Muhidin Maalim Gurumo and Hassan Rehani Bitchuka are two of Tanzania's most well-known singers in the popular music genre known as muziki wa dansi (literally, 'music for dancing'), a variation of the Cuban-based rhumba idiom that has been enormously impactful throughout central, eastern, and western Africa in the contemporary era. This interview-based dual biography investigates the lives and careers of these two men from an ethnomusicological and historical perspective. Gurumo had a career spanning fifty years before his death in 2014. Bitchuka has been singing professionally for forty-five years. The two singers, affectionately called mapacha ("the twins") by their colleagues, worked together as partners for thirty years from 1973-2003. This study situates these exemplary individuals as creative agents in a local cultural context, showcasing interviews, narratives, and nostalgic reminiscences about musical life lived under Colonialism, state Socialism, and current politics in the global neoliberal democratic milieu. The book adds to a growing body of work about popular music in Dar es Salaam and shines a light on these artists' creative processes, the choices they have made regarding rare resources, their styles and efficacy in conflict resolution, and their own memories regarding the musical art they have created.

This book explores the power music has to address health inequalities and the social determinants of health and wellbeing. It examines music participation as a determinant of wellbeing and as a transformative tool to impact on wider social, cultural and environmental conditions. Uniquely, in this volume health and wellbeing outcomes are conceptualised on a continuum, with potential effects identified in relation to individual participants, their communities but also society at large. While arts therapy approaches have a clear place in the text, the emphasis is on music making outside of clinical contexts and the broader roles musicians, music facilitators and educators can play in enhancing wellbeing in a range of settings beyond the therapy room. This innovative edited collection will be of great interest to scholars and practitioners of music, social services, medical humanities, education and the broader health field in the social and medical sciences.

This book comprises twelve articles which cover a range of topics from musical instrument acoustics to issues in psychoacoustics and sound perception as well as neuromusicology. In addition to experimental methods and data acquisition, modeling (such as FEM or wave field synthesis) and numerical simulation plays a central role in studies addressing sound production in musical instruments as well as interaction of radiated sound with the environment. Some of the studies have a focus on psychoacoustic aspects in regard to virtual pitch and timbre as well as apparent source width (for techniques such as stereo or ambisonics) in music production. Since musical acoustics imply subjects playing instruments or singing in order to produce sound according to musical structures, this area is also covered including a study that presents an artificial intelligent agent capable to interact with a real ('analog') player in musical genres such as traditional and free jazz.

The discovery and application of abstract musical properties has had a prominent role in compositional and theoretical literature during the past 40 years, and an accumulation of source material has been produced that makes a single cross-referenced source essential for standard working procedures. Abstract musical properties, most often associated with analytical or compositional systems, are presented here in an unbiased context that allows the reader freedom of association and interpretation. This type of reference is an important tool for anyone who uses set-class analysis in coursework, or independent thesis research. This book is intended to help verify musical intuition and has an immediate practical application for composers and theorists curious about intervallic properties and transformational potentials of any pitch-class set. It can provide supplemental material for coursework involving theory, analysis, and stylistic awareness of compositional or analytical styles, and also for learning and confirming economical presentations characteristic of recent music-theoretical literature. Organized in two parts, the first is a profile of all set-classes in charts allowing quick comparisons among them, including set-class reference tables, set-classes arranged by ascending interval-class vectors, and a summary of transformational invariances. The second part focuses on individual set-classes, listing its contents, subsets, and significant references to the collection in musical or theoretical literature. Internal segmentations of each set-class that are more structurally informative and memorizable than prime-forms are offered. Three appendices, an extensive bibliography, an index of selected analytical viewpoint and styles, and an index of terms are also included.

The Oxford Handbook of Music and World Christianities investigates music's role in everyday practice and social history across the diversity of Christian religions and practices around the globe. The volume explores Christian communities in the Americas, Europe, Africa, Asia, and Australia as sites of transmission, transformation, and creation of deeply diverse musical traditions. The book's contributors, while mostly rooted in ethnomusicology, examine Christianities and their musics in methodologically diverse ways, engaging with musical sound and structure, musical and social history, and ethnography of music and musical performance. These broad materials explore five themes: music and missions, music and religious utopias (and other oppositional religious communities), music and conflict, music and transnational flows, and music and everyday life. The volume as a whole, then, approaches Christian groups and their musics as diverse and powerful windows into the way in which music, religious ideas, capital, and power circulate (and change) between places, now and historically. It also tries to take account of the religious self-understandings of these groups, presenting Christian musical practice and exchange as encompassing and negotiating deeply felt and deeply rooted moral and cultural values. Given that the centerpiece of the volume is Christian religious musical practice, the volume reveals the active role music plays in maintaining and changing religious, moral, and cultural values in a long history of intercultural and transnational encounters.

This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the USA through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, re-mediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological, aesthetic, tropes in film media traversing the work of early pioneers such as Walther Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of Vjing.

Coping with trauma and the losses of World War I was a central concern for French musicians in the interwar period. Almost all of them were deeply affected by the war as they fought in the trenches, worked in military hospitals, or mourned a friend or relative who had been wounded, killed, or taken prisoner. In Resonant Recoveries, author Jillian C. Rogers argues that French modernist composers processed this experience of unprecedented violence by turning their musical activities into locations for managing and performing trauma. Through analyses of archival materials, French medical, philosophical, and literary texts, and the music produced between the wars, Rogers frames World War I as a pivotal moment in the history of music therapy. When musicians and their audiences used music to remember lost loved ones, perform grief, create healing bonds of friendship, and find consolation in soothing sonic vibrations and rhythmic bodily movements, they reconfigured music into an embodied means of consolation-a healer of wounded minds and bodies. This in-depth account of the profound impact that postwar trauma had on French musical life makes a powerful case for the importance of addressing trauma, mourning, and people's emotional lives in music scholarship. This is an open access title available under the terms of a CC BY-NC-ND 4.0 licence. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations.

Beginning in the 1930s, men and a handful of women came from India's many communities-Marathi, Parsi, Goan, North Indian, and many others--to Mumbai to work in an industry that constituted in the words of some, "the original fusion music." They worked as composers, arrangers, assistants, and studio performers in one of the most distinctive popular music and popular film cultures on the planet. Today, the songs played by Mumbai's studio musicians are known throughout India and the Indian diaspora under the popular name "Bollywood," but the musicians themselves remain, in their own words, "behind the curtain"--the anonymous and unseen performers of one of the world's most celebrated popular music genres.
Now, Gregory D. Booth offers a compelling account of the Bollywood film music industry from the perspective of the musicians who both experienced and shaped its history. In a rare insider's look at the process of musical production from the late 1940s to the mid 1990s, before the advent of digital recording technologies, Booth explains who these unknown musicians were and how they came to join the film music industry. On the basis of a fascinating set of first-hand accounts from the musicians themselves, he reveals how the day-to-day circumstances of technology and finance shaped both the songs and the careers of their creator and performers. Booth also unfolds the technological, cultural, and industrial developments that led to the enormous studio orchestras of the 1960s-90s as well as the factors which ultimately led to their demise in contemporary India.
Featuring an extensive companion website with video interviews with the musicians themselves, Behind the Curtain is apowerful, ground-level view of this globally important music industry.

As the turbulent 60's began to fade into the calmer 70's, a coterie of young singers, songwriters, musicians, artists, and poets began to congregate, musically on the stage of The New Bijou Theater - the Springfield, Missouri nightclub that would become the loose-knit group's home. What started as an informal weekly gathering, quickly morphed into a formal band. Dubbed the Family Tree, they became a favorite of the local counter-culture, as well as a continuation of the tradition-rich, Springfield music scene - which, until recently, included the Ozark Jubilee (the nation's first televised country music show). Though unprofitable at the time, they stuck to their guns and their original songs. When a rough tape of an early Bijou gig caught the ear of music mogul, John Hammond, it culminated in a 26-song studio demo, which caught the ear of A&M executive, David Anderle. The group signed with the label, changed their name to its present moniker, and whisked off to London to record their debut album under the tutelage of Glyn Johns. The album contained "If You Want to Get to Heaven." Their subsequent album, recorded in rural Missouri, contained "Jackie Blue." Both songs remain staples on 'classic rock' radio. By the early 80's, the Ozark Mountain Daredevils found themselves right where the Family Tree had stood a decade before - in Springfield with no record deal. They did, though, find themselves with legions of loyal fans around the world. Amidst personnel changes, personal turmoils and a cornucopia of tales from the rock-n-roll highway, the next twenty years were spent 'on the road'. Though continuing to write, they could garner little interest among the rapidly modernizing music industry - a situation many long-haired, long-named hippie bands of the 70's find themselves in. Their music, though, lives in the hearts of their fans.

The relationship between popular music and consumer brands has never been so cosy. Product placement abounds in music videos, popular music provides the soundtrack to countless commercials, social media platforms offer musicians tools for perpetual promotion, and corporate-sponsored competitions lure aspiring musicians to vie for exposure. Activities that once attracted charges of 'selling out' are now considered savvy, or even ordinary, strategies for artists to be heard and make a living. What forces have encouraged musicians to become willing partners of consumer brands? At what cost? And how do changes in popular music culture reflect broader trends of commercialization? Selling Out traces the evolution of 'selling out' debates in popular music culture and considers what might be lost when the boundary between culture and commerce is dismissed as a relic.

Do you find it challenging to integrate technology into your elementary music classroom? Do you feel that it could enhance your classroom experience if you could implement it in an approachable and realistic way? In Using Technology with Elementary Music Approaches, author Amy M. Burns offers an all-in-one, classroom-vetted guide to integrate technology into the music classroom while keeping with core educational strategies. In this book, you will find practical lessons and ideas that can be used in any elementary classroom, whether that classroom has one device per educator or a device for every student. Written for a range of experience levels, lessons further enhance classrooms that utilize the approaches of Feierabend, Kodaly, Orff Schulwerk, and project-based learning. Experts from each field-Dr. Missy Strong, Glennis Patterson, Ardith Collins, and Cherie Herring-offer a variety of approaches and project ideas in the project-based learning section. Complemented by a companion website of lesson videos, resource guides, and more, Using Technology with Elementary Music Approaches allows new and veteran educators to hit the ground running on the first day of school.

Hip-Hop Within and Without the Academy explores why hip-hop has become such a meaningful musical genre for so many musicians, artists, and fans around the world. Through multiple interviews with hip-hop emcees, DJs, and turntablists, the authors explore how these artists learn and what this music means in their everyday lives. This research reveals how hip-hop is used by many marginalized peoples around the world to help express their ideas and opinions, and even to teach the younger generation about their culture and tradition. In addition, this book dives into how hip-hop is currently being studied in higher education and academia. In the process, the authors reveal the difficulties inherent in bringing this kind of music into institutional contexts and acknowledge the conflicts that are present between hip-hop artists and academics who study the culture. Building on the notion of bringing hip-hop into educational settings, the book discusses how hip-hop is currently being used in public school settings, and how educators can include and embrace hip-hop s educational potential more fully while maintaining hip-hop s authenticity and appealing to young people. Ultimately, this book reveals how hip-hop s universal appeal can be harnessed to help make general and music education more meaningful for contemporary youth."

The Musicality of Narrative Film is the first book to examine in depth the film/music analogy. Using comparative analysis, Kulezic-Wilson explores film's musical potential, arguing that film's musicality can be achieved through various cinematic devices, with or without music.

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.

The newly emerged interdisciplinary field of Disability Studies offers a sociopolitical analysis of disability, focusing on its social construction, and shifting attention from biology to culture. In the past fifteen years, disability-related scholarly work has been undertaken in a variety of disciplines, and disability now occupies a central place in cultural analysis, along with well-established categories like race/ethnicity, gender, sexuality, and class. The Oxford Handbook of Disability Studies represents a comprehensive "state of current research" for the field of Disability Studies and Music. The forty-two chapters in the book span a wide chronological and geographical range, from the biblical, the medieval, and the Elizabethan, through the canonical classics of the eighteenth and nineteenth centuries, up to modernist styles and contemporary musical theater and popular genres, with stops along the way in post-Civil War America, Ghana and the South Pacific, and many other interesting times and places. Disability is a broad, heterogeneous, and porous identity, and that diversity is reflected in the variety of bodily conditions under discussion here, including autism and intellectual disability, deafness, blindness, and mobility impairment often coupled with bodily deformity. Cultural Disability Studies has, from its inception, been oriented toward physical and sensory disabilities, and has generally been less effective in dealing with cognitive and intellectual impairments and with the sorts of emotions and behaviors that in our era are often medicalized as "mental illness." In that context, it is notable that so many of these essays are centrally concerned with madness, that broad and ever-shifting cultural category. There is also in impressive diversity of subject matter including YouTube videos, Ghanaian drumming, Cirque du Soleil, piano competitions, castrati, medieval smoking songs, and popular musicals. Amid this diversity of time, place, style, medium, and topic, the chapters share two core commitments. First, they are united in their theoretical and methodological connection to Disability Studies, especially its central idea that disability is a social and cultural construction. Disability both shapes and is shaped by culture, including musical culture. Second, these essays individually and collectively make the case that disability is not something at the periphery of culture and music, but something central to our art and to our humanity.

When many people think of African music, the first ideas that come to mind are often of rhythm, drums, and dancing. These perceptions are rooted in emblematic African and African-derived genres such as West African drumming, funk, salsa, or samba and, more importantly, essentialized notions about Africa which have been fueled over centuries of contact between the "West," Africa, and the African diaspora. These notions, of course, tend to reduce and often portray Africa and the diaspora as primitive, exotic, and monolithic. In Africanness in Action, author Juan Diego Diaz explores this dynamic through the perspectives of Black musicians in Bahia, Brazil, a site imagined by many as a diasporic epicenter of African survivals and purity. Black musicians from Bahia, Diaz argues, assert Afro-Brazilian identities, promote social change, and critique racial inequality by creatively engaging essentialized tropes about African music and culture. Instead of reproducing these notions, musicians demonstrate agency by strategically emphasizing or downplaying them.

This is a facsimile of the first edition, printed for the Author, in Edinburgh in 1721.

Perfect Harmony and Melting Strains assembles interdisciplinary essays investigating concepts of harmony during a transitional period, in which the Pythagorean notion of a harmoniously ordered cosmos competed with and was transformed by new theories about sound - and new ways of conceptualizing the world. From the perspectives of philosophy, literary scholarship, and musicology, the contributions consider music's ambivalent position between mathematical abstraction and sensibility, between the metaphysics of harmony and the physics of sound. Essays examine the late medieval and early modern history of ideas concerning the nature of music and cosmic harmony, and trace their transformations in early modern musico-literary discourses. Within this framework, essays further offer original readings of important philosophical, literary, and musicological works. This interdisciplinary volume brings into focus the transformation of a predominant Renaissance worldview and of music's scientific, theological, literary, as well as cultural conceptions and functions in the early modern period, and will be of interest to scholars of the classics, philosophy, musicology, as well as literary and cultural studies.