This edited book covers many topics in musicological literature, gathering various approaches to music studies that encapsulate the vivid relation music has to society. It focusses on repertoires and geographical areas that have not previously been well frequented in musicology. As readers will see, music has many roles to play in society. Music can be a generator of social phenomena, or a result of them; it can enhance or activate social actions, or simply co-habit with them. Above all, music has a stable position within society, in that it actively participates in it. Music can either describe or prescribe social aspects; musicians may have a certain position/role in society (e.g., the "popstar" as fashion leader, spokesman for political issues, etc.). Depending on the type of society, music may have a certain "meaning" or "function" (music does not mean the same thing everywhere in the world). Lastly, music can define a society, and it is not uncommon for it to best define a particular historical moment. Case-studies in this work provide visibility for musical cultures that are rarely exposed in the dominant musicological discourse. Several contributions combine musicological analysis with "insider-musician" points of view. Some essays in the collection address the cultural clash between certain types of music/musicians and the respective institutional counterparts, while certain contributing authors draw on experimental research findings. Throughout this book we see how musics are socially significant, and - at the same time - that societies are musically significant too. Thus the book will appeal to musicologists, cultural scholars and semioticians, amongst others.

The guitarist and composer Pat Metheny ranks among the most popular and innovative jazz musicians of all time. In Pat Metheny: The ECM Years, 1975-1984, Mervyn Cooke offers the first in-depth account of Metheny's early creative period, during which he recorded eleven stunningly varied albums for the pioneering European record label ECM (Edition of Contemporary Music). This impressive body of recordings encompasses both straight-ahead jazz playing with virtuosic small ensembles and the increasingly complex textures and structures of the Pat Metheny Group, a hugely successful band also notable for its creative exploration of advanced music technologies which were state-of-the-art at the time. Metheny's music in all its shapes and forms broke major new ground in its refusal to subscribe to either of the stylistic poles of bebop and jazz-rock fusion which prevailed in the late 1970s. Through a series of detailed analyses based on a substantial body of new transcriptions from the recordings, this study reveals the close interrelationship of improvisation and pre-composition which lies at the very heart of the music. Furthermore, these analyses vividly demonstrate how Metheny's music is often conditioned by a strongly linear narrative model: both its story-telling characteristics and atmospheric suggestiveness have sometimes been compared to those of film music, a genre in which the guitarist also became active during this early period. The melodic memorability for which Metheny's compositions and improvisations have long been world-renowned is shown to be just one important element in an unusually rich and flexible musical language that embraces influences as diverse as bebop, free jazz, rock, pop, country & western, Brazilian music, classical music, minimalism, and the avant-garde. These elements are melded into a uniquely distinctive soundworld which, above all, directly reflects Metheny's passionate belief in the need to refashion jazz in ways which can allow it to speak powerfully to each new generation of youthful listeners.

The first book of its kind, Gender & Rock introduces readers to how gender operates in multiple sites within rock culture, including its music, lyrics, imagery, performances, instruments, and business practices. Additionally, it explores how rock culture, despite a history of regressive gender politics, has provided a place for musicians and consumers to experiment with alternate identities and ways of being. Drawing on feminist and queer scholarship in popular music studies, musicology, cultural studies, sociology, performance studies, literary analysis, and media studies, Gender & Rock provides readers with a survey of the topics, theories, and methods necessary for understanding and conducting analyses of gender in rock culture. Via an intersectional approach, the book examines how the gendering of particular roles, practices, technologies, and institutions within rock culture is related to discourses of race, sexuality, age, and class.

The past decade has overflowed in a raging stream of contradictions. Old certainties have yielded to relentless insecurity over a time when much of the human experience got immeasurably better even as many things only ever seemed to get worse. As Paul du Quenoy's globetrotting criticism reveals, the arts were in a ferment that matched profound and yet totally unpredicted social and political transformations. Balanced, sometimes precariously, against the demands of an absurd and increasingly superfluous academic career, du Quenoy spent the 2010s seeking enlightenment, inspiration, and, above all, diversion, in total works of art all over the world, ranging from the traditional cultural capitals to humbler and more remote surroundings. Peering through the prism of performance, Through the Years With Prince Charming offers a unique bird's eye view of art and life in a changing world.

This book explores historical and philosophical connections between music, leisure, and education. Specifically, it considers how music learning, teaching, and participation can be reconceptualized in terms of leisure. Taking as its starting point "the art of living" and the ethical question of how one should live, the book engages a wide range of scholarship to problematize the place of non-professional music-making in historical and contemporary (Western) conceptions of the good life and the common good. Part I provides a general background on music education, school music, the work ethic, leisure studies, recreation, play, and conduct. Part II focuses on two significant currents of thought and activity during the Progressive Era in the United States, the settlement movement and the recreation movement. The examination demonstrates how societal concerns over conduct (the "threat of leisure") and differing views on the purpose of music learning and teaching led to a fracturing between those espousing generalist and specialist positions. The four chapters of Part III take readers through considerations of happiness (eudaimonia) and the good life, issues of work-life balance and the play spirit, leisure satisfaction in relation to consumerism, individualism, and the common good, and finally, parenting logics in relation to extracurriculars, music learning, and serious leisure.

Noise is so often a 'stench in the ear' - an unpleasant disturbance or an unwelcome distraction. But there is much more to noise than what greets the ear as unwanted sound. Beyond Unwanted Sound is about noise and how we talk about it. Weaving together affect theory with cybernetics, media histories, acoustic ecology, geo-politics, sonic art practices and a range of noises, Marie Thompson critiques both the conservative politics of silence and transgressive poetics of noise music, each of which position noise as a negative phenomenon. Beyond Unwanted Sound instead aims to account for a broader spectrum of noise, ranging from the exceptional to the banal; the overwhelming to the inaudible; and the destructive to the generative. What connects these various and variable manifestations of noise is not negativity but affectivity. Building on the Spinozist assertion that to exist is to be affected, Beyond Unwanted Sound asserts that to exist is to be affected by noise.

In recent years, music theorists have been increasingly eager to incorporate findings from the science of human cognition and linguistics into their methodology. In the culmination of a vast body of research undertaken since his influential and award-winning Conceptualizing Music (OUP 2002), Lawrence M. Zbikowski puts forward Foundations of Musical Grammar, an ambitious and broadly encompassing account on the foundations of musical grammar based on our current understanding of human cognitive capacities. Musical grammar is conceived of as a species of construction grammar, in which grammatical elements are form-function pairs. Zbikowski proposes that the basic function of music is to provide sonic analogs for dynamic processes that are important in human cultural interactions. He focuses on three such processes: those concerned with the emotions, the spontaneous gestures that accompany speech, and the patterned movement of dance. Throughout the book, Zbikowski connects cognitive research with music theory for an interdisciplinary audience, presenting detailed musical analyses and summaries of the basic elements of musical grammar.

Fifth-century Athenian musical and political theorist Damon was the first to study music's psychological, behavioural, and political effects, profoundly influencing debates on music theory throughout antiquity. Considered by Isokrates to be the most intelligent Athenian of his age, Damon worked alongside Perikles during the most vibrant decades of Athens' democracy. Probably using fourth-century BC sources, Olympiodoros records that 'Damon taught Perikles the songs through which Perikles harmonized the city'. However, musical and political entanglements caused this teacher-theorist to be ostracized from Athens for ten years, at the height of Perikles' power. Reconstructing Damon is the first comprehensive study of the most important theorist of music and poetic meter in ancient Athens, detailing his extensive influence, and providing the first systematic collection, translation, and critical examination of all ancient testimonia for him. In doing so, this volume makes an important contribution to a number of key fields, including classical Greek music and music theory, fifth-century philosophy (particularly the sophists), political history including the growth of democracy, and the life and career of Perikles.

Many practical books for music educators who work with special needs students focus on students' disabilities, rather than on the inclusive classroom more generally. In Including Everyone: Creating Music Classrooms Where All Children Learn, veteran teacher and pedagogue Judith Jellison offers a new approach that identifies broader principles of inclusive music instruction writ large. As she demonstrates in this aptly-titled book, the perceived impediments to successfully including the wide diversity of children in schools in meaningful music instruction often stem not from insurmountable obstacles but from a lack of imagination. How do teachers and parents create diverse musical communities in which all children develop skills, deepen understanding, and cultivate independence in a culture of accomplishment and joy? Including Everyone equips music teachers with five principles of effective instruction for mixed special needs / traditional settings that are applicable in both classroom and rehearsal rooms alike. These five guidelines lay out Jellison's argument for a new way to teach music that shifts attention away from thinking of children in terms of symptoms. The effective teacher, argues Jellison, will strive to offer a curriculum that will not only allow the child with a disability to be more successful, but will also apply to and improve instruction for typically developing students. In this compelling new book, Judith Jellison illustrates what it takes to imagine, create, and realize possibilities for all children in ways that inspire parents, teachers, and the children themselves to take part in collaborative music making. Her book helps readers recognize how this most central component of human culture is one that allows everyone to participate, learn, and grow. Jellison is a leader in her field, and the wealth of knowledge she makes available in this book is extensive and valuable. It should aid her peers and inspire a new generation of student teachers.

Designed to serve music students at the college level, this informal approach to music theory relates the technical aspects of music with the expressive character of the art. The approach is holistic in the sense that it focuses on the interrelationships between the piece as heard by a socially conditioned listener and the notated, performed score: it aims to bridge the gap between the technical and expressive aspects of music. The composers addressed are: Bach, Mozart, Beethoven, Chopin, Schumann, Brahms, Wagner, Debussy, and Schoenberg. There are separate chapters on the problems of meaning in music and on the interdependence of aesthetic and ethical value-judgments. This novel and exciting approach to music theory will be a welcome addition to the musical analysis literature.

"This is a very good book which will certainly become one of the essential works of reference for the jazz enthusiast. It covers the ragtime to swing period by way of 250 LPs, each of which is afforded full discographical information on dates, titles, and personnels. . . . The quality of the writing is extemely high, as indeed one has a right to expect from authors of this calibre. . . . Harrison, Fox, and Thacker have produced some beautifully composed essays on artistes such as Billie Holliday, Roy Eldridge, Duke Ellington, etc. . . . It is a book which needs to be dipped into frequently, a volume to keep close to one's record collection. . . . It will increase immeasurably anyone's knowledge of, and appreciation for, jazz." The Gramophone

"A Compendium of Essays" is a unique collection presenting new and intriguing philosophical analysis on several renowned composers and their work from the Baroque period to contemporary times. E.A. Bucchianeri discusses familiar topics that include Purcell's opera "Dido and Aeneas," William Hogarth's painting "The Rake's Leve" featuring Handel, a selection of Beethoven's symphonies, Liszt's "Faust Symphony" and the conception of the symphonic poem genre, Orientalism and Debussy's progressive style, and Andrew Lloyd Webber's musical "The Phantom of the Opera" as an example of the 'Musical Theatre Renaissance'. In Many instances, the author offers different theories that are original, informative and will appeal to all music lovers, professionals and amateurs, or those who wish to explore music philosophy in general. Admirers of Hogarth and his artwork will also find "A Compendium of Essays" interesting due to a novel interpretation of "The Rake's Leve" from a musical perspective. Illustration and musical examples are included in several of the essays, enriching the author's analytical theories and philosophical observations. "A Compendium of Essays" will prove an additional treasure to any library.

Features the following essays:

"Purcell's Dido and Aeneas: A Musical Exemplum for Young Gentlewomen"

"Hogarth, Handel, and 'The Leve' from 'The Rakes Progress': A Satirical Portrait Worth a Thousand Words"

"The Symphonies of Beethoven: Historical and Philosophical Reflections through Music"

"Liszt, Goethe, the 'Faust Symphony', and the Symphonic Poem: 'The Word Must Become the Deed' "

"Orientalism, Music and Debussy: West Meets East"

"Andrew Lloyd Webber's 'Phantom of the Opera': An Example of the 'Musical Theatre Renaissance' "

..". In the 'Symphonies of Beethoven: Historical and Philosophical Reflections Through Music', Bucchianeri posits that Beethoven's symphonies reflect the composer's perception of his own world and his attitudes toward society and culture. That this perception changed over time is revealed by the stylistic progression of the works. Beethoven's earliest works in the genre contain the element of the 'sublime', an aesthetic concept earmarked by grand concepts, powerful emotions, imagery, dignity, and elevation. Drawing on the philosophy of Edmund Burke, the author describes the sublime as 'large and unfathomable, rough and rugged, terrifying and painful, without actually experiencing this intangible state.' The opening movements of the first two symphonies show elements of the noble concept of the 'sublime'. In the Third and and Fifth Symphonies Beethoven expanded on the sublime style to epic proportions; in the Sixth he integrated the concept that 'all things sublime are both ancient and new, as in nature.' By the Ninth, Beethoven turned to the concept of the sublime as unfathomable as the heavens. Here the author offers an interpretation of the Ninth in relation to Beethoven's character and philosophies. The book includes a select bibliography and index for all the essays." - Patricia Stroh, the "Beethoven Journal," San Jose University

This is a fresh, bold study of the emerging field of Sound Art, informed by the ideas of Adorno, Merleau Ponty and others. "Listening to Noise and Silence" engages with the emerging practice of sound art and the concurrent development of a discourse and theory of sound. In this original and challenging work, Salome Voegelin immerses the reader in concepts of listening to sound artwork and the everyday acoustic environment, establishing an aesthetics and philosophy of sound and promoting the notion of a sonic sensibility. A multitude of sound works are discussed, by lesser known contemporary artists and composers (for example Curgenven, Gasson and Federer), historical figures in the field (Artaud, Feldman and Cage), and that of contemporary canonic artists such as Janet Cardiff, Bill Fontana, Bernard Parmegiani, and Merzbow. Informed by the ideas of Adorno, Merleau-Ponty and others, the book aims to come to a critique of sound art from its soundings rather than in relation to abstracted themes and pre-existing categories. "Listening to Noise and Silence" broadens the discussion surrounding sound art and opens up the field for others to follow.

Contents Include - Accent, Time and Rhythm - Phrases and Sentences - The Half-Phrase, or Section - Rythmic Extension and Contraction - The Construction of Complete Movements-The Simple Binary, or Two-Part Form - The Simple Ternary, or Three-Part Form - The Binary and Ternary Forms(Continued) - The Evolution of the Ternary Idea: The Minuet and Trio-The Episodical Form - The Evolution of the Trenary Idea(Continued)The Older, Or Simple, Rondo - The Evolution of the Trenary Idea(Continued) Sonata-Form-The Exposition-First Subject and Transition - Sonita-The Development, or Free Fantasia - Form(Continued): Sonita-Form(Continued) The Recapitulation and Coda-The Introduction - Departures from the Normal Type of Sonata-Form: (i)modified Sonata-Form; (ii) The Modern or Sonata-Rondo - The Variation Form - The Sonata as a Whole - Fugue - Canon - (i) The Symphony: (ii) The Overture: (iii) Concerted Chamber-Music - The Cocerto - (i) Dance Forms; The Evolution of Sonata-Form - Modern Tendencies - Programme-Music, The Symphonic Poem, etc - Glossary - General Index

Music for Life: Music Participation and Quality of Life of Senior Citizens presents a fresh, new exploration of the impact of musical experiences on the quality of life of senior citizens, and charts a new direction in the facilitation of the musical lives of people of all ages. Authors Fung and Lehmberg clearly define the issues surrounding music education, music participation, quality of life, and senior citizens, discussing the most relevant research from the fields of music education, adult learning, lifelong learning, gerontology, medicine, music therapy, and interdisciplinary studies. At the heart of the book is Evergreen Town, a retirement community in the southeastern U.S.A., that serves as the backdrop for three original research studies. The first of these is in two phases, a survey and a focus group interview, that examines the histories and rationales for the music participations and non-participations of community residents. The second and third case studies take an in-depth look at a church choir and a bluegrass group, two prominent musical groups in the community, and include the perspectives of the authors themselves as group members and participant-observers. Fung and Lehmberg conclude with a challenge for the profession of music education: to act on this research and on the current advances in the field, to enable all people to benefit from the richness of music as a substantial contributor to quality of life.

Experiencing Music Composition in Grades 3-5 is a practical guide to new, innovative, and natural composition techniques for young composers. Music Educators Michele Kaschub and Janice Smith bring a wealth of experience to bear a unique and thoughtfully curated series of materials that help teachers connect music education to young composers' everyday emotions and activities . Divided into four sections, Kaschub and Smith's book illustrates a creative roadmap for instilling a sense of creative independence in students ages 8-11. The first section introduces readers to three distinct compositional ideals that are as educationally significant as the music they help create: feelingful intention, musical expressivity, and artistic craftsmanship. These capacities help springboard children's work from sounds and brief musical gestures to thoughtfully created, expressive musical pieces. Section 2 includes fun and imaginative lessons that are accompanied by Sketchpages-graphic worksheets that support deep consideration of a project's purpose during the compositional process. Lessons also include invaluable suggestions for productive sharing in a variety of formats. Section 3 offers guidance and strategies for sharing work, providing feedback, and encouraging future growth in a manner that fosters a positive learning experience and acknowledges each composer's musical autonomy. Section 4 contains additional teacher guides focused on creating original music in different genres. These guides outline multiple approaches to corresponding lessons and jumpstart activity while serving as developmental models. Experiencing Music Composition: Grades 3-5 offers new ways to promote not only creative intuition in children but also independent thought, preparing students for a fulfilling relationship with music.

Music teacher education is under heavy criticism for failing to keep pace with the changing needs and interests of 21st century learners. Technological innovations, evolving demographics in the school age population, and students' omnipresent access to music and music making all suggest that contemporary teaching and learning occurs in environments that are much more complex than those of the 19th century that served as music education's primary model. This book surveys emerging music and education landscapes to present a sampling of the promising practices of music teacher education that may serve as new models for the 21st century. Contributors explore the delicate balance between curriculum and pedagogy, the power structures that influence music education at all levels, the role of contemporary musical practices in teacher education, and the communication challenges that surround institutional change. Models of programs that feature in-school, out-of-school and beyond school contexts, lifespan learning perspectives, active juxtapositions of formal and informal approaches to teaching and learning, student-driven project-based fieldwork, and the purposeful employment of technology and digital media as platforms for authentic music engagement within a contemporary participatory culture are all offered as springboards for innovative practice.

Against Ambience diagnoses - in order to cure - the art world's recent turn toward ambience. Over the course of three short months - June to September, 2013 - the four most prestigious museums in New York indulged the ambience of sound and light: James Turrell at the Guggenheim, Soundings at MoMA, Robert Irwin at the Whitney, and Janet Cardiff at the Met. In addition, two notable shows at smaller galleries indicate that this is not simply a major-donor movement. Collectively, these shows constitute a proposal about what we wanted from art in 2013. While we're in the soft embrace of light, the NSA and Facebook are still collecting our data, the money in our bank accounts is still being used to fund who-knows-what without our knowledge or consent, the government we elected is still imprisoning and targeting people with whom we have no beef. We deserve an art that is the equal of our information age. Not one that parrots the age's self-assertions or modes of dissemination, but an art that is hyper-aware, vigilant, active, engaged, and informed. We are now one hundred years clear of Duchamp's first readymades. So why should we find ourselves so thoroughly in thrall to ambience? Against Ambience argues for an art that acknowledges its own methods and intentions; its own position in the structures of cultural power and persuasion. Rather than the warm glow of light or the soothing wash of sound, Against Ambience proposes an art that cracks the surface of our prevailing patterns of encounter, initiating productive disruptions and deconstructions.

In Thresholds Marcel Cobussen rethinks the relationship between music and spirituality. The point of departure is the current movement within contemporary classical music known as New Spiritual Music, with as its main representatives Arvo PArt, John Tavener, and Giya Kancheli. In almost all respects, the musical principles of the new spiritual music seem to be diametrically opposed to those of modernism: repetition and rest versus development and progress, tradition and familiarity versus innovation and experiment, communication versus individualism and conceptualism, tonality versus atonality, and so on. As such, this movement is often considered as part of the much larger complex called postmodernism. Joining in with ideas on spirituality as presented by Michel de Certeau and Mark C. Taylor, Cobussen deconstructs the classification of the 'spiritual dimensions' of music as described above. Thresholds presents an idea of spirituality in and through music that counters strategies of exclusion and mastering of alterity and connects it to wandering, erring, and roving. Using the philosophy of Martin Heidegger, Georges Bataille, Jean-FranAois Lyotard, Jacques Derrida and others, and analysing the music of John Coltrane, the mythical Sirens, Arvo PArt, and The Eagles (to mention a few), Cobussen regards spirituality as a (non)concept that escapes categorization, classification, and linguistic descriptions. Spirituality is a-topological, non-discursive and a manifestation of 'otherness'. And it is precisely music (or better: listening to music) that induces these thoughts: by carefully encountering, analysing, and evaluating certain examples from classical, jazz, pop and world music it is possible to detach spirituality from concepts of otherworldliness and transcendentalism. Thresholds opens a space in which spirituality can be connected to music that is not commonly considered in this light, thereby enriching the ways of approaching and discussing music. In order to achieve this, it is necessary to show that spirituality is not an attribute of music, not a simple adjective providing extra information or used to categorize certain types of music. Instead, the spiritual can happen through listening to music, in a more or less personalized relationship with it. This relationship might be characterized as susceptible instead of controlling, open instead of excluding, groping instead of rigid.

Applied studies scholarship has triggered a not-so-quiet revolution in the discipline of ethnomusicology. The current generation of applied ethnomusicologists has moved toward participatory action research, involving themselves in musical communities and working directly on their behalf. The essays in The Oxford Handbook of Applied Ethnomusicology, edited by Svanibor Pettan and Jeff Todd Titon, theorize applied ethnomusicology, offer histories, and detail practical examples with the goal of stimulating further development in the field. The essays in the book, all newly commissioned for the volume, reflect scholarship and data gleaned from eleven countries by over twenty contributors. Themes and locations of the research discussed encompass all world continents. The authors present case studies encompassing multiple places; other that discuss circumstances within a geopolitical unit, either near or far. Many of the authors consider marginalized peoples and communities; others argue for participatory action research. All are united in their interest in overarching themes such as conflict, education, archives, and the status of indigenous peoples and immigrants. A volume that at once defines its field, advances it, and even acts as a large-scale applied ethnomusicology project in the way it connects ideas and methodology, The Oxford Handbook of Applied Ethnomusicology is a seminal contribution to the study of ethnomusicology, theoretical and applied.

Teaching Music to Students with Autism provides a comprehensive study of the education of students with autism within the music classroom. The book is designed for music educators, music teacher educators, and all those who have an interest in the education of students with autism. The authors focus on the diagnosis of autism, advocating for students and music programs, and creating and maintaining a team approach when working with colleagues. A significant portion of the book is focused on understanding the communication, cognition, behavior, sensory, and socialization challenges inherent in working with students with autism. The authors suggest ways to structure classroom experiences and learning opportunities for all students. Vignettes and classroom snapshots from experienced teachers provide additional opportunities to transfer theory to real-life application.