Provides an introduction to the basic elements in harmony and musical structure. Covers the basics of rhythm and tempo, an introduction to pitch, intervals and transposition, articulation, ornaments, and reiterations.

The Sami are Europe s only recognized indigenous people living across regions of Norway, Sweden, Finland and the Russian Kola peninsula. The subjects of a history of Christianization, land dispossession, and cultural assimilation, the Sami have through their self-organization since World War II worked towards Sami political self-determination across the Nordic states and helped forge a global indigenous community. Accompanying this process was the emergence of a Sami music scene, in which the revival of the distinct and formerly suppressed unaccompanied vocal tradition of joik was central. Through joiking with instrumental accompaniment, incorporating joik into forms of popular music, performing on stage and releasing recordings, Sami musicians have played a key role in articulating a Sami identity, strengthening Sami languages, and reviving a nature-based cosmology. Thomas Hilder offers the first book-length study of this diverse and dynamic music scene and its intersection with the politics of indigeneity. Based on extensive ethnographic research, Hilder provides portraits of numerous Sami musicians, studies the significance of Sami festivals, analyzes the emergence of a Sami recording industry, and examines musical projects and cultural institutions that have sought to strengthen the transmission of Sami music. Through his engaging narrative, Hilder discusses a wide range of issues revival, sovereignty, time, environment, repatriation and cosmopolitanism to highlight the myriad ways in which Sami musical performance helps shape notions of national belonging, transnational activism, and processes of democracy in the Nordic peninsula. Sami Musical Performance and the Politics of Indigeneity in Northern Europe will not only appeal to enthusiasts of Nordic music, but, by drawing on current interdisciplinary debates, will also speak to a wider audience interested in the interplay of music and politics. Unearthing the challenges, contradictions and potentials presented by international indigenous politics, Hilder demonstrates the significance of this unique musical scene for the wider cultural and political transformations in twenty-first century Europe and global modernity."

Our understanding of music is inherently metaphorical, and metaphoricity pervades all sorts of musical discourses, be they theoretical, analytical, philosophical, pedagogical, or even scientific. The notions of "body" and "force" are the two most pervasive and comprehensive scientific metaphors in musical discourse. Throughout various intertwined contexts in history, the body-force pair manifests multiple layers of ideological frameworks and permits the conceptualization of music in a variety of ways. Youn Kim investigates these concepts of body and force in the emerging field of music psychology in the late nineteenth and early twentieth centuries. The field's discursive space spans diverse contexts, including psychological theories of auditory perception and cognition, pedagogical theories on the performer's bodily mechanism, speculative and practical theories of musical rhythm, and aesthetical discussion of the power of music. This investigation of body and force aims to illuminate not just the past scene of music psychology but also the notions of music that are being constructed at present.

This book studies George Crumb's Winds of Destiny (2004) and Black Angels (1970) as artefacts of collective memory and cultural trauma. It situates these two pieces in Crumb's output and unpacks the complex methodologies needed to understand these pieces as contributions and challenges to traditional narratives of the Civil War and the Vietnam War. This book shows how this association began and how it endures through connections to iconic Vietnam War media, including films and books. Together these analyses show the legacy of trauma in American collective memory, which is in a continuous crisis. \This book will be of interest to students of contemporary American music, American studies, and memory studies. It benefits readers by newly situating Crumb's music within these three fields of study.

Offers a comprehensive guide to approaching a degree in music, tailored to the needs of first-year undergraduate students. Questions for discussion, chapter-by-chapter assignments, and downloadable eResources provide practical tools to develop students' professional, practical and academic skills. Includes contributions from faculty across all areas of music that establish foundations to prepare students for all types of music specialities.

This book offers a detailed analysis of the history of female musicians in the Highlife music tradition of the Republic of Ghana, particularly the challenges and constraints these women faced and overcame. Highlife - a form of West African music infusing Ghana's traditional Akan dance rhythms and melodies with European instruments and harmonies - grew in popularity throughout the 20th century and hit its peak in the 1970s and 1980s. Although women played significant roles in the evolution and survival of the genre, few of their contributions have been thoroughly explored or documented. Despite being disregarded and ignored in many spheres, female Highlife musicians thrived and became trailblazers in the Ghanaian music industry, making particularly vibrant contributions to Highlife music in the 1970s. This book presents the voices of female Highlife artists and documents the ideological transformations expressed through their musical works, exploring the challenges they confronted throughout their musical careers and their contributions to music and culture in Ghana.

This book presents the first English introduction to the broad history of the Gothic mode in Spain. It focuses on key literary periods, such as Romanticism, the fin-de-siecle, spiritualist writings of the early-twentieth century, and the cinematic and literary booms of the 1970s and 2000s. With illustrative case studies, Aldana Reyes demonstrates how the Gothic mode has been a permanent yet ever-shifting fixture of the literary and cinematic landscape of Spain since the late-eighteenth century. He proposes that writers and filmmakers alike welcomed the Gothic as a liberating and transgressive artistic language.

This book is designed for composers, orchestral musicians, conductors, orchestral managers and programmers as well as for music students and their instructors/supervisors who want to investigate contemporary Australian concert music for orchestra and are interested in the nature of contemporary symphonism. It is also intended for musically informed concert-goers and music lovers eager to explore an unfamiliar but rich repertory of fine symphonies.

Scholarship applied alonsgide personal voices and vivid narratives to present potential meanings to music participation Potential meanings to music participation explored across age groups, communities and spaces Ten original studies presenting diverse portrait of music engagement A valuable resource for scholars, professionals, and students working in school and community music or music education research, as well as readers interested in general education, social psychology, lifelong learning, and aging studies.

From its use in literary theory, film criticism and the discourse of games design, Salomé Voegelin expands ‘possible world theory’ to think the worlding of sound in music, in art and in the everyday. The modal logic of possible worlds, articulated principally via David K. Lewis and developed through Maurice Merleau-Ponty’s phenomenological life-worlds, creates a view on the invisible slices of the world and reflects on how to make them count, politically and aesthetically. How to make them thinkable and accessible as the possibility of the everyday and of art: to reach a new materialist understanding from the invisible and to develop an ear for the as yet inaudible. This revised edition continues Voegelin’s exploration of the sonic possibility of the world into the sonic possibility and impossibility of the body. Listening to work by �ine O’Dwyer, Hannah Silva and Jocy de Oliveira, it considers sonic possible worlds’ radical power to rethink normative constructions and to fabulate a different body from its sound: Hearing the Continuum Between Plural Bodies; between humans, humanoid aliens, monsters, vampires, plants, things and anything we have no name for yet but which a sonic philosophy might start to hear and call.

Michael Haneke's films subject us to extreme experiences of disturbance, desperation, grief, and violence. They are unsoftened by music, punctuated by accosting noises, shaped by painful silences, and charged with aggressive dialogue. The sound tracks are even more traumatic to hear than his stories are to see, but they also offer us the transformative possibilities of reawakened sonic awareness. Haneke's use of sound redefines cinema in ways that can help us re-hear everything-including our own voices, and everything around us-better. Though Haneke's films make exceptional demands on us, he is among the most celebrated of living auteurs: he is two-time receipt of the Palme D'Or at Cannes Film Festival (for The White Ribbon (2009) and Amour (2012)), and Academy Award winner of Best Foreign Language Film (for Amour), along with numerous other awards. The radical confrontationality of his cinema makes him an internationally controversial, as well as revered, subject. Hearing Haneke is the first book-length study of the sound tracks that define this living legacy. This book explores the haunting, subversive, and political significance of all aural elements through Haneke's major feature films (dialogue, sound effects, silences, and music), all of which are meticulously conducted by him. Many critics read Haneke as coolly dispassionate about showing scenes of humanity under threat, but Hearing Haneke argues that all facets of his sound tracks stress humane understanding and the importance of compassion. This book provides exceptionally detailed analyses of all Haneke's most celebrated films: including The Seventh Continent, Funny Games, Code Unknown, The Piano Teacher, Cache, The White Ribbon, and Amour. The writing brings together film theory, musicology, history, and cultural studies in ways that resonate broadly. Hearing Haneke will matter to anyone who cares about the power of art to inspire progressive change.

The last half-decade has seen the rapid and expansive development of video game music studies. As with any new area of study, this significant sub-discipline is still tackling fundamental questions concerning how video game music should be approached. In this volume, experts in game music provide their responses to these issues. This book suggests a variety of new approaches to the study of game music. In the course of developing ways of conceptualizing and analyzing game music it explicitly considers other critical issues including the distinction between game play and music play, how notions of diegesis are complicated by video game interactivity, the importance of cinema aesthetics in game music, the technicalities of game music production and the relationships between game music and art music traditions. This collection is accessible, yet theoretically substantial and complex. It draws upon a diverse array of perspectives and presents new research which will have a significant impact upon the way that game music is studied. The volume represents a major development in game musicology and will be indispensable for both academic researchers and students of game music.

A new history of twentieth-century North Africa, that gives voice to the musicians who defined an era and the vibrant recording industry that carried their popular sounds from the colonial period through decolonization. If twentieth-century stories of Jews and Muslims in North Africa are usually told separately, Recording History demonstrates that we have not been listening to what brought these communities together: Arab music. For decades, thousands of phonograph records flowed across North African borders. The sounds embedded in their grooves were shaped in large part by Jewish musicians, who gave voice to a changing world around them. Their popular songs broadcast on radio, performed in concert, and circulated on disc carried with them the power to delight audiences, stir national sentiments, and frustrate French colonial authorities. With this book, Christopher Silver provides the first history of the music scene and recording industry across Morocco, Algeria, and Tunisia, and offers striking insights into Jewish-Muslim relations through the rhythms that animated them. He traces the path of hit-makers and their hit records, illuminating regional and transnational connections. In asking what North Africa once sounded like, Silver recovers a world of many voices—of pioneering impresarios, daring female stars, cantors turned composers, witnesses and survivors of war, and national and nationalist icons—whose music still resonates well into our present.

Wasn't That a Mighty Day: African American Blues and Gospel Songs on Disaster takes a comprehensive look at sacred and secular disaster songs, shining a spotlight on their historical and cultural importance. Featuring newly transcribed lyrics, the book offers sustained attention to how both Black and white communities responded to many of the tragic events that occurred before the mid-1950s. Through detailed textual analysis, Luigi Monge explores songs on natural disasters (hurricanes, floods, tornadoes, and earthquakes); accidental disasters (sinkings, fires, train wrecks, explosions, and air disasters); and infestations, epidemics, and diseases (the boll weevil, the jake leg, and influenza). Analyzed songs cover some of the most well-known disasters of the time period from the sinking of the Titanic and the 1930 drought to the Hindenburg accident, and more. Thirty previously unreleased African American disaster songs appear in this volume for the first time, revealing their pertinence to the relevant disasters. By comparing the song lyrics to critical moments in history, Monge is able to explore how deeply and directly these catastrophes affected Black communities; how African Americans in general, and blues and gospel singers in particular, faced and reacted to disaster; whether these collective tragedies prompted different reactions among white people and, if so, why; and more broadly, how the role of memory in recounting and commenting on historical and cultural facts shaped African American society from 1879 to 1955.

This volume of primary source material examines the organisation of music in Britian during the ninteenth century. Sources explore music careers and professions, music societies, festivals and concerts, and popular music. The collection of materials are accompanied by an introduction by Rosemary Golding, as well as headnotes contextualising the pieces. This collection will be of great value to students and scholars.

"Inklings" nannte sich eine Gruppe von Schriftstellern und Geisteswissenschaftlern in Oxford, deren bekannteste Mitglieder J.R.R. Tolkien und C.S. Lewis waren. Die Inklings-Gesellschaft e.V. widmet sich seit 1983 dem Studium und der Verbreitung der Werke dieser und ihnen nahestehender Autoren sowie der Analyse des Phantastischen in Literatur, Film und Kunst allgemein. Ihre Jahrestagungen werden in Jahrbuchern dokumentiert. Dieser Band enthalt Beitrage zum Thema "Die Musik und die Phantastik" sowie mehrere Rezensionen aktueller, relevanter Sekundarliteratur. "Inklings" was the name of a group of Oxford scholars and writers; its best-known members were J.R.R. Tolkien and C.S. Lewis. The German Inklings-Gesellschaft, founded in 1983, is dedicated to the discussion and dissemination of the works of these authors and of writers commonly associated with them and to the study of the fantastic in literature, film and the arts in general. The proceedings of the annual Inklings conferences are published in yearbooks. This volume contains papers discussing the role of music in fantasy as well as several reviews of recent relevant publications.

The term 'lyric' has evolved, been revised, redefined and contested over the centuries. In this fascinating introduction, Scott Brewster: traces the history of the term from its classical origins through the early modern, Romantic and Victorian periods and up to the twenty-first century demonstrates the influence of lyric on poetic practice, literature, music and other popular cultural forms uses three aspects -- the lyric 'self', love and desire and the relationship between lyric, poetry and performance -- as focal points for further discussion not only charts the history of lyric theory and practice but re-examines assumptions about the lyric form in the context of recent theoretical accounts of poetic discourse. Offering clarity and structure to this often intense and emotive field, Lyric offers essential insights for students of literature, performance, music and cultural studies.

Multivocality frames vocality as a way to investigate the voice in music, as a concept encompassing all the implications with which voice is inscribed-the negotiation of sound and Self, individual and culture, medium and meaning, ontology and embodiment. Like identity, vocality is fluid and constructed continually; even the most iconic of singers do not simply exercise a static voice throughout a lifetime. As 21st century singers habitually perform across styles, genres, cultural contexts, histories, and identities, the author suggests that they are not only performing in multiple vocalities, but more critically, they are performing multivocality-creating and recreating identity through the process of singing with many voices. Multivocality constitutes an effort toward a fuller understanding of how the singing voice figures in the negotiation of identity. Author Katherine Meizel recovers the idea of multivocality from its previously abstract treatment, and re-embodies it in the lived experiences of singers who work on and across the fluid borders of identity. Highlighting singers in vocal motion, Multivocality focuses on their transitions and transgressions across genre and gender boundaries, cultural borders, the lines between body and technology, between religious contexts, between found voices and lost ones.

Music, Passion, and Cognitive Function examines contemporary cognitive theories of music, why they cannot explain music's power over us, and the origin and evolution of music. The book presents experimental confirmations of the theory in psychological and neuroimaging research, discussing the parallel evolution of consciousness, musical styles, and cultures since Homer and King David. In addition, it explains that 'in much wisdom is much grief' due to cognitive dissonances created by language that splits the inner world. Music enables us to survive in this sea of grief, overcomes discomforts and stresses of acquiring new knowledge, and unifies the soul, hence the power of music.

Aimed at lay, student, and academic readers alike, this book concerns the imagination and, specifically, imagination in music. It opens with a discussion of the invalidity of the idea of the creative genius and the connected view that ideas originate just in the individual mind. An alternative view of the imaginative process is then presented, that ideas spring from a subconscious dialogue activated by engagement in the world around. Ideas are therefore never just of our own making. This view is supported by evidence from many studies and corresponds with descriptions by artists of their experience of imagining. The third subject is how imaginations can be shared when musicians work with other artists, and the way the constraints imposed by trying to share subconscious imagining result in clearly distinct forms of joint working. The final chapter covers the use of the musical imagination in making meanings from music. The evidence is that music does not communicate meanings directly, and so composers or performers cannot be looked to as authorities on its meaning. Instead, music is commonly heard as analogous to human experience, and listeners who perceive such analogies may then imagine their own meanings from the music.

Taking as a thread the concept of national identity, this book elucidates the sound transformations that have taken place in the world of the Latin American art song since its appearance in the late nineteenth century to the present day. The book focuses in the art songs of Brazil, Argentina, Cuba, Venezuela, Bolivia, Peru, and Colombia. The book addresses the subject of performance practice of the Latin American song and ends with a proposal for its interpretation. In songs, spaces of representation and cathartic tools thought, language and music have been at the service of some interests, fulfilling specific functions in the construction of the nation. In them, we observe that the construction of identity is a continuous, constant and changing process in which different stories are superimposed. Seen this way, songs are historical texts where social interactions are reflected, and the past, the present and the future are constantly negotiated. The book also addresses the subject of performance practice of the Latin American song and ends with a proposal for its interpretation.

Jazz great Gerald Wilson (1918-2014), born in Shelby, Mississippi, left a global legacy of paramount significance through his progressive musical ideas and his orchestra's consistent influence on international jazz. Aided greatly by interviews that bring Wilson's voice to the story, Steven Loza presents a perspective on what the musician and composer called his ""jazz pilgrimage."" Wilson uniquely adapted Latin influences into his jazz palette, incorporating many Cuban and Brazilian inflections as well as those of Mexican and Spanish styling. Throughout the book, Loza refers to Wilson's compositions and arrangements, including their historical contexts and motivations. Loza provides savvy musical readings and analysis of the repertoire. He concludes by reflecting upon Wilson's ideas on the place of jazz culture in America, its place in society and politics, its origins, and its future. With a foreword written by Wilson's son, Anthony, and such sources as essays, record notes, interviews, and Wilson's own reflections, the biography represents the artist's ideas with all their philosophical, historical, and cultural dimensions. Beyond merely documenting Wilson's many awards and recognitions, this book ushers readers into the heart and soul of a jazz creator. Wilson emerges a unique and proud African American artist whose tunes became a mosaic of the world.

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 5 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.

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 2 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.