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.

This book is an intellectual and cultural history about one of the most striking phenomena in all of nineteenth-century culture-namely, the interaction of nationalism and music. Nearly all the nation-building movements that swept across Europe in that century found some of their most influential and lasting expressions through the art of nationalist composers who took an active part in those movements. The political, intellectual, and artistic story behind some of the greatest musical works of the time and the artists who created them is the book's focus. Beginning with a theoretical explanation of the relationship between nationalism and music, three composers then come forward to stand at the center of the analysis: Richard Wagner in Gemany, Bedrich Smetana in the Czech lands, and Edvard Grieg in Norway. Their political and artistic projects to create a national music for their countries are the topic of the second chapter. The third chapter explores in detail the essential role that folk music played in nationalism as an attempt to fuse artistically the urban and rural populations into one national whole. The fourth chapter discusses the conflicts within nationalist movements over foreign artistic influence on the national culture. The international dimensions of nationalist music are the subject of the fifth chapter, examining Wagner's, Smetana's, and Grieg's aspirations for their art to represent their nations to the world. Finally, the concluding chapter offers a sweeping overview of nationalist composers and their works for a probing historical summary of music's contribution to nation building. As one of the very few broad, comparative studies of nationalist music, Music Makes the Nation is an essential resource for students and scholars in history and musicology. In addition, as a groundbreaking analysis of the socio-political functions of nationalist music, the book will be of interest to those studying nationalism and political science.

In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what is the body expressed in electronic music then? The authors of this book reveal composers, performers, improvisers and listeners bodies, as well as the works and technologies figurative bodies as a rich source of expressive articulation. Bringing together humanities scholarship and musical arts contingent upon new media, the contributors offer inspiring thought and critical reflection for all those seriously engaged with the aesthetics of electronic music, interactive performance, and the body 's role in aesthetic experience and expression. Performativity is not only seen as being reclaimed in live electronic music, interactive arts, and installations; it is also exposed as embodied in the music and the listeners themselves.

Listen to Soul! Exploring a Musical Genre provides an overview of soul music for fans of the genre, with a focus on 50 must-hear singers, songs, and albums that define it. Listen to Soul! Exploring a Musical Genre provides both an overview and a critical analysis of what makes soul music in the United States. A list of 50 songs, albums, and musicians includes many of the best-known hits of the past and present as well as several important popular successes that are not necessarily on the "best-of" lists in other books. Like the other books in this series, this volume includes a background chapter followed by a chapter that contains 50 critical essays on must-hear albums, songs, and singers, approximately 1,500 words each. Chapters on the impact of soul music on popular culture and the legacy of the genre further explain the impact of these seminal compositions and musicians. This volume additionally includes a greater focus on soul music as a genre, making it a stand-out title on the topic for high school and college readers. Allows readers to quickly get a sense of the history of soul music in a broad overview Delves into critical analysis of 50 songs, albums, and musicians that define the genre Broadens the definition of what is considered soul music Discusses the impact on popular culture and legacy of soul music

Music is said to be the most autonomous and least representative of all the arts. However, it reflects in many ways the realities around it and influences its social and cultural environments. Music is as much biology, gender, gesture - something intertextual, even transcendental. Musical signs can be studied throughout their history as well as musical semiotics with its own background. Composers from Chopin to Sibelius and authors from Nietzsche to Greimas and Barthes illustrate the avenues of this new discipline within semiotics and musicology.

Stereo is everywhere. The whole culture and industry of music and sound became organized around the principle of stereophony during the twentieth century. But nothing about this-not the invention or acceptance or ubiquity of stereo-was inevitable. Nor did the aesthetic conventions, technological objects, and listening practices required to make sense of stereo emerge fully formed, out of the blue. This groundbreaking book uncovers the vast amount of work that has been required to make stereo seem natural, and which has been necessary to maintain stereo's place as a dominant mode of sound reproduction for over half a century. The essays contained within this book are thematically grouped under (Audio) Positions, Listening Cultures, and Multichannel Sound and Screen Media; the cumulative effect is to advance research in music, sound, and media studies and to build new bridges between the fields. With contributions from leading scholars across several disciplines, Living Stereo re-tells the history of twentieth-century aural and musical culture through the lens of stereophonic sound.

Music education has historically had a tense relationship with social justice. One the one hand, educators concerned with music practices have long preoccupied themselves with ideas of open participation and the potentially transformative capacity that musical interaction fosters. On the other hand, they have often done so while promoting and privileging a particular set of musical practices, traditions, and forms of musical knowledge, which has in turn alienated and even excluded many children from music education opportunities. Teaching multicultural practices, for example, has historically provided potentially useful pathways for music practices that are widely thought to be socially just. However, curricula often map alien musical values onto other musics and in so doing negate the social value of these practices, grounding them in a politics of difference wherein "recognition of our difference" limits the push that might take students from tolerance to respect and to renewed understanding and interaction. The Oxford Handbook of Social Justice in Music Education provides a comprehensive overview and scholarly analyses of the major themes and issues relating to social justice in musical and educational practice and scholastic inquiry worldwide. The first section of the handbook conceptualizes social justice while framing its pursuit within broader social, historical, cultural, and political contexts and concerns. Authors in the succeeding sections of the handbook fill out what social justice entails for music teaching and learning in the home, school, university, and wider community as they grapple with issues of inclusivity and diversity, alienation, intolerance, racism, ableism, and elitism, or relating to urban and incarcerated youth, immigrant and refugee children, and, more generally, cycles of injustice that might be perpetuated by music pedagogy. The concluding section of the handbook offers specific and groundbreaking practical examples of social justice in action through a variety of educational and social projects and pedagogical practices that might inspire and guide those wishing to confront and attempt to ameliorate musical or other inequity and injustice. Consisting of 42 chapters by authors from Australia, Brazil, Canada, China, England, Finland, Greece, The Netherlands, Norway, Scotland, Spain, South Africa, Sweden, and the United States, the handbook will be of interest to a wide audience, ranging from undergraduate and graduate music education majors and faculty in music and other disciplines and fields to parents and other interested members of the public wishing to better understand what is social justice and why and how its pursuit in and through music education matters.

This book is the first full-length analysis of the theory and practice of Persian singing, demonstrating the centrality of Persian elements in the music of the Islamic Middle Ages, their relevance to both contemporary and traditional Iranian music and their interaction with classical Persian poetry and metrics.

Music Criticism in Vienna is a close study of the work of some two dozen music critics in Vienna in the fifteen months from October 1896 to December 1897, a period which saw the deaths of Bruckner and Brahms and the rise of Mahler and Richard Strauss. It reconstructs in detail the climate of musical debate in a major centre around the turn of the century.

The Routledge Companion to Philosophy and Music is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections: general issues emotion history figures kinds of music music, philosophy and related disciplines The Routledge Companion to Philosophy and Music is essential reading for anyone interested in philosophy, music and musicology.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

This fully updated and complete guide takes you inside the world of creating music for film, television, and-unique to this third edition-video games. It addresses a wide range of topics including musical aesthetics, cutting-edge technology and techniques, and current business aspects of the industry. The Reel World is packed with insider's tips and interviews with some of the most influential film, TV, and video game composers, along with music editors, music supervisors, agents, contractors and studio executives. Rona also advises how to nurture positive relationships with your creative team and professionals in the industry. For the aspiring film, TV or video game composer, this book is a veritable cornucopia of useful information for pursuing scoring to picture as a career. Includes interviews with John Williams, Carter Burwell, James Newton Howard, Hans Zimmer, Mark Isham, Basil Poledouris, Ludwig Goeransson, Marc Shaiman, John Powell, Wendy and Lisa, Joseph Trapanese, and Michael Giacchino. This book explores... The Creative Process: Making good musical choices The psychology of a good score Continuity and contrast, economy and musicality The importance of styles Technology: The best gear for film, TV and video game scoring Home studio design Synchronization Mixing for film, TV and video game scoring Career: Getting started Industry politics Demoing and finances

Designed for Music Theory courses, Music Theory Through Improvisation presents a unique approach to basic theory and musicianship training that examines the study of traditional theory through the art of improvisation. The book follows the same general progression of diatonic to non-diatonic harmony in conventional approaches, but integrates improvisation, composition, keyboard harmony, analysis, and rhythm. Conventional approaches to basic musicianship have largely been oriented toward study of common practice harmony from the Euroclassical tradition, with a heavy emphasis in four-part chorale writing. The author's entirely new pathway places the study of harmony within improvisation and composition in stylistically diverse format, with jazz and popular music serving as important stylistic sources. Supplemental materials include a play-along audio in the downloadable resources for improvisation and a companion website with resources for students and instructors.

Since its inception in the mid-twentieth century, American music theory has been framed and taught almost exclusively by white men. As a result, whiteness and maleness are woven into the fabric of the field, and BIPOC music theorists face enormous hurdles due to their racial identities. In On Music Theory, Philip Ewell brings together autobiography, music theory and history, and theory and history of race in the United States to offer a black perspective on the state of music theory and to confront the field’s white supremacist roots. Over the course of the book, Ewell undertakes a textbook analysis to unpack the mythologies of whiteness and western-ness with respect to music theory, and gives, for the first time, his perspective on the controversy surrounding the publication of volume 12 of the Journal of Schenkerian Studies. He speaks directly about the antiblackness of music theory and the antisemitism of classical music writ large and concludes by offering suggestions about how we move forward. Taking an explicitly antiracist approach to music theory, with this book Ewell begins to create a space in which those who have been marginalized in music theory can thrive.

Music is a frequently neglected aspect of Japanese culture. It is in fact a highly problematic area, as the Japanese actively introduced Western music into their modern education system in the Meiji period (1868-1911), creating westernized melodies and instrumental instruction for Japanese children from kindergarten upwards. As a result, most Japanese now have a far greater familiarity with Western (or westernized) music than with traditional Japanese music. Traditional or classical Japanese music has become somewhat ghettoized, often known and practised only by small groups of people in social structures which have survived since the pre-modern era. Such marginalization of Japanese music is one of the less recognized costs of Japan's modernization. On the other hand, music in its westernized and modernized forms has an extremely important place in Japanese culture and society, Beethoven's Ninth Symphony, for example, being so widely known and performed that it is arguably part of contemporary Japanese popular and mass culture. Japan has become a world leader in the mass production of Western musical instruments and in innovative methodologies of music education (Yamaha and Suzuki). More recently, the Japanese craze of karaoke as a musical entertainment and as musical hardware has made an impact on the leisure and popular culture of many countries in Asia, Europe and the Americas. This is the first book to cover in detail all genres including court music, Buddhist chant, theatre music, chamber ensemble music and folk music, as well as contemporary music and the connections between music and society in various periods. The book is a collaborative effort, involving both Japanese and English speaking authors, and was conceived by the editors to form a balanced approach that comprehensively treats the full range of Japanese musical culture.

Theology as Performance breaks new ground in the growing conversation between modern theology and philosophical aesthetics. Stoltzfus proposes that significant moments in the Western development of the concept of God, in particular as represented in the figures of Friedrich Schleiermacher, Karl Barth, and Ludwig Wittgenstein, have been deeply influenced by concepts and approaches borrowed from the discipline of musical aesthetics. Each thinker develops fundamentally different ways of writing about God that have in significant respects been derived from each one's reading and writing about music. The aesthetic implications of Schleiermacher's so-called subjectivist turn, Barth's objectivist reaction, and Wittgenstein's language-game pragmatism can thus be fully understood only by attending to the musical culture and distinctly musicological discourses that gave rise to them. Stoltzfus constructs two trajectories of thought with which to trace theological reflection upon music throughout the pre-modern period: the traditions of Orpheus and Pythagoras. Schleiermacher's aesthetic approach, then, becomes a modern representative of the Orpheus trajectory, and Barth's approach a representative of the Pythagoras trajectory. Stoltzfus interprets Wittgenstein as putting forward a radical critique of these trajectories and pointing toward a third, "performative" theological-aesthetic method. Theology as Performance offers a provocative rethinking of the aesthetic roots of modern theology.

Eminently readable despite the complexity of its subject, "Fugal Composition: A Guide to the Study of Bach's 48" guides the reader in studying the 48 fugues of the composer's "Well-Tempered Clavier." Author Joseph Groocock analyzes each of the fugues individually, both verbally and diagrammatically, and includes such elements as overall structure, episodes, stretto, subsidiary subjects, and countersubjects. The appendices and index furnish a ready reference for the scholar or researcher seeking information or guidance on specific points.

Meanwhile, the volume's editor supplies comparative analyses using current and previous scholarship on every fugue-illustrating where the author supports or challenges other viewpoints. In all, the analyses contained in" Fugal Composition" establish the extraordinary diversity of Bach's fugal style, in such a way that readers gain a new understanding of these significant and beautiful works of music.

Music and Historical Critique provides a definitive collection of Gary Tomlinson's influential studies on critical musicology, with the watchword throughout being history. This collection gathers his most innovative essays and lectures, some of them published here for the first time, along with an introduction outlining the context of the contributions and commenting on their aims and significance. Music and Historical Critique provides a retrospective view of the author's achievements in bringing to the heart of musicological discourse both deep-seated experiences of the past and meditations on the historian's ways of understanding them.

Think Woodstock and the mind turns to the seminal 1969 festival that crowned a seismic decade of sex, drugs, and rock 'n' roll. But the town of Woodstock, New York, the original planned venue of the concert, is located over 60 miles from the site to which the fabled half a million flocked. Long before the landmark music festival usurped the name, Woodstock--the tiny Catskills town where Bob Dylan holed up after his infamous 1966 motorcycle accident--was already a key location in the '60s rock landscape. Drawing on numerous first-hand interviews with the remaining key players in the scene--and on the period when he lived there himself in the 1990s--Hoskyns has produced an East Coast companion to his bestselling L.A. canyon classic Hotel California. This is a richly absorbing study of a vital music scene in a revolutionary time and place.