Among major 20th-century composers whose music is poorly understood, Sergei Prokofiev stands out conspicuously. The turbulent times in which Prokofiev lived and the chronology of his travels-he left Russia in the wake of Revolution, and returned at the height of the Stalinist purges-have caused unusually polarized appraisals of his music. While individual, distinctive, and instantly recognizable, Prokofiev's music was also idiosyncratically tonal in an age when tonality was largely passe. Prokofiev's output therefore has been largely elusive and difficult to assess against contemporary trends. More than sixty years after the composer's death, editors Rita McAllister and Christina Guillaumier offer Rethinking Prokofiev as an assessment that redresses this enigmatic composer's legacy. Often more political than artistic, these appraisals have depended not only upon the date of publication but also the geographical location of the writer. Commissioned from some of the most distinguished and rising scholars in the field, this collection highlights the background and context of Prokofiev's work. Contributors delve into the composer's relationship to nineteenth-century Russian traditions, Silver-Age and Symbolist composers and poets, the culture of Paris in the 1920s and '30s, and to his later Soviet colleagues and younger contemporaries. They also investigate his reception in the West, his return to Russia, and the effect of his music on contemporary popular culture. Still, the main focus of the book is on the music itself: his early, experimental piano and vocal works, as well as his piano concertos, operas, film scores, early ballets, and late symphonies. Through an empirical examination of his characteristic harmonies, melodies, cadences, and musical gestures-and through an analysis of the newly uncovered contents of his sketch-books-contributors reveal much of what makes Prokofiev an idiosyncratic genius and his music intriguing, often dramatic, and almost always beguiling.

Contributions by Herman Dijo, J. Ketwaru, Guilly Koster, Arthur Lamur, Lou Lichtveld, Pondo O'Bryan, and Marcel Weltak When Marcel Weltak's Surinamese Music in the Netherlands and Suriname was published in Dutch in 1990, it was the first book to provide an overview of the music styles originating from the land that had recently gained its independence from the Netherlands. Up until the 1990s, little had been published that observed the music of the country. Weltak's book was the first to examine both the instruments and the way in which they are played as well as the melodic and rhythmic components of music produced by the country's ethnically diverse populations, including people of Amerindian, African, Indian, Indonesian/Javanese, and Chinese descent. Since the book's first appearance, a new generation of musicians of Surinamese descent has carried on making music, and some of their elders referred to in the original edition have passed away. The catalog of recordings that have become available has also expanded, particularly in the areas of hip-hop, rap, jazz, R&B, and new fusions such as kaskawi. This edition, in English for the first time, includes a new opening chapter by Marcel Weltak giving a historical sketch of Suriname's relationship to the Netherlands. It includes updates on the popular music of second- and third-generation musicians of Surinamese descent in the Netherlands, and Weltak's own subsequent and vital research into the Amerindian and maroon music of the interior. The new introduction is followed by the integral text of the original edition. New appendices have been added to this edition that include a bibliography and updated discography; a listing of films, videos, and DVDs on or about Surinamese music or musicians; and concise, alphabetically arranged notes on musical instruments and styles as well as brief biographies of those authors who contributed texts.

Music Theory: the essential guide offers musicians of all ages and levels a practical and relevant guide to music theory today. Written and structured to make content as easily digestible as possible, this indispensable guide: introduces key musical concepts such as pitch, tempo, rhythm, harmony, scales, instruments, musical forms and structure outlines the conventions governing music notation, demonstrating their relevance to the musical language of the twenty-first century provides interesting facts and real music examples to contextualise music theory offers practical tips on how to identify intervals, make up melodies and rhythms, set words to music and much more supports all aspects of the ABRSM Theory examinations (grades 1 to 5) includes an introduction and 'theory in practice' notes by renowned educationalist Paul Harris contains quick-reference tools including an appendix, list of further repertoire examples, table of instruments, periods of music history, table of scales and modes and summary keys and time signatures. Music Theory: the essential guide is a joint publication, published by Faber Music and Edition Peters.

Sonic Identity at the Margins convenes the interdisciplinary work of 17 academics, composers, and performers to examine sonic identity from the 19th century to the present. Recognizing the myriad aspects of identity formation, the authors in this volume adopt methodological approaches that range from personal accounts and embodied expression to archival research and hermeneutic interpretation. They examine real and imagined spaces—from video games and monument sites to films and depictions of outer space—by focusing on sonic creation, performance, and reception. Drawing broadly from artistic and performance disciplines, the authors reimagine the roles played by music and sound in constructing notions of identity in a broad array of musical experiences, from anti-slavery songsters to Indigenous tunes and soundscapes, noise and multimedia to popular music and symphonic works. Exploring relationships between sound and various markers of identity—including race, gender, ability, and nationality—the authors explore challenging, timely topics, including the legacies of slavery, indigeneity, immigration, and colonial expansion. In heeding recent calls to decolonize music studies and confront its hegemonic methods, the authors interrogate privileged perspectives embedded in creating, performing, and listening to sound, as well as the approaches used to analyze these experiences.

Alan Lomax (1915-2002) is arguably the most popular and influential American folk song collector of the 20th century. Pursuing a mission of both preserving and popularizing folk music, Lomax moved between political activism, the scholarly world, and the world of popular culture. Based largely on primary material, the book shows how Lomax's diverse activities made him an authority in the field of folk music and how he used this power to advocate the cultures of perceived marginalized Americans - whom he located primarily in the American South. In this approach, however, folk music became an abstract idea onto which notions oscillating between hope and disillusionment, fear and perspective were projected. The author argues that Lomax's role as a cultural mediator, with a politically motivated approach, helped him to decisively shape the perception and reception of what came to be known as American folk music, from the mid 1930s to the late 1960s.

A speech for the defence in a Paris murder trial, a road-safety slogan, Hobbes' political theory; each appeals to reason of a kind, but it remains an oblique and rhetoricalldnd. Each relies on comparisons rather than on direct statements, and none can override or supersede the conclusions of ethical reasoning proper. Nevertheless, just as slogans may do more for road safety than the mere recital of accident statistics, or of the evidence given at coroners' inquests, so the arguments of a Hobbes or a Bentham may be of greater practical effect than the assertion of genuinely ethical or political statements, however true and relevant these may be. Stephen Toulmin, Reason in Ethics, 1950. The International Colloquium on Cognitive Science (ICCS), held in Donostia - San Sebastian every two years since 1989, has become one of the most important plazas for cognitive scientists in Europe to present the results of their research and to exchange ideas. The seventh edition, co-organized as usual by the Institute for Logic, Cognition, Language, and Information (ILCLI) and the Department of Logic and Philosophy of Science, both from the University of the Basque Country, took place from May 9 to 12, 200 1, addressing the following main topics: 1. Truth: Epistemology and Logic. 2. Rationality in a Social Setting. 3. Music, Language, and Cognition. Vlll TRUTH, RATIONALITY, COGNITION, AND MUSIC 4. The Order of Discourse: Logic, Pragmatics, and Rhetoric.

Although La Monte Young is one of the most important composers of the late twentieth century, he is also one of the most elusive. Generally recognized as the patriarch of the minimalist movement-Brian Eno once called him "the daddy of us all"-he nonetheless remains an enigma within the music world. Early in his career Young eschewed almost completely the conventional musical institutions of publishers, record labels, and venues, in order to create compositions completely unfettered by commercial concerns. At the same time, however, he exercised profound influence on such varied figures as Terry Riley, Cornelius Cardew, Andy Warhol, Yoko Ono, David Lang, Velvet Underground, and entire branches of electronica and drone music. For half a century he and his partner and collaborator, Marian Zazeela, have worked in near-seclusion in their Tribeca loft, creating works that explore the furthest extremes of conceptual audacity, technical sophistication, acoustical complexity, and overt spirituality. Because Young gives interviews only rarely, and almost never grants access to his extensive archives, his importance as a composer has heretofore not been matched by a commensurate amount of scholarly scrutiny. Draw A Straight Line and Follow It: The Music and Mysticism of La Monte Young stands as the first monograph to examine Young's life and work in detail. The book is a culmination of a decade of research, during which the author gained rare access to the composer and his archives. Though loosely structured upon the chronology of the composer's career, the book takes a multi-disciplinary approach that combines biography, musicology, ethnomusicology, and music analysis, and illuminates such seemingly disparate aspects of Young's work as integral serialism and indeterminacy, Mormon esoterica and Vedic mysticism, and psychedelia and psychoacoustics. The book is a long-awaited, in-depth look at one of America's most fascinating musical figures.

This book explores the cultural, aesthetic, and political relevance of music in radio art from its beginnings to present day. Contributors include musicologists, literary studies, and cultural studies scholars and cover radio plays, radio shows, and other programs in North American, English, Spanish, Greek, Italian, and German radio.

1) First published book on the revival of Cornish music and dance and the first extended history of music and dance in Cornwall. 2) Based on a combination of qualitative fieldwork and expert interviews, and a meticulous study of the historical and revival material

A reissue of a classic that represents the culmination of over 40 years in Schoenberg's life devoted to the teaching of musical principles to students and composers in Europe and America. For his classes, he developed a manner of presentation in which "every technical matter is discussed in a very fundamental way, so that at the same time it is both simple and thorough". This book can be used for analysis as well as for composition. On the one hand, it has the practical objective of introducing students to the process of composing in a systematic way, from the smallest to the largest forms on the other hand, the author analyzes in detail, with numerous illustrations, those particular sections in the works of the masters which relate to the compositional problem under discussion.

This introduction to the essential elements of music is ideal for students preparing for examinations, as well as an excellent resource for everyone learning to read music.

From the very beginning, music has helped us create our world - everything from language, to technology, to philosophy and religion. The Art of Ancient Music discusses the important role music has played in shaping human development. While emphasizing shared human themes, the text has a special focus on the rise of Western music in the ancient Near East, the Bible, and the Classical worlds. A final chapter provides a discussion of the way music helped bridge the gap between the ancient world and the Middle Ages, especially in the guise of Church music.

Sulke Vriende Is Skaars bevat die geannoteerde briefkorrespondensie tussen twee seminale figure in die Suid-Afrikaanse Westerse kunsmusiek. Dit is die eerste keer dat briefwisseling binne die Suid-Afrikaanse musiekgeskiedenisskrywing gepubliseer word en is ’n publikasie wat ’n noemenswaardige bydra tot die dissipline van Suid-Afrikaanse musiekhistoriografie, asook tot Afrikaner- en apartheidshistoriografie, sal maak.

Dit toon die belangrikheid aan van verdere navorsing oor die geïnstitusionaliseerde posisie van wit kunsmusiek in Suid-Afrika. Benewens die briewe, word belangrike foto’s, afskrifte van faksimilees, telegramme en ander vorme van korrespondensie geplaas en groot klem geplaas op die visuele voorkoms van die boek.

In The Art of Listening, Anthony Arnone interviews 13 of the top cello teachers of our time, sharing valuable insights about performing, teaching, music, and life. While almost every other aspect of twenty-first-century life has been changed by technological advancements, the art of playing and teaching the cello has largely remained the same. Our instruments are still made exactly the same way and much of what we learn is passed on by demonstration and word of mouth from generation to generation. We are as much historians of music as we are teachers of the instrument. The teaching lineage in the classical music world has formed a family tree of sorts with a select number of iconic names at the top of the tree, such as Pablo Casals, Gregor Piatigorsky, and Leonard Rose. A large percentage of professional cellists working today studied with these giants of the cello world, or with their students. In addition to discussing the impact of these masters and their personal experience as their students, the renowned cellists interviewed in this book touch on a variety of topics from teaching philosophies to how technology has changed classical music.

Die gitarrenbezogene historische Auffassung der Virtuosität sowie die Verbalisierung spielpraktischer Ansätze aus dem 19. Jahrhundert sind die Hauptthemen dieses Bandes. Die Untersuchung der Virtuosität basiert auf einer vergleichenden Analyse zwischen Bearbeitungen und deren Vorlagen, welche durch das Heranziehen von Gesangslehrbüchern, Instrumentalschulen und Konzertberichten ergänzt wird. Der Klang und die unterschiedlichen Klangkonzepte wie z. B. die musikalische Gestaltung mit Klangfarben oder das instrumentale Singen bilden den Kern der gitarristischen Virtuosität und werden praxisnah dargelegt.

This first book-length study of D. H. Lawrence's lifelong engagement with music surveys his extensive musical interests and how these permeate his writing, while also situating Lawrence within a growing body of work on music and modernism. A twin focus considers the music that shaped Lawrence's novels and poetry, as well as contemporary developments in music that parallel his quest for new forms of expression. Comparisons are made with the music of Debussy, Schoenberg, Stravinsky, Wagner, and British composers, including Bax, Holst and Vaughan Williams, and with the musical writings of Forster, Hardy, Hueffer (Ford), Nietzsche and Pound. Above all, by exploring Lawrence and music in historical context, this study aims to open up new areas for study and a place for Lawrence within the field of music and modernism.

This collection of original essays is in tribute to the work of Derek Scott on the occasion of his sixtieth birthday. As one of the leading lights in Critical Musicology, Scott has helped shape the epistemological direction for music research since the late 1980s. There is no doubt that the path taken by the critical musicologist has been a tricky one, leading to new conceptions, interactions, and heated debates during the past two decades. Changes in musicology during the closing decades of the twentieth century prompted the establishment of new sets of theoretical methods that probed at the social and cultural relevance of music, as much as its self-referentiality. All the scholars contributing to this book have played a role in the general paradigmatic shift that ensued in the wake of Kerman's call for change in the 1980s. Setting out to address a range of approaches to theorizing music and promulgating modes of analysis across a wide range of repertories, the essays in this collection can be read as a coming of age of critical musicology through its active dialogue with other disciplines such as sociology, feminism, ethnomusicology, history, anthropology, philosophy, cultural studies, aesthetics, media studies, film music studies, and gender studies. The volume provides music researchers and graduate students with an up-to-date authoritative reference to all matters dealing with the state of critical musicology today.

From the Romantic era onwards, music has been seen as the most quintessentially temporal art, possessing a unique capacity to invoke the human experience of time. Through its play of themes and recurrence of events, music has the ability to stylise in multiple ways our temporal relation to the world, with far-reaching implications for modern conceptions of memory, subjectivity, personal and collective identity, and history. Time, as philosophers, scientists and writers have found throughout history, is notoriously hard to define. Yet music, seemingly bound up so intimately with the nature of time, might well be understood as disclosing aspects of human temporality unavailable to other modes of inquiry, and accordingly was frequently granted a privileged position in nineteenth-century thought. The Melody of Time examines the multiple ways in which music relates to, and may provide insight into, the problematics of human time. Each chapter explores a specific theme in the philosophy of time as expressed through music: the purported timelessness of Beethoven's late works or the nostalgic impulses of Schubert's music; the use of music by philosophers as a means to explicate the aporias of temporal existence or as a medium suggestive of the varying possible structures of time; and, a reflection of a particular culture's sense of historical progress or the expression of the intangible spirit behind the course of human history itself. Moving fluidly between cultural context and historical reception, competing philosophical theories of time and close reading of the repertoire, Benedict Taylor argues for the continued importance of engaging with music's temporality in understanding the significance of music within society and human experience. At once historical, analytical, critical, and ultimately hermeneutic, The Melody of Time provides both fresh insight into many familiar nineteenth-century pieces and a rich theoretical basis for future research.

Perspectives on the Performance of French Piano Music offers a range of approaches central to the performance of French piano music of the nineteenth and twentieth centuries. The contributors include scholars and active performers who see performance not as an independent activity but as a practice enriched by a wealth of historical and analytical approaches. To underline the usefulness of contextual understanding for performance, each author highlights the choices performers must confront with examples drawn from particular repertoires and composers. Topics explored include editorial practice, the use of early recordings, emergent disciplines such as analysis-and-performance, and traditions passed down from teacher to student. Themes that emerge demonstrate the importance of editions as a form of communication, the challenges of notation, the significance of detail and of deeper continuity, the importance of performing and teaching traditions, and the influence of cross disciplinary frameworks. A link to a set of performed examples on the frenchpianomusic.com website allows readers to hear and compare performances and interpretations of the music discussed. The volume will appeal to musicologists and analysts interested in performance, performers, students, and piano teachers.

Twentieth- and Twenty-First-Century Song Cycles: Analytical Pathways Toward Performance presents analyses of fourteen song cycles composed after the turn of the twentieth century, with a focus on offering ways into the musical and poetic structure of each cycle to performers, scholars, and students alike. Ranging from familiar works of twentieth-century music by composers such as Schoenberg, Britten, Poulenc, and Shostakovich to lesser-known works by Van Wyk, Sviridov, Wheeler, and Sanchez, this collection of essays captures the diversity of the song cycle repertoire in contemporary classical music. The contributors bring their own analytical perspectives and methods, considering musical structures, the composers' selection of texts, how poetic narratives are expressed, and historical context. Informed by music history, music theory, and performance, Twentieth- and Twenty-First-Century Song Cycles offers an essential guide into the contemporary art-music song cycle for performers, scholars, students, and anyone seeking to understand this unique genre.

Sonic Signatures is an interdisciplinary collaboration of scholars and music-makers who come together to explore how music makes cities. More specifically, they argue that the musical encounter, composed of an array of production and consumption practices, takes on particular and essential meaning at night. Thinking about music as an encounter allows one to appreciate the value and power of migration within the act of music-making. The majority of voices amplified in the book come from so-called “migrants,� understood as someone who was born in one country and currently lives and works in another. Yet, these words, migration, migrant and migrancy, are more expansive than that as they indicate a range of movement, politics and place-making. Contributions from Emilie Amrein, André de Quadros, Nick Dunn, Pol Esteve, Jillian Fulton-Melanson, Jacqueline Georgis, Masimba Hwati, Ailbhe Kenny, Seger Kersbergen, Brendan Kibbee, �ine Mangaoang, Derek Pardue, Nick Prior, Austin T. Richie, Willians Santos, Sipho Sithole, Gibran Teixeira Braga, Katie Young. A great, engaging transdisciplinary contribution to nightlife studies, music and the city.

Mixtape Nostalgia: Culture, Memory, and Representation analyzes the role of the mixtape as a site of collective memory tied to youth culture, community identity, and sharing music. The author looks at the history of the mixtape from the early 1980s and the rise of the cassette as a fundamental aspect of the music industry. She discusses the continued contemporary appeal of the mixtape as musicians, novelists, memoirists, playwrights, and even podcasters have used it as a metaphor for connection and identity. The book shows how creators use the iconography of the mixtape cassette to create ephemera which speaks to the appreciation of the tangible and the analog. The desire to find connection through sharing a physical artifact permeates the various creative uses of the mixtape. From blockbuster films to mixtape throw pillows, Burns highlights the appreciation music lovers have for tangibly sharing music and the emotions it brings.