres, including: jazz and popular music (including R&B, funk, and pop), string quartets, piano pieces, concertos, symphonies, and art songs Addresses Black composers and musicians working in a wide range of musical styles, including classical and popular works