The Traditional Tunes of the Child Ballads begins where Francis Child's The English and Scottish Popular Ballads leaves off. Bronson has collected all available tunes for each of Child's ballads, annotated and organized them, with notes describing the history and development of each tune and tune family. This is an indispensable text for ballad scholars, performers, and students of the ballad tradition.

The principal purpose of topics in musicology has been to identify meaning-bearing units within a musical composition that would have been understood by contemporary audiences and therefore also by later receivers, albeit in a different context and with a need for historically aware listening. Since Leonard Ratner (1980) introduced the idea of topics, his relatively simple ideas have been expanded and developed by a number of distinguished authors. Topic theory has now become a well-established branch of musicology, often embracing semiotics, but its relationship to performance has received less attention. Musical Topics and Musical Performance thus focuses on the interface of theory and practice, and investigates how an appreciation of topical presence in a work may prompt interpretative thoughts for a potential performer as well as how performers have responded to such a presence in practice. The chapters focus on music from the nineteenth, twentieth and twenty-first centuries with case studies drawn from composers as diverse as Beethoven, Scriabin and Peter Eoetvoes. Using both scores and recordings, the book presents a variety of original and innovative perspectives on the subject from a range of distinguished authors, and addresses a neglected area of musicology and musical performance.

Building on several decades of research, this book develops a comprehensive music theory designed to make sense of several essential components of tonality. The book contributes to a wealth of methodologies in music theory, making it of broad interest to music scholars and students. Each chapter concludes with additional practice activities, allowing for easy adaptation to various pedagogical purposes.

Ever hear of a butt splice? A cover? An iron mother? A biscuit? These were terms used in the heyday of vinyl records, from 1949 to the mid-1980s. This colorful and almost forgotten language was once used by record producers, label owners, disc jockeys, jukebox operators, record distributors, and others in the music industry. Their language is collected in this dictionary. Each entry offers both an explanation of a term's meaning as well as its context and use in the history of the record business.

approaches "the brand new normal" as the digitalization itself. The collection of research and studies explores and questions contemporary novelties in media and art related to the transformative effects of the digitalization. Featuring a broad range of topics, covering creative industries, video-on-demand services and film industry, representation of reality television in quality television,adaptations from theater to digital platforms, transformation of gender representations indigital, VR (Virtual Reality), digital festivals, player experience and engagement in video games, NFT (Non-Fungible Token), social media and crisis communication, digital self-presentation, digitalization of theater stage, new music trends in digital era, and audience development in classical music, this book is designed for scholars, researchers, intellectuals, media professionals, and artists.

Based upon Cantometrics: An Approach to the Anthropology of Music (1976), by Alan Lomax, Songs of Earth: Aesthetic and Social Codes in Music is a contemporary guide to understanding and exploring Cantometrics, the system developed by Lomax and Victor Grauer for analyzing the formal elements of music related to human geography and sociocultural patterning. This carefully constructed cross-cultural study of world music revealed deep-rooted performance patterns and aesthetic preferences and their links with environmental factors and ancient socioeconomic practices. This new and updated edition is for anyone wishing to understand and more deeply appreciate the forms and sociocultural contexts of the musics of the world's peoples, and it is designed to be used by both scholars and laypeople. Part One of the book consists of a practical guide to using the Cantometrics system, a course with musical examples to test one's understanding of the material, a theoretical framework to put the methodology in context, and an illustration of the method used to explore the roots of popular music. Part Two includes guides to four other analytical systems that Lomax developed, which focus on orchestration, phrasing and breath management, vowel articulation, instrumentation, and American popular music. Part Three provides resources for educators who wish to use the Cantometrics system in their classrooms, a summary of the findings and hypotheses of Lomax's original research, and a discussion of Cantometrics' criticisms, applications, and new approaches, and it includes excerpts of Lomax's original writings about world song style and cultural equity.

In Heavy Metal Music in Latin America: Perspectives from the Distorted South, the editors bring together scholars engaged in the study of heavy metal music in Latin America to reflect on the heavy metal genre from a regional perspective. The contributors' southern voices diversify metal scholarship in the global north. An extreme musical genre for an extreme region, the contributors explore how issues like colonialism, dictatorships, violence, ethnic extermination and political persecution have shaped heavy metal music in Latin America, and how music has helped shape Latin American culture and politics.

Discovering Music Theory is a suite of workbooks and corresponding answer books that offers all-round preparation for the updated ABRSM Music Theory exams from 2020, including the new online papers. This full-colour workbook will equip students of all ages with the skills, knowledge and understanding required for the ABRSM Grade 4 Music Theory exam. Written to make theory engaging and relevant to developing musicians of all ages, it offers: - straightforward explanations of all new concepts - progressive exercises to build skills and understanding, step by step - challenge questions to extend learning and develop music-writing skills - helpful tips for how to approach specific exercises - ideas for linking theory to music listening, performing and instrumental/singing lessons - clear signposting and progress reviews throughout - a sample practice exam paper showing you what to expect in the new style of exams from 2020 As well as fully supporting the ABRSM theory syllabus, Discovering Music Theory provides an excellent resource for anyone wishing to develop their music literacy skills, including GCSE and A-Level candidates, and adult learners.

This volume examines the use of Black popular culture to engage, reflect, and parse social justice, arguing that Black popular culture is more than merely entertainment. Moving beyond a focus on identifying and categorizing cultural forms, the authors examine Black popular culture to understand how it engages social justice, with attention to anti-Black racism. Black Popular Culture and Social Justice takes a systematic look at the role of music, comic books, literature, film, television, and public art in shaping attitudes and fighting oppression. Examining the ways in which artists, scholars, and activists have engaged, discussed, promoted, or supported social justice - on issues of criminal justice reform, racism, sexism, LGBTQIA rights, voting rights, and human rights - the book offers unique insights into the use of Black popular culture as an agent for change. This timely and insightful book will be of interest to students and scholars of race and media, popular culture, gender studies, sociology, political science, and social justice.

Boy Bands and the Performance of Pop Masculinity provides a history of the boy band from the Beatles to One Direction, placing the modern male pop group within the wider context of twentieth- and twenty-first-century popular music and culture. Offering the first extended look at pop masculinity as exhibited by boy bands, this volume links the evolving expressions of gender and sexuality in the boy band to wider economic and social changes that have resulted in new ways of representing what it is to be a man. The popularity of boy bands is unquestionable, and their contributions to popular music are significant, yet they have attracted relatively little study. This book fills that gap with chapters exploring the challenges of defining the boy band phenomenon, its origins and history from the 1940s to the present, the role of management and marketing, the performance of gender and sexuality, and the nature of fandom and fan agency. Throughout, the author illuminates the ways in which identity politics influence the production and consumption of pop music and shows how the mainstream pop of boy bands can both reinforce and subvert gender and class hierarchies.

This book develops ways of discussing musical practices to articulate a new approach to understanding connections between recordings, singers, and singing. Centred around materials from the mid-twentieth century, this book focuses on a time when composers and performers were questioning the idea of authorship within their musical practice. Materials drawn upon include recordings, scores, archival content, visual art, interviews, and liner notes to develop a rich conception of practices of performance. Analysis of performances include recordings of singers such as Cathy Berberian, Linda Hirst, Lore Lixenberg, Angelika Luz, and Meredith Monk. Compositions by Cathy Berberian, Luciano Berio, John Cage, and Manuel De Falla are considered. The book utilizes these sources to examine the collective way in which singers and composers form practices as multiple, transforming, emergent, and not hierarchical. The book articulates - with a detailed, close consideration of specific instances in recordings and scores - a relational understanding of performance. This book will be useful reading for students and scholars of music analysis, musicology, performance practice, and twentieth century vocal music.

What does it mean to talk about musical coherence at the end of a century characterised by fragmentation and discontinuity? How can the diverse influences which stand behind the works of many late twentieth-century composers be reconciled with the singular immediacy of the experiences that they can create? How might an awareness of the distinctive ways in which these experiences are generated and controlled affect the way we listen to, reflect upon and write about this music? Mark Hutchinson outlines a novel concept of coherence within Western art music from the 1980s to the turn of the millennium as a means of understanding the work of a number of contemporary composers, including Thomas Ades, Kaija Saariaho, Toru Takemitsu and Gyoergy Kurtag, whose music cannot be fitted easily into a particular compositional school or analytical framework. Coherence is understood as a multi-layered phenomenon experienced, above all, in the act of listening, but reliant upon a variety of other aspects of musical experience, including compositional statements, analysis, and connections of aesthetic, as well as listeners' own, imaginative conceptualisations. Accordingly, the approach taken here is similarly multi-faceted: close analytical readings of a number of specific works are combined with insights drawn from philosophy and aesthetics, music perception, and critical theory, with a particular openness to novel metaphorical presentations of basic musical ideas about form, language and time.

An eclectic study of wide-ranging but carefully chosen case studies and examples, from nineteenth century literature, through 1930s Broadway and film, to twentieth and twenty- first century jazz and popular music. Six thematically- linked but stand-alone chapters ensure the book can be employed in a variety of music, cultural studies, arts, humanities, and social sciences courses No immediate or direct competitors, especially in terms of the book's particular theoretical and analytical approach, its historical and cultural breadth, its diverse musical and cultural references, and its original and challenging insights

In recent years, scholars and musicians have become increasingly interested in the revival of musical improvisation as it was known in the Renaissance and Baroque periods. This historically informed practice is now supplanting the late Romantic view of improvised music as a rhapsodic endeavour-a musical blossoming out of the capricious genius of the player-that dominated throughout the twentieth century. In the Renaissance and Baroque eras, composing in the mind (alla mente) had an important didactic function. For several categories of musicians, the teaching of counterpoint happened almost entirely through practice on their own instruments. This volume offers the first systematic exploration of the close relationship among improvisation, music theory, and practical musicianship from late Renaissance into the Baroque era. It is not a historical survey per se, but rather aims to re-establish the importance of such a combination as a pedagogical tool for a better understanding of the musical idioms of these periods. The authors are concerned with the transferral of historical practices to the modern classroom, discussing new ways of revitalising the study and appreciation of early music. The relevance and utility of such an improvisation-based approach also changes our understanding of the balance between theoretical and practical sources in the primary literature, as well as the concept of music theory itself. Alongside a word-centred theoretical tradition, in which rules are described in verbiage and enriched by musical examples, we are rediscovering the importance of a music-centred tradition, especially in Spain and Italy, where the music stands alone and the learner must distil the rules by learning and playing the music. Throughout its various sections, the volume explores the path of improvisation from theory to practice and back again.

The Traditional Tunes of the Child Ballads begins where Francis Child's The English and Scottish Popular Ballads leaves off. Bronson has collected all available tunes for each of Child's ballads, annotated and organized them, with notes describing the history and development of each tune and tune family. This is an indispensable text for ballad scholars, performers, and students of the ballad tradition.

The concept of intertextuality - namely, the meaning generated by interrelations between different texts - was coined in the 1960s among literary theorists and has been widely applied since then to many other disciplines, including music. Intertextuality in Music: Dialogic Composition provides a systematic investigation of musical intertextuality not only as a general principle of musical creativity but also as a diverse set of devices and techniques that have been consciously developed and applied by many composers in the pursuit of various artistic and aesthetic goals. Intertextual techniques, as this collection reveals, have borne a wide range of results, such as parody, paraphrase, collage and dialogues with and between the past and present. In the age of sampling and remix culture, the very notion of intertextuality seems to have gained increased momentum and visibility, even though the principle of creating new music on the basis of pre-existing music has a long history both inside and outside the Western tradition. The book provides a general survey of musical intertextuality, with a special focus on music from the second half of the twentieth century, but also including examples ranging from the nineteenth century to the second decade of the twenty-first century. The volume is intended to inspire and stimulate new work in intertextual studies in music.

Generally speaking, the philosophy of music hitherto can be said to approach music, as it were, from above or from outside. Music, thus envisaged, can be "absolute" or "sounding forms in motion". It can be expression, have a linguistic meaning, tell a story, be a manifestation of "the world as will and conceptualization", and mirror society's inward contradictions. Music is seen as an activity, sometimes as interactivity, not least through an anthropological approach in which prominence is given to its origins. This work is an attempt to reverse the argument, by taking the phenomenon of tone as the starting point to work the way up to an understanding of the phenomenon of music, to make a philosophy of tone the foundation of a philosophy of music. Such thoughts were already present in the author's previous works, but, being available only in Swedish, will be enlarged here.

Dr Peter Martens provides the first complete edited English translation of, and commentary on, Isaac Vossius's De poematum cantu et viribus rythmi, a late seventeenth-century work of Continental musical humanism. plays an important but poorly understood role in the continued development of rhythmopoeia; A full translation and accompanying discussion of Vossius's own sources and musical influences allows English-language students and scholars to access and study this work in the depth and to the degree it deserves.

This book will be of interest to scholars, students and practitioners in the fields of ethnomusicology, music education, social learning and community music. It applies concepts and approaches from these disciplines with ethnographic data to identify a pedagogy for the learning and teaching of traditional music in community-based organisations.

The Routledge Companion to Aural Skills Pedagogy offers a comprehensive survey of issues, practice, and current developments in the teaching of aural skills. The volume regards aural training as a lifelong skill that is engaged with before, during, and after university or conservatoire studies in music, central to the holistic training of the contemporary musician. With an international array of contributors, the volume captures diverse perspectives on aural-skills pedagogy, and enables conversation between different regions. It addresses key new developments such as the use of technology for aural training and the use of popular music. This book will be an essential resource and reference for all university and conservatoire instructors in aural skills, as well as students preparing for teaching careers in music.

Featuring a distinguished editorial team who have brought together a group of international and reputable scholars. The collection is interdisciplinary by design, encompassing cultural theory, gender and race studies, musicology, and record production analysis Offering analysis of tracks from the blues, hip-hop, R&B, pop, Motown, funk, disco, rock, metal, and country An ideal companion to William Moylan's previous work, Recording Analysis, which outlines the framework upon which these analyses are developed

A defense of Schenkerian analysis of tonality in music. A wide range of music -- from Bach to Mozart and Brahms -- is marked by its use of some form of what is generally called "tonality": the tendency of music to focus melodically on some stable pitch or tonic and for its harmony to use functional triads. Yet few terms in music theory are more enigmatic than that seemingly simple word "tonality." Matthew Brown's Explaining Tonality: Schenkerian Theory and Beyond considers a number of disparate ways in which functional tonality has been understood. In particular, it focuses on the comprehensive theory developed by Heinrich Schenker in his monumental three-part treatise Neue musikalische Theorien und Phantasien [1906-1935]. Schenker systematically investigated the ways in which lines and chords behave both locally within individual tonal phrases and globally across entire compositions. Explaining Tonality shows why Schenker was able to elucidate tonal relationships so successfully and the many advantages that his explanations have over those of his rivals. In addition, it proposes some ways in which Schenker's approach can be extended to tonal features in works from before Bach [such as Monteverdi] and after Brahms [such as Debussy, Stravinsky, and much popular music of today]. Along the way, the book explores six methodological criteria that help in building, testing, and evaluatinga plausible theory of tonality or, indeed, any other musical phenomenon: accuracy, scope, fruitfulness, consistency, simplicity, and coherence. It reveals how understanding the tonality of a piece can shed light on other aspects of musical composition. And, in conclusion, it describes some ways in which Schenkerian theory might fruitfully develop in the future. Matthew Brown is Professor of Music Theory at the Eastman School of Music, Universityof Rochester, and author of Debussy's "Iberia" [Oxford University Press].

Now in paperback, the national bestselling biography of American musical icon Jimi Hendrix It has been more than thirty-five years since Jimi Hendrix died, but his music and spirit are still very much alive for his fans everywhere. Charles R. Cross vividly recounts the life of Hendrix, from his difficult childhood and adolescence in Seattle through his incredible rise to celebrity in London's swinging sixties. It is the story of an outrageous life--with legendary tales of sex, drugs, and excess--while it also reveals a man who struggled to accept his role as idol and who privately craved the kind of normal family life he never had. Using never-before-seen documents and private letters, and based on hundreds of interviews with those who knew Hendrix--many of whom had never before agreed to be interviewed--Room Full of Mirrors unlocks the vast mystery of one of music's most enduring legends.