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.

One of the defining aspects of music is that it exists in time. From clapping to dancing, toe-tapping to head-nodding, the responses of musicians and listeners alike capture the immediacy and significance of the musical beat. This Companion explores the richness of musical time through a variety of perspectives, surveying influential writings on the topic, incorporating the perspectives of listeners, analysts, composers, and performers, and considering the subject across a range of genres and cultures. It includes chapters on music perception, visualizing rhythmic notation, composers' writings on rhythm, rhythm in jazz, rock, and hip-hop. Taking a global approach, chapters also explore rhythmic styles in the music of India, Africa, Bali, Latin America and the Caribbean, and Indigenous music of North and South America. Readers will gain an understanding of musicians' approaches to performing complex rhythms of contemporary music, and revealing insights into the likely future of rhythm in music.

The musical scores of Stanley Kubrick's films are often praised as being innovative and forward-looking. Despite playing such an important part in his productions, however, the ways in which Kubrick used music to great effect is still somewhat mysterious to many viewers. Although some viewers may know a little about the music in 2001 or A Clockwork Orange, few are aware of the particulars behind the music in Kubrick's other films. In Listening to Stanley Kubrick: The Music in His Films, Christine Lee Gengaro provides an in-depth exploration of the music that was composed for Kubrick's films and places the pre-existent music he utilized into historical context. Gengaro discusses the music in every single work, from Kubrick's first films, including the documentary shorts The Flying Padre and Day of the Fight, through all of his feature films, from Fear and Desire to Eyes Wide Shut. No film is left out; no cue is ignored. Besides closely examining the scores composed by Gerald Fried for Kubrick's early works, Gengaro pays particular attention to five of the director's most provocative and acclaimed films-2001: A Space Odyssey, A Clockwork Orange, Barry Lyndon, The Shining, and Eyes Wide Shut. For each film, she engages the reader by explaining how the music was excerpted (and changed, in some cases), and how the historical facts about a musical piece add layers of meaning-sometimes unintended-to the films. Meant for film lovers, music lovers, and scholars, Listening to Stanley Kubrick is a thoroughly researched examination into the musical elements of one of cinema's most brilliant artists. Appropriate for a cinema studies or music classroom, this volume will also appeal to any fan of Kubrick's films.

In addition to being a great composer, Richard Wagner was also an important philosopher. Julian Young begins by examining the philosophy of art and society Wagner constructs during his time as a revolutionary anarchist-communist. Modernity, Wagner argued, is to be rescued from its current anomie through the rebirth of Greek tragedy (the original Gesamtkunstwerk) in the form of the "artwork of the future," an artwork of which his own operas are the prototype. Young then examines the entirely different philosophy Wagner constructs after his 1854 conversion from Hegelian optimism to Schopenhauerian pessimism. "Redemption" now becomes, not a future utopia in this world, but rather "transfigured" existence in another world, attainable only through death. Viewing Wagner's operas through the lens of his philosophy, the book offers often novel interpretations of Lohengrin, The Ring cycle, Tristan und Isolde, Die Meistersinger, and Parsifal. Finally, Young dresses the cause of Friedrich Nietzsche's transformation from Wagner's intimate friend and disciple into his most savage critic. Nietzsche's fundamental accusation, it is argued, is one of betrayal: that Wagner betrayed his early, "life affirming" philosophy of art and life in favor of "life-denial." Nietzsche's assertion and the final conclusion of the book is that our task, now, is to "become better Wagnerians than Wagner."

Modeled on the brilliant approach first formulated by distinguished professor of music and master clarinetist Michele Gingras in Clarinet Secrets and More Clarinet Secrets (both available from Rowman and Littlefield), Music Secrets is designed for instrumentalists, singers, conductors, composers, and other instructors and professionals seeking a quick set of pointers to improve their work as performers and producers of music. Easy to use, contributions to the Music Secrets series fill a niche for those who need quick and easy methods for learning what they need from those just starting to the advanced musician in need of a refresher or new insights. Rhythms, melodies, and harmonies are the building blocks of music. In Music Theory Secrets: 94 Strategies for the Starting Musician, Brent Coppenbarger offers a full range of methods to help musicians, not only grasp, but remember those key elements upon which the music they play is built: pitch, rhythm, scales, key signatures, and harmony. With over eighteen years of experience teaching music theory, Coppenbarger offers the various teaching and memory strategies he has designed to help musicians understand and retain what they need to know. Coppenbarger covers critical information on how to determine pitch, the use of meter, and how to count rhythms in simple and compound meter; explains major scales and major key signatures, as well as minor scales and minor key signatures; surveys other types of scales (such as those used in jazz) and explains how modes work; presents necessary data on scale degree names and intervals; covers triads and various types of chords; touches upon Roman numeral analysis, inversions, and figured bass; presents non-chord tones and discusses solfege singing, including several pages of sight singing using various clefs and keys (strongly recommended for instrumentalists for practicing transpositions for the appropriate clef and range) demonstrates the different techniques musicians can use for transposing keys; and finally discusses more advanced concepts such as part-writing rules, the use of sequences, and form. Music Theory Secrets: 94 Strategies for the Starting Musician is an indispensable resource for instrumental teachers wishing to incorporate music theory into lessons, classroom teachers, high school and college students, amateur musicians, those wanting to learn to read music, home-schooled students, and college bound music students."

This book represents the volume of the International Musicological Conference "Musical Romania and Neighbouring Cultures. Traditions, Influences, Identities", which took place in Iasi (Romania) and was organised by the George Enescu University of Arts Iasi in collaboration with the International Musicological Society. The volume includes 35 papers of 38 authors who represent academic centres in Croatia, Bulgaria, Serbia, Greece and Romania. The diverse topics include ancient Romanian, Balkan or East-European music, music iconography, Byzantine and folkloristic traditions, as well as modern and contemporary music. The articles propose theoretical and methodological documentation on the interactions between liturgical, folkloric and academic works within this multicultural space.

This book explores the web of pitch relations that generates the musical language of non-serialized twelve-tone music and supplies both the analytical materials and methods necessary for analyses of a vast proportion of the 20th century musical repertoire. It does so in a simple, clear, and systematic manner to promote an easily accessible and global understanding of this music. Since the chromatic scale is the primary source for the pitch materials of 20th-century music, common sub-collections of the various modes and interval cycles serve as the basis for their mutual transformation. It is precisely this peculiarity of the non-serialized twelve-tone system that allows for an array of pitch relations and modal techniques hitherto perceived difficult if not impossible to analyze. Susanni and Antokoletz present the principles, concepts, and materials employed for analysis using a unique theoretic-analytical approach to the new musical language. The book contains a large number of original analyses that explore a host of composers including Ives, Stravinsky, Bartok, Messiaen, Cage, Debussy, Copland, and many more, providing insight into the music of the tonal revolution of the twentieth century and contributing an important perspective to how music works in general."

Geistliche Lieder und Psalmen, 1567, was compiled and published by Johann Leisentrit, a Roman Catholic priest who from 1559 to the time of his death in 1586, was Dean at the Cathedral of St. Peter's in Bautzen, a town in southeastern Germany. His hymnbook appeared in three complete editions (1567, 1573, 1584), and in abridged editions in 1575, 1576, and 1589. By adapting the vernacular hymn, a genre created by Protestant reformers, Leisentrit hoped to bring back to the "true church" (wahrglaubiger Christlicher Kirchen) those who had defected to Lutheranism. This was a formidable ambition because his diocese was located adjacent to the Moravian-Bohemian regions where the Protestant movement was born and remained vital. Containing approximately 260 texts set to 175 notated melodies, many borrowed from Protestant sources and adapted to serve Roman Catholic objectives, Leisentrit's book was the second Catholic hymnbook to be published in the sixteenth century. It surpassed its Protestant and Catholic precursors in scope and provided a model for the profusion of hymnbooks of numerous confessions that appeared in Germany in the seventeenth and eighteenth centuries . Wetzel and Heitmeyer present their study in two parts: The first comprises six contextual chapters that survey earlier German achievements in hymnody, provide analyses of the texts and music in Leisentrit's book, and assess his achievement within the volatile environment of the Counter Reformation. The second gives the melodies in modern notation along with the first stanzas of the texts; provides detailed concordances and references to sources that identify textual and musical provenances; and concludes with six appendixes to facilitate scholarly cross-references. Fourteen of the seventy wood engravings from Leisentrit's book, many of which are visual representations of the prevailing confessional conflicts, are given in enlarged reproductions. The authors provide the only comprehensive study in English of a unique religious figure and his efforts to achieve confessional reconciliation in the decades following the Council of Trent. They add to a more accurate interpretation of the relationship between Lutherans and Catholics in the sixteenth century and support the hypothesis that some Lutherans remained more liturgically formal than their Catholic contemporaries.

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.

The book defines and describes the relationships between Chopin's music and one of the oldest but still used monastic rules, the Rule of Saint Benedict. Its goal is to construct bridges between music and spirituality. Since these two realms both refer to human life, the chapters of the book deal with current and existential issues such as beginnings, authority, weakness, interactions, emotions and others. The Rule of Saint Benedict and Chopin's music appear to belong to the same stylistic category of human culture, characterized by nobleness, moderation and high sensibility. In this way two seemingly incompatible realities reveal their affinity to each other, and the one may explain the other. The book is situated at the boundary of musicology and theology. Its discourse is illustrated by many examples, carefully chosen from Chopin's music.

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.

The central point of this book is the realization that the creative work of Alban Berg, which in recent years has moved to the forefront of scholarly interest, is largely rooted in autobiography, so that therefore one can gain access to the music by studying the inner biography of its creator. Accordingly, the first of the three parts of this volume outlines a character portrait of this great composer. Part two considers the conditions relevant to a deeper understanding of Berg and of the Second Viennese School generally. In part three, then, Berg's key works will be analyzed and semantically deciphered in terms of his inner biography. The study is based not only on the sources in print but also on the rich unpublished material. Alban Berg was incapable of composing without a program. He needed an extra-musical stimulus. With him, personal experience was the indispensable condition of the creative process: the autobiographic reference was all-important for composing.

Unsayable Music presents theoretical, critical and analytical reflections on key topics of contemporary music including acoustic, electroacoustic, and digital music and audiovisual and multimedia composition. Six essays by Paulo C. Chagas approach music from different perspectives such as philosophy, sociology, cybernetics, musical semiotics, media, and critical studies.

Chagas's practical experience, both as a composer of contemporary music and sound director of the Electronic Music Studio of Cologne, nourishes his observations on the specific creativity that emerges with the use of the technical apparatus, the development of the electronic music studio, the different aesthetics of electroacoustic music, and the forms of audiovisual and multimedia composition.

The title Unsayable Music is a reference to Wittgenstein, who suggested that sound is only the surface of music and that the musical work conceals something more profound that can hardly be described by philosophical models or scientific theories."

What if Bach and Mozart heard richer, more dramatic chords than we hear in music today? What sonorities and moods have we lost in playing music in "equal temperament" the equal division of the octave into twelve notes that has become our standard tuning method? Thanks to How Equal Temperament Ruined Harmony, "we may soon be able to hear for ourselves what Beethoven really meant when he called B minor 'black'" (Wall Street Journal).In this "comprehensive plea for more variety in tuning methods" (Kirkus Reviews), Ross W. Duffin presents "a serious and well-argued case" (Goldberg Magazine) that "should make any contemporary musician think differently about tuning" (Saturday Guardian)."

In Choral Masterpieces: Major and Minor, historian Nicholas Tarling surveys the landscape of choral works, some standard masterpieces that are commonly performed by choruses around the world, others deserving a second, closer look. As noted in the foreword by Uwe Grodd , music director of the Auckland Choral Society, this work "is a collection of essays about a number of outstanding works, including Beethoven's Miss Solemnis and Britten's War Requiem, but he also invites attention to lesser masterpieces. If the choral movement, which includes both singers and listeners, is to survive, new works must be created and repertory expanded. The book is an easy and captivating read even if you are not a chorister." Choral Masterpieces: Major and Minor features short essays on over 28 works, from major masterpieces such as Handel's Messiah and Bach's St. Matthew's Passion to off-the-beaten path choral works such as Samuel Coleridge-Taylor's Hiawatha and Frederick Delius' A Mass of Life. Throughout, Tarling offers assessments that sparkle with unique insights and at the same time ground listener's in the historical contexts of the work's production and performance. Each work is transformed in Tarling's able hands from musical work into a window into the mind and milieu of the composer. Choral Masterpieces: Major and Minor mixes choral mainstays with works that demand revisiting. Choral singers and their audiences, as well as choral societies and their directions and promoters, will find ample food for thoughts in these meditations on the choral tradition.

In Choral Masterpieces: Major and Minor, historian Nicholas Tarling surveys the landscape of choral works, some standard masterpieces that are commonly performed by choruses around the world, others deserving a second, closer look. As noted in the foreword by Uwe Grodd , music director of the Auckland Choral Society, this work "is a collection of essays about a number of outstanding works, including Beethoven's Miss Solemnis and Britten's War Requiem, but he also invites attention to lesser masterpieces. If the choral movement, which includes both singers and listeners, is to survive, new works must be created and repertory expanded. The book is an easy and captivating read even if you are not a chorister." Choral Masterpieces: Major and Minor features short essays on over 28 works, from major masterpieces such as Handel's Messiah and Bach's St. Matthew's Passion to off-the-beaten path choral works such as Samuel Coleridge-Taylor's Hiawatha and Frederick Delius' A Mass of Life. Throughout, Tarling offers assessments that sparkle with unique insights and at the same time ground listener's in the historical contexts of the work's production and performance. Each work is transformed in Tarling's able hands from musical work into a window into the mind and milieu of the composer. Choral Masterpieces: Major and Minor mixes choral mainstays with works that demand revisiting. Choral singers and their audiences, as well as choral societies and their directions and promoters, will find ample food for thoughts in these meditations on the choral tradition.

Why are so few women composers known to the general public and even fewer of their works studied and performed? More than one musicologist told the author that they are not "famous" enough to be considered! So then, can a woman who studied with Boulanger and Messiaen, who won the coveted Paris Conservatory Prize in Composition, who received the highest awards her country can bestow, and who produced some of the finest teaching musicians on the globe qualify as "famous"? This book is about one who can and does: Erzsebet Szonyi, a Hungarian "Renaissance woman", who, in spite of a repressive regime's attempts to contain her, ended up wielding an international artistic and pedagogical influence. Readers interested in music education, women's and family studies, Kodaly studies, Classical education, theory and composition, musicology, creative processes, educational psychology, and the history and sociology of pre- and postwar Central Europe will find A Tear in the Curtain: The Musical Diplomacy of Erzsebet Szonyi: Musician, Composer, Teacher of Teachers to be a compelling read. One is left to contemplate what society should actually expect from the education of its citizens. In this book, readers clearly hear Erzsebet Szonyi's own voice as she describes her journey through unimaginable joys, sorrows, and personal challenges to emerge as a muse for our age. More like her are needed; perhaps through her life story we can learn how to raise them. The message is clear: Fame is a life lived in the service of others.

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.

Time is of the essence in music because the ear can only perceive sequentially-one thing at a time-unlike the eye, which is capable of panoramic view. Silence and Slow Time proposes a way of thinking about music that is faithful to the experience of playing or listening during a real performance. Boykan argues against the common assumption that thematic relationships automatically insure musical coherence, because the repetition or the transformation of a theme is only meaningful if we consider when it occurs. This argument is developed through a close reading of passages from the full range of Western music. Analyses of dramatic narratives in Haydn, Beethoven, Schubert, and Chopin reveal a richness that can only be captured if thematic or voice-leading relationships are placed within a temporal context. Other kinds of narrative are explored in a Renaissance motet, and in the music of Wolf and Debussy at the end of the 19th Century. The book devotes several chapters to the great innovators of the 20th Century, and concludes with a detailed study of the Schoenberg Trio that traces its thematic and harmonic process to suggest a somewhat oblique relation to the apocalyptic moment when it was composed.

As perhaps the most studied film movement in cinematic history, the French New Wave has been analysed and criticised, romanticised and mythologised, raising the question of whether it is possible to write anything new about this period. Yet there are still gaps in the scholarship, and the study of music in New Wave films is one of the most striking. Listening to the French New Wave offers the first detailed study of the music and composers of French New Wave cinema, arguing for the need to re-hear and thus reassess this important period in film history. Combining an ethnographic approach with textual and score-based analysis, the author challenges the idea of the New Wave as revolutionary in all its facets by revealing traditional approaches to music in many canonical New Wave films. However, musical innovation does have its place in the New Wave, particularly in the films of the marginalised Left Bank group. The author ultimately brings to light those few collaborations that engaged with the ideology of adopting contemporary music practices for a contemporary medium. Drawing on archival material and interviews with New Wave composers, this book re-tells the story of the French New Wave from the perspective of its music.

- Provides an accessible introduction to the field of music cognition. - Written by a leading researcher in the interdisciplinary field that gives us fundamental insights in the cognitive mechanisms underlying musicality - Will appeal to those taking courses on the Psychology of Music or Auditory Perception, from the fields of Psychology and Music

Where did the major scale come from? Why does most traditional non-Western music not share Western principles of harmony? What does the inner structure of a canon have to do with religious belief? Why, in historical terms, is J.S. Bach's music regarded as a perfect combination of melody and harmony? Why do clocks in church towers strike dominant-tonic-dominant-tonic? What do cathedrals have to do with monochords? How can the harmonic series be demonstrated with a rope tied to a doorknob, and how can it be heard by standing next to an electric fan? Why are the free ocean waves in Debussy's La Mer, the turbulent river waves in Smetana's Moldau, and the fountain ripples in Ravel's Jeux d'Eau pushed at times into four-bar phrases? Why is the metric system inherently unsuitable for organizing music and poetry? In what way does Plato's Timaeus resemble the prelude to Wagner's Das Rheingold? Just how does Beethoven's work perfectly illustrate fully functional tonality, and why were long-range works based on this type of tonality impossible before the introduction of equal temperament? In this new century, what promising materials are available to composers in the wake of harmonic experimentation and, some would argue, exhaustion? The answers to these seemingly complicated questions are not the sole province of music professors or orchestra conductors. In fact, as E. Eugene Helm demonstrates in Melody, Harmony, Tonality: An Introduction, they can just as easily be explained to amateurs, and their answers are important if we are to understand how Western music works. The full range of Western music is explored through 21 concise chapters on such topics as melody, harmony, counterpoint, texture, melody types, improvisation, music notation, free imitation, canon and fugue, vibration and its relation to harmony, tonality, and the place of music in architecture and astronomy. Intended for amateurs and professionals, concert-goers and conductors, Helm offers in down-to-earth language an explanation of the foundations of our Western music heritage, deepening our understanding and the listening experience of it for all. Melody, Harmony Tonality: An Introduction is the paperback edition of Melody, Harmony,Tonality: A Book for Connoisseurs and Amateurs.