In this newly revised book On Sonic Art, Trevor Wishart takes a wide-ranging look at the new developments in music-making and musical aesthetics made possible by the advent of the computer and digital information processing. His emphasis is on musical rather than technical matters. Beginning with a critical analysis of the assumptions underlying the Western musical tradition and the traditional acoustic theories of Pythagoras and Helmholtz, he goes on to look in detail at such topics as the musical organization of complex sound-objects, using and manipulating representational sounds and the various dimensions of human and non-human utterance. In so doing, he seeks to learn lessons from areas (poetry and sound-poetry, film, sound effects and animal communication) not traditionally associated with the field of music.
About the Author
Trevor Wishart is a composer, living and working in the North of England. His musical works cover a wide range, from environmental music events staged in spe

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

Bernhard Lang: Critical Guides to Contemporary Composers offers a critical guide and introduction to the work of Austrian composer Bernhard Lang (b. 1957). It identifies the phenomenon of repetition as a central concern in Lang's thinking and making. The composer's artistic practice is identified as one of 'loop aesthetics': a creative poetics in which repetition serves not only as methodology, but also as material, language, and subject matter. The book is structured around the four central thematic nodes of philosophy, music, theatre, and politics. After introducing Lang as a composer whose work is thoroughly influenced by philosophical thought, the book develops a typology of musical repetition as it is explored and activated in Lang's oeuvre. Pointing towards the several repetitions within the performance of Lang's works, the book explores the heavily trans-medial nature of the repeat across domains such as literature, dance, and theatre. Finally, the book investigates Lang's use of textual quotation and musical borrowing. Christine Dysers is a musicologist specialising in contemporary music aesthetics. Her research centres around repetition, politics, absence, the liminal, and the uncanny. This is the first full-length study of the works of Bernhard Lang and is a new volume in the Critical Guides to Contemporary Composers series from Intellect.

The MIDI Manual: A Practical Guide to MIDI within Modern Music Production, Fourth Edition, is a complete reference on MIDI. Written by David Miles Huber (a 4x Grammy-nominated musician, producer and author), this best-selling guide provides clear explanations of what MIDI 1.0 and 2.0 are, acting as a guide for electronic instruments, the DAW, MIDI sequencing and how to make best use of them. You will learn how to set up an efficient MIDI system and how to get the most out of your production room and ultimately ... your music. Packed full of useful tips and practical examples on sequencing and mixing techniques, The MIDI Manual also covers in-depth information on system interconnections, controllers, groove tools, the DAW, synchronization and more. For the first time, the MIDI 2.0 spec is explained in light of the latest developments and is accompanied with helpful guidelines for the long-established MIDI 1.0 spec and its implementation chart. Illustrated throughout with helpful photos and screenshots, this is the most readable and clearly explained book on MIDI available.

When How to Make It in the New Music Business hit shelves in 2016, it instantly became the go-to resource for musicians eager to make a living in a turbulent industry. Widely adopted by music schools everywhere and considered "the best how- to book of its kind" (Music Connection), this essential work has inspired tens of thousands of aspiring artists to stop waiting around for that "big break" and take matters into their own hands. In this highly anticipated new edition, Ari Herstand reveals how to build a profitable career with the many tools at our fingertips in the post-COVID era and beyond, from conquering social media and mastering the digital landscape to embracing authentic fan connection and simply learning how to persevere. This edition breaks down these phenomena and more, resulting in a timeless must-have for anyone hoping to navigate the increasingly complex yet advantageous landscape that is the modern music business.

Prince's position in popular culture has undergone only limited academic scrutiny. This book provides an academic examination of Prince, encompassing the many layers of his cultural and creative impact. It assesses Prince's life and legacy holistically, exploring his multiple identities and the ways in which they were manifested through his recorded catalogue and audiovisual personae. In 17 essays organized thematically, the anthology includes a diverse range of contributions - taking ethnographic, musicological, sociological, gender studies and cultural studies approaches to analysing Prince's career.

Punk rock and hip-hop. Disco and salsa. The loft jazz scene and the downtown composers known as Minimalists. In the mid-1970s, New York City was a laboratory where all the major styles of modern music were reinvented--block by block, by musicians who knew, admired, and borrowed from one another. Crime was everywhere, the government was broke, and the infrastructure was collapsing. But rent was cheap, and the possibilities for musical exploration were limitless."Love Goes to Buildings on Fire "is the first book to tell the full story of the era's music scenes and the phenomenal and surprising ways they intersected. From New Year's Day 1973 to New Year's Eve 1977, the book moves panoramically from post-Dylan Greenwich Village, to the arson-scarred South Bronx barrios where salsa and hip-hop were created, to the lower Manhattan lofts where jazz and classical music were reimagined, to ramshackle clubs like CBGB and the Gallery, where rock and dance music were hot-wired for a new generation.

The Music Theory in Practice series has helped more than one million musicians worldwide to learn about the notation and theory of music. Now fully revised, this workbook remains the best way to prepare for ABRSM's Grade 1 Theory of Music Exam. Features a clear explanation of music notation, many worked examples and practice exercises, definitions of important words and concepts, specimen exam questions and helpful tips for students. As well as supporting the ABRSM Theory syllabus, this workbook also provides an excellent resource for anyone wishing to develop general music literacy skills.

In addition, "The Tone Clock" contains a broad selection of Peter Schat's polemical writings, embracing historical, political, aesthetic and environmental perspectives. His book is not just of interest to composers, but it also provides a valuable insight for anyone interested in the development of twentieth-century music.
Peter Schat, a former pupil of Pierre Boulez, exposes more than a new theory of music in "The Tone Clock." Although he is a long-experienced serialist composer, in devising and using his tone clock system he has reached the clarity and simplicity which comprise two of his major compositional aims. His book, profusely illustrated with clearly analysed musical examples, will enable other composers to achieve similar aims in their own way, while remaining faithful to their own musical personalities.
A former pupil of Pierre Boulez, Peter Schat is a well-known Dutch contemporary serialist composer.

Musical leadership is associated with a specific profession-the conductor-as well as being a colloquial metaphor for human communication and cooperation at its best. This book examines what musical leadership is, by delving into the choral conductor role, what goes on in the music-making moment and what it takes to do it well. One of the unique features of the musical ensemble is the simultaneity of collective discipline and individual expression. Music is therefore a potent laboratory for understanding the leadership act in the space between leader and team. The musical experience is used to shed light on leading and following more broadly, by linking it to themes such as authority, control, empowerment, intersubjectivity, sensemaking and charisma. Jansson develops the argument that musical leadership involves the combination of strong power and deep sensitivity, a blend that might be equally valid in other leadership domains. Aesthetic knowledge and musical perception therefore offer untapped potential for leadership and organisational development outside the art domain.

It has often been claimed, and frequently denied, that music derives some or all of its artistic value from the relations in which it stands to the emotions. This book presents and subjects to critical examination the chief theories about the relationship between the art of music and the emotions.

eBook available with sample pages: 0203420217

* Intense focus on the emergence of a new, post-Civil Rights Movement black identity * Offers an alternative history and musicology of the Black Power Movement * Defines Black Power Music - a musical and political reality * Explores the intense interconnections between black popular culture and black political culture * Essential reading for all students engaged in black popular music studies, African American studies, popular culture studies, ethnic studies as well as sociology, ethnomusicology and political science.

A New Yorker Best Book of the Year The remarkable life of violinist and teacher Shinichi Suzuki, who pioneered an innovative but often-misunderstood philosophy of early childhood education-now known the world over as the Suzuki Method. The name Shinichi Suzuki is synonymous with early childhood musical education. By the time of his death in 1998, countless children around the world had been taught using his methods, with many more to follow. Yet Suzuki's life and the evolution of his educational vision remain largely unexplored. A committed humanist, he was less interested in musical genius than in imparting to young people the skills and confidence to learn. Eri Hotta details Suzuki's unconventional musical development and the emergence of his philosophy. She follows Suzuki from his youth working in his father's Nagoya violin factory to his studies in interwar Berlin, the beginnings of his teaching career in 1930s Tokyo, and the steady flourishing of his practice at home and abroad after the Second World War. As Hotta shows, Suzuki's aim was never to turn out disciplined prodigies but rather to create a world where all children have the chance to develop, musically and otherwise. Undergirding his pedagogy was an unflagging belief that talent, far from being an inborn quality, is cultivated through education. Moreover, Suzuki's approach debunked myths of musical nationalism in the West, where many doubted that Asian performers could communicate the spirit of classical music rooted in Europe. Suzuki touched the world through a pedagogy founded on the conviction that all children possess tremendous capacity to learn. His story offers not only a fresh perspective on early childhood education but also a gateway to the fraught history of musical border-drawing and to the makings of a globally influential life in Japan's tumultuous twentieth century.

This volume brings together articles written between 1909 and 1983 on the history, definitions, and scope of ethnomusicology, providing multiple perspectives of the changing ways in which ethnomusicologists have viewed themselves and others during the first century of ethnomusicological activity.

The first book-length study in English of composer Mathias Spahlinger, one of Germany’s leading practitioners of contemporary music. One of the most stimulating and provocative figures on the new music scene on Germany, he has long been a touchstone for leftist, ‘critical’ composition there, yet his work has received very little attention in Anglophone scholarship until now.  Born in 1944, Spahlinger has risen only gradually to prominence in his native Germany and for many years was considered an outsider within the contemporary music scene. Yet, his position as one of the most venerable exponents of post-WWII modernism in his homeland is now undeniable: his music is regularly performed, he has received commissions from many of the major orchestras and new music groups in Germany, and in 2014 he received the Großen Berliner Kunstpreis (Berlin Art Prize – Grand Prize) from the city’s Akademie der Künste (Academy of Arts). Spahlinger is, however, becoming increasingly known as a significant figure within later twentieth-century music – in 2015, a festival in Chicago focused exclusively on his music, and he was a keynote speaker at a conference on Compositional Aesthetics and the Political at Goldsmiths, University of London. This new book provides an essential reference for scholars of new music and twentieth-century modernism. There are no other book-length studies of Spahlinger in English, though there is a monograph and a book of essays in German, and books of interviews. This original work promises a more critical perspective upon the composer and his aesthetics and political ideas compared to previous publications. The illustrations include musical examples. Its primary market will be a specialist musicological readership, including academics, researchers and composers, but the writing style such that it could be accessible also to undergraduates interested in the field. The discussion of aesthetic debates in post-war Germany, and the interesting reading of the work of Jacques Rancière, means that it could also have significant appeal across the disciplines of philosophy and critical theory.

A new wave of scholarship inspired by the ways the writers and musicians of the long nineteenth century themselves approached the relationship between music and words. Words and Notes encourages a new wave of scholarship inspired by the ways writers and musicians of the long nineteenth century themselves approached the relationship between music and words. Contributors to the volume engage in two dialogues: with nineteenth-century conceptions of word-music relations, and with each other. Criss-crossing disciplinary boundaries, the authors of the book's eleven essays address new questions relating to listening, imagining and performing music, the act of critique, and music's links with philosophy and aesthetics. The many points of intersection are elucidated in an editorial introduction and via a reflective afterword. Fiction and poetry, musicography, philosophy, music theory, science and music analysis all feature, as do traditions within English, French and German studies. Wide-ranging material foregrounds musical memory, soundscape and evocation; performer dilemmas over the words in Satie's piano music; the musicality of fictional and non-fictional prose; text-setting and the rights of poet vs. composer; the rich novelistic and critical testimony of audience inattention at the opera;German philosophy's potential contribution to musical listening; and Hoffmann's send-ups of the serious music-lover. Throughout, music - its composition, performance and consumption - emerges as a profoundly physical and social force, even when it is presented as the opposite. PHYLLIS WELIVER is Associate Professor of English, Saint Louis University. KATHARINE ELLIS is Stanley Hugh Badock Professor of Music at the University of Bristol. Contributors: Helen Abbott, Noelle Chao, Delia da Sousa Correa, Peter Dayan, Katharine Ellis, David Evans, Annegret Fauser, Jon-Tomas Godin, Cormac Newark, Matthew Riley, Emma Sutton, Shafquat Towheed, Susan Youens, Phyllis Weliver

Between 1780 and 1850, the growing prominence of female singers in Britain's professional and amateur spheres opened a fraught discourse about women's engagement with musical culture. Protestant evangelical gender ideology framed the powerful, well-trained, and expressive female voice as a sign of inner moral corruption, while more restrained and delicate vocal styles were seen as indicative of the performer's virtuous femininity. Yet far from everyone was of this persuasion, and those from alternative class and religious milieux responded in more affirmative ways to the sound of professional female voices. The meanings listeners ascribed to women's voices reflect crucial developments in the musical world of the period, such as the popularity of particular genres with audiences of certain social backgrounds, and the reasons underpinning the development of prevalent types of nineteenth-century professional female vocality. Sounding Feminine traces the development of attitudes towards the female voice that have decisively shaped modern British society and culture. Arguing for the importance of the aural dimension of the past, author David Kennerley draws from a variety of fields-including sound studies, sensory histories, and gender theory-to examine how audiences heard different kinds of femininities in the voices of British female singers. Sounding Feminine explores the intense divisions over the "correct" use of the female voice, and the intricate links between gender, nationality, class, and religion in ascribing status, purpose, and morality to female singing. Through this lens, Kennerley also explores the formation of British middle-class identities and the cultural impact of the evangelical revival-deepening our understanding of this period of transformational change in British culture.

Manchester Beethoven studies presents ten original chapters by scholars with close ties to the University of Manchester. It throws new light on many aspects of Beethoven’s life and works, with a special emphasis on early or little-known compositions such as his concert aria Erste Liebe, his String Quintet Op. 104 and his folksong settings. Biographical elements are prominent in a wide-ranging reassessment of his religious attitudes and beliefs, while Charles Hallé, founder of the Manchester-based Hallé Orchestra, is revealed to have been a tireless and energetic promoter of Beethoven’s music in the later nineteenth century. -- .

The sounds of spectators at football (soccer) are often highlighted - by spectators, tourists, commentators, journalists, scholars, media producers, etc. - as crucial for the experience of football. These sounds are often said to contribute significantly to the production (at the stadium) and conveyance (in televised broadcast) of 'atmosphere.' This book addresses why and how spectator sounds contribute to the experience of watching in these environments and what characterizes spectator sounds in terms of their structure, distribution and significance. Based on an examination of empirical materials - including the sounds of football matches from the English Premier League as they emerge both at the stadium and in the televised broadcast - this book systematically dissects the sounds of football watching.

This book explores the way in which singing can foster experiences of belonging through ritual performance. Based on more than two decades of ethnographic, pedagogical and musical research, it is set against the backdrop of "the new Ireland" of the late 20th and early 21st centuries. Charting Ireland's growing multiculturalism, changing patterns of migration, the diminished influence of Catholicism, and synergies between indigenous and global forms of cultural expression, it explores rights and rites of belonging in contemporary Ireland. Helen Phelan examines a range of religious, educational, civic and community-based rituals including religious rituals of new migrant communities in "borrowed" rituals spaces; baptismal rituals in the context of the Irish citizenship referendum; rituals that mythologize the core values of an educational institution; a ritual laboratory for students of singing; and community-based festivals and performances. Her investigation peels back the physiological, emotional and cultural layers of singing to illuminate how it functions as a potential agent of belonging. Each chapter engages theoretically with one of five core characteristic of singing (resonance, somatics, performance, temporality, and tacitness) in the context of particular performed rituals. Phelan offers a persuasive proposal for ritually-framed singing as a valuable and potent tool in the creation of inclusive, creative and integrated communities of belonging.

This book explores the nature and importance of sound in virtual reality (VR). Approaching the subject from a holistic perspective, the book delivers an emergent framework of VR sound. This framework brings together numerous elements that collectively determine the nature of sound in VR; from various aspects of VR technology, to the physiological and psychological complexities of the user, to the wider technological, historical and sociocultural issues. Garner asks, amongst other things: what is the meaning of sound? How have fictional visions of VR shaped our expectations for present technology? How can VR sound hope to evoke the desired responses for such an infinitely heterogeneous user base? This book if for those with an interest in sound and VR, who wish to learn more about the great complexities of the subject and discover the contemporary issues from which future VR will surely advance.