In Choral Masterpieces: Major and Minor, historian Nicholas Tarling surveys the landscape of choral works, some standard masterpieces that are commonly performed by choruses around the world, others deserving a second, closer look. As noted in the foreword by Uwe Grodd , music director of the Auckland Choral Society, this work "is a collection of essays about a number of outstanding works, including Beethoven's Miss Solemnis and Britten's War Requiem, but he also invites attention to lesser masterpieces. If the choral movement, which includes both singers and listeners, is to survive, new works must be created and repertory expanded. The book is an easy and captivating read even if you are not a chorister." Choral Masterpieces: Major and Minor features short essays on over 28 works, from major masterpieces such as Handel's Messiah and Bach's St. Matthew's Passion to off-the-beaten path choral works such as Samuel Coleridge-Taylor's Hiawatha and Frederick Delius' A Mass of Life. Throughout, Tarling offers assessments that sparkle with unique insights and at the same time ground listener's in the historical contexts of the work's production and performance. Each work is transformed in Tarling's able hands from musical work into a window into the mind and milieu of the composer. Choral Masterpieces: Major and Minor mixes choral mainstays with works that demand revisiting. Choral singers and their audiences, as well as choral societies and their directions and promoters, will find ample food for thoughts in these meditations on the choral tradition.

This limited printing, hardcover 40th anniversary edition includes: -an exclusive new interview with lead singer Simon Le Bon -a Rio timeline -a newly designed book cover by Rio album sleeve designer, Malcolm Garrette -vintage Duran Duran photos and ads -and much more... In the '80s, the Birmingham, England, band Duran Duran became closely associated with new wave, an idiosyncratic genre that dominated the decade's music and culture. No album represented this rip-it-up-and-start-again movement better than the act's breakthrough 1982 LP, Rio. A cohesive album with a retro-futuristic sound-influences include danceable disco, tangy funk, swaggering glam, and Roxy Music's art-rock-the full-length sold millions and spawned smashes such as "Hungry Like the Wolf" and the title track. However, Rio wasn't a success everywhere at first; in fact, the LP had to be buffed-up with remixes and reissued before it found an audience in America. The album was further buoyed by colorful music videos and a cutting-edge visual aesthetic, both of which established the 2022 Rock & Roll Hall of Fame inductees as leaders of an MTV-driven second British Invasion. Via extensive new and exclusive interviews with band members and other figures who helped Rio succeed, this book explores how and why Rio became a landmark pop-rock album, and examines how the LP was both a musical inspiration-and a reflection of a musical, cultural, and technology zeitgeist.

Experiencing Alice Cooper: A Listener's Companion takes a long overdue look at the music and stage act of rock music's self-styled arch-villain. A provocateur from the very start of his career in the mid-1960s, Alice Cooper, aka Vince Furnier, son of a lay preacher in the Church of Jesus Christ, carved a unique path through five decades of rock'n'roll. Despite a longevity that only a handful of other artists and acts can match, Alice Cooper remains a difficult act and artist to pin down and categorize. During the last years of the 1960s and the heydays of commercial success in the 1970s, Cooper's groundbreaking theatricality, calculated offensiveness, and evident disregard for the conventions of rock protocols sowed confusion among his critics and evoked outrage from the public. Society's watchdogs demanded his head, and Cooper willingly obliged at the end of each performance with his on-stage self-guillotining. But as youth anthem after youth anthem - "I'm Eighteen," "School's Out," "Elected," "Department of Youth"-rang out in his arena concerts the world over and across airwaves, fans flocked to experience Cooper's unique brand of rock. Critics searched for proper descriptions: "pantomime," "vaudeville," "retch-rock," "Grand Guignol." In 1973 Cooper headlined in Time magazine as "Schlock Rock's Godzilla." In Experiencing Alice Cooper: A Listener's Companion, Ian Chapman surveys Cooper's career through his twenty-seven studio albums (1969-2017). While those who have written about Cooper have traditionally kept their focus on the stage spectacle, too little attention has been paid to Cooper's recordings. Throughout, Chapman argues that while Cooper may have been rock's most accomplished showman, he is first and foremost a musician, with his share of gold and platinum albums to vouch for his qualifications as a musical artist.

Sound Inventions is a collection of 34 articles taken from Experimental Musical Instruments, the seminal journal published from 1984 through 1999. In addition to the selected articles, the editors have contributed introductory essays, placing the material in cultural and temporal context, providing an overview of the field both before and after the time of original publication. The Experimental Musical Instruments journal contributed extensively to a number of sub-fields, including sound sculpture and sound art, sound design, tuning theory, musical instrument acoustics, timbre and timbral perception, musical instrument construction and materials, pedagogy, and contemporary performance and composition. This book provides a picture of this important early period, presenting a wealth of material that is as valuable and relevant today as it was when first published, making it essential reading for anyone researching, working with or studying sound.

This volume brings together the work of social scientists and music scholars examining the role of migrant and migrant descended communities in the production and consumption of popular music in Europe and North America. The contributions to the collection include studies of language and local identity in hip hop in Liege and Montreal; the politics of Mexican folk music in Los Angeles; the remaking of ethnic boundaries in Naples; the changing meanings of Tango in the Argentine diaspora and of Alevi music among Turks in Germany; the history of Soca in Brooklyn; and the recreation of 'American' culture by the children of immigrants on the Broadway stage. Taken together, these works demonstrate how music affords us a window onto local culture, social relations and community politics in the diverse cities of immigrant receiving societies. Music is often one of the first arenas in which populations encounter newcomers, a place where ideas about identity can be reformulated and reimagined, and a field in which innovation and hybridity are often highly valued. This book highlights why it is a subject worthy of more attention from students of racial and ethnic relations in diverse societies. It was originally published as a special issue of Ethnic and Racial Studies.

Compositional Process in Elliott Carter's String Quartets is an interdisciplinary study examining the evolution and compositional process in Elliott Carter's five string quartets. Offering a systematic and logical way of unpacking concepts and processes in these quartets that would otherwise remain opaque, the book's narrative reveals new aspects of understanding these works and draws novel conclusions on their collective meaning and Carter's place as the leading American modernist. Each of Carter's five string quartets is driven by a new idea that Carter was exploring during a particular period, which allows for each quartet to be examined under a unique lens and a deeper understanding of his oeuvre at large. Drawing on key ideas from a variety of subjects including performance studies, philosophy, music cognition, musical meaning and semantics, literary criticism, and critical theory, this is an informative volume for scholars and researchers in the areas of music theory and musicology. Analyses are supplemented with sketch study, correspondence, text manuscripts, and other archival sources from the Paul Sacher Stiftung, the Library of Congress, and the New York Public Library.

Becoming an Ethnomusicologist centers on the life and education of the author, Bruno Nettl, a well-known ethnomusicologist. Focusing on eleven individuals who influenced him significantly, it follows their roles through his career from his childhood in Czechoslovakia and his family's forced departure in 1939 to his education in the United States and career as a scholar. These essays contribute to an understanding of the life of Jewish and German minorities in Bohemia through the first half of the 20th century, of pre-World War II Prague, of the experience of intellectual and academic refugees in the United States during and after World War II, and of the early development of ethnomusicology as a field of study. This work opens with the author's exploration of the careers of his father, the well-known music historian Paul Nettl, and his mother, Gertrud Nettl, a pianist and piano teacher. From his boyhood in Prague, Nettl provides insights into his own evolution as a musicologist.He discusses the rise of the discipline of ethnomusicology, from the studies of Native American music by his mentor George Herzog to the work of linguist C. F. Voegelin and folklorist Stith Thompson.He also looks back on the contribution and input of his principal consultants in his fieldwork on Native American, Iranian, and Indian music. These essays contribute significantly to the history of musicology, containing the longest--to date--treatments of the contributions of the distinguished scholars Paul Nettl and George Herzog. This work will interest students and scholars of immigration history, Native American culture, and the history of ethnomusicology itself.

Entrenched until recently in Western aesthetics, Australian composers are now developing a functional cultural identity expressed through a distinctly nationalistic musical idiom. Its ongoing formation, inspired by Australias Aboriginal heritage and unique natural environment, seeks to distance the nations artistic developments from the geographically remote Occidental regions and emphasize its native cultures. Presently, however, mounting sociopolitical and ethical concerns surrounding the cultural borrowing between Indigenous and non-Indigenous peoples are problematizing the developing nationalistic idiom, as composers must determine whether the two groups share any legitimate connection beyond mere occupation of the same land, given their tense post-colonial history. Musicologist Beatrice Dalov traces the formation of the Southern Lands cultural identity while simultaneously considering its complex relationship with the nations First Peoples. She illuminates the origins, influences, and developments of Australian art music, from colonization (late eighteenth century) to the present day, interweaving the social, cultural, political, and economic forces that shaped (and often determined) its evolution. The history demonstrates that the complex processes of articulating a unique cultural identity began almost immediately after arrival of the first colonists and continues uninterrupted through today. Drawing on newly available archival material, key works, and personally conducted interviews with numerous contemporary composers, Dalov traces the history of the lands music, from scattered convict settlements and eventful contacts with Aboriginal peoples, to the formation of a national musical infrastructure, to todays thriving musical independence. She brings forward not only the most prominent composers and musicians of the last century, but also those who laid a crucial foundation and offered the first contributions toward a national idiom. A comprehensive history of the music of the Great Southern Land has been too long neglected by social historians and musicologists worldwide. Beatrice Dalov sets the record straight.

The Rolling Stones' Beggars Banquet is one of the seminal albums in rock history. Arguably it not only marks the advent of the 'mature' sound of the Rolling Stones but lays out a new blueprint for an approach to blues-based rock music that would endure for several decades. From its title to the dark themes that pervade some of its songs, Beggars Banquet reflected and helped define a moment marked by violence, decay, and upheaval. It marked a move away from the artistic sonic flourishes of psychedelic rock towards an embrace of foundational streams of American music - blues, country - that had always underpinned the music of the Stones but assumed new primacy in their music after 1968. This move coincided with, and anticipated, the 'roots' moves that many leading popular music artists made as the 1960s turned toward a new decade; but unlike many of their peers whose music grew more 'soft' and subdued as they embraced traditional styles, the music and attitude of the Stones only grew harder and more menacing, and their status as representatives of the dark underside of the 60s rock counterculture assumed new solidity. For the Rolling Stones, the 1960s ended and the 1970s began with the release of this album in 1968.

The Creative Electronic Music Producer examines the creative processes of electronic music production, from idea discovery and perception to the power of improvising, editing, effects processing, and sound design. Featuring case studies from across the globe on musical systems and workflows used in the production process, this book highlights how to pursue creative breakthroughs through exploration, trial and error tinkering, recombination, and transformation. The Creative Electronic Music Producer maps production's enchanting pathways in a way that will fascinate and inspire students of electronic music production, professionals already working in the industry, and hobbyists.

Christians and Christianity have been central to Hip Hop since its inception. This book explores the intersection of Christians and Hip Hop and the multiple outcomes of this intersection. It lays out the ways in which Christians and Hip Hop overlap and diverge. The intersection of Christians and Hip Hop brings together African diasporic cultures, lives, memories and worldviews. Moving beyond the focus on rappers and so-called "Christian Hip Hop," each chapter explores three major themes of the book: identifying Hip Hop, irreconcilable Christianity, and boundaries.There is a self-identified Christian Hip Hop (CHH) community that has received some scholarly attention. At the same time, scholars have analyzed Christianity and Hip Hop without focusing on the self-identified community. This book brings these various conversations together and show, through these three themes, the complexities of the intersection of Christians and Hip Hop. Hip Hop is more than rap music, it is an African diasporic phenomenon. These three themes elucidate the many characteristics of the intersection between Christians and Hip Hop and our reasoning for going beyond "Christian Hip Hop." This collection is a multi-faceted view of how religious belief plays a role in Hip Hoppas' lives and community. It will, therefore, be of great interest to scholars of Religion and Hip Hop, Hip Hop, African Diasporas, Religion and the Arts, Religion and Race and Black Theology as well as Religious Studies more generally.

From Music to Sound is an examination of the six musical histories whose convergence produces the emergence of sound, offering a plural, original history of new music and showing how music had begun a change of paradigm, moving from a culture centred on the note to a culture of sound. Each chapter follows a chronological progression and is illustrated with numerous musical examples. The chapters are composed of six parallel histories: timbre, which became a central category for musical composition; noise and the exploration of its musical potential; listening, the awareness of which opens to the generality of sound; deeper and deeper immersion in sound; the substitution of composing the sound for composing with sounds; and space, which is progressively viewed as composable. The book proposes a global overview, one of the first of its kind, since its ambition is to systematically delimit the emergence of sound. Both well-known and lesser-known works and composers are analysed in detail; from Debussy to contemporary music in the early twenty-first century; from rock to electronica; from the sound objects of the earliest musique concrete to current electroacoustic music; from the Poeme electronique of Le Corbusier-Varese-Xenakis to the most recent inter-arts attempts. Covering theory, analysis and aesthetics, From Music to Sound will be of great interest to scholars, professionals and students of Music, Musicology, Sound Studies and Sonic Arts. Supporting musical examples can be accessed via the online Routledge Music Research Portal.

While there have been a number of studies that have explored African American "movement culture" and African American "movement politics," rarely has the mixture of black music and black politics or, rather, black music an as expression of black movement politics, been explored across several genres of African American "movement music," and certainly not with a central focus on the major soundtracks of the Civil Rights Movement: gospel, freedom songs, rhythm & blues, and rock & roll. Here the mixture of music and politics emerging out of the Civil Rights Movement is critically examined as an incredibly important site and source of spiritual rejuvenation, social organization, political education, and cultural transformation, not simply for the non-violent civil rights soldiers of the 1950s and 1960s, but for organic intellectual-artist-activists deeply committed to continuing the core ideals and ethos of the Civil Rights Movement in the twenty-first century. Civil Rights Music: The Soundtracks of the Civil Rights Movement is primarily preoccupied with that liminal, in-between, and often inexplicable place where black popular music and black popular movements meet and merge. Black popular movements are more than merely social and political affairs. Beyond social organization and political activism, black popular movements provide much-needed spaces for cultural development and artistic experimentation, including the mixing of musical and other aesthetic traditions. "Movement music" experimentation has historically led to musical innovation, and musical innovation in turn has led to new music that has myriad meanings and messages-some social, some political, some cultural, some spiritual and, indeed, some sexual. Just as black popular movements have a multiplicity of meanings, this book argues that the music that emerges out of black popular movements has a multiplicity of meanings as well.

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

The manuscript Seville, Biblioteca Colombina y Capitular 5-2-25, a composite of dozens of theoretical treatises, is one of the primary witnesses to late medieval music theory. Its numerous copies of significant texts have been the focus of substantial scholarly attention to date, but the shorter, unattributed, or fragmentary works have not yet received the same scrutiny. In this monograph, Cook demonstrates that a small group of such works, linked to the otherwise unknown Magister Johannes Pipudi, is in fact much more noteworthy than previous scholarship has observed. The not one but two copies of De arte cantus are in fact one of the earliest known sources for the Libellus cantus mensurabilis, purportedly by Jean des Murs and the most widely copied music theory treatise of its day, while Regulae contrapunctus, Nota quod novem sunt species contrapunctus, and a concluding set of notes in Catalan are early witnesses to the popular Ars contrapuncti treatises also attributed to des Murs. Disclosing newly discovered biographical information, it is revealed that Pipudi is most likely one Johannes Pipardi, familiar to Cardinal Jean de Blauzac, Vicar-General of Avignon. Cook provides the first biographical assessment for him and shows that late fourteenth-century Avignon was a plausible chronological and geographical milieu for the Seville treatises, hinting provocatively at a possible route of transmission for the Libellus from Paris to Italy. The monograph concludes with new transcriptions and the first English translations of the treatises.

In the wake of World War II, the arts and culture of Europe became a site where the devastating events of the 20th century were remembered and understood. Exploring one of the most integral elements of the cinematic experience-music-the essays in this volume consider the numerous ways in which post-war European cinema dealt with memory, trauma and nostalgia, showing how the music of these films shaped the representation of the past. The contributors consider films from the United Kingdom, Poland, the Soviet Union, France, Italy, Germany, Sweden, Austria, and the Netherlands, providing a diverse and well-rounded understanding of film music in the context of historical memory. Memory is often underrepresented within scholarly musical studies, with most of these applications found in the disciplines of ethnomusicology, popular music studies, music cognition, and psychology and music therapy. Likewise, trauma has mainly been studied in relation to music in only a few historical contexts, while nostalgia has attracted even less academic attention. In three parts, this volume addresses each area of study as it relates to the music of European cinema from 1945 to 1989, applying an interdisciplinary approach to investigate how films use music to negotiate the precarious relationships we maintain with the past. Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War offers compelling arguments as to what makes music such a powerful medium for memory, trauma and nostalgia.

This textbook enhances preservice and practicing music educators' understanding of ways to successfully engage children in music composition. It offers both a rationale for the presence of composition in the music education program and a thorough review of what we know of children's compositional practices to date. Minds On Music offers a solid foundation for planning and implementing composition lessons with students in grades PreK-12.

Expertise in Jazz Guitar Improvisation is an examination of musical interplay and the ways implicit (sub-conscious) and explicit (conscious) knowledge appear during improvisation. The practice-based research inquiry includes: interviews and interplay with five world-class jazz guitarists, Lage Lund, Jack Wilkins, Ben Monder, Rez Abbasi and Adam Rogers; a modal matrix for analyzing structure, time and form in jazz guitar improvisation, and musical analysis based on cognitive theories. By explaining the cognitive and musical foundations for expertise in jazz guitar improvisation, this book illuminates how jazz guitarists' strategies are crucially dependent on context, style and type of interplay. With accompanying video provided as an e-resource, this material will be of interest to anyone fascinated by Jazz and Psychology of Music.

This volume of original essays is dedicated to Owen Wright in recognition of his formative contribution to the study of music in the Islamic Middle East. Wright's work, which comprises, at the time of writing, six field-defining volumes and countless articles, has reconfigured the relationship between historical musicology and ethnomusicology. No account of the transformation of these fields in recent years can afford to ignore his work. Ranging across the Middle East, Central Asia and North India, this volume brings together historical, philological and ethnographic approaches. The contributors focus on collections of musical notation and song texts, on commercial and ethnographic recordings, on travellers' reports and descriptions of instruments, on musical institutions and other spaces of musical performance. An introduction provides an overview and critical discussion of Wright's major publications. The central chapters cover the geographical regions and historical periods addressed in Wright's publications, with particular emphasis on Ottoman and Timurid legacies. Others discuss music in Greece, Iraq and Iran. Each explores historical continuities and discontinuities, and the constantly changing relationships between music theory and practice. An edited interview with Owen Wright concludes the book and provides a personal assessment of his scholarship and his approach to the history of the music of the Islamic Middle East. Extending the implications of Wright's own work, this volume argues for an ethnomusicology of the Islamic Middle East in which past and present, text and performance are systematically in dialogue.

"(This book) is the first extensive study of the works of Antoni Szalowski, which provide a clear example of the adaptation of the principles of Neoclassicism and the norms of Nadia Boulanger. The heritage of the emigre composers - generally speaking not well known, scattered, or absent from national musical life for many years - requires a comprehensive research approach in order to restore it to its rightful place within Polish music. This is the direction taken in this work, where the monographic form is a fitting framework for the presentation of the characteristics, the context and the significance of Szalowski's achievement - a subject never undertaken before." (Prof. Dr. D. Jasinska, Adam Mickiewicz University of Poznan, Poland) "The structure of the book as a whole is logical and cohesive. The uniform approach to constructing chapters and subchapters is undoubtedly of great value. Each new section begins with a theoretical or historical introduction, depending on the topic discussed, and is then followed by the discussion of the issues raised. The reader gains the impression that the author is firmly grounded in the literature of the subject in its widest sense." (Prof. Dr. T. Malecka, Academy of Music in Krakow, Poland)

While there have been a number of studies that have explored African American "movement culture" and African American "movement politics," rarely has the mixture of black music and black politics or, rather, black music an as expression of black movement politics, been explored across several genres of African American "movement music," and certainly not with a central focus on the major soundtracks of the Civil Rights Movement: gospel, freedom songs, rhythm & blues, and rock & roll. Here the mixture of music and politics emerging out of the Civil Rights Movement is critically examined as an incredibly important site and source of spiritual rejuvenation, social organization, political education, and cultural transformation, not simply for the non-violent civil rights soldiers of the 1950s and 1960s, but for organic intellectual-artist-activists deeply committed to continuing the core ideals and ethos of the Civil Rights Movement in the twenty-first century. Civil Rights Music: The Soundtracks of the Civil Rights Movement is primarily preoccupied with that liminal, in-between, and often inexplicable place where black popular music and black popular movements meet and merge. Black popular movements are more than merely social and political affairs. Beyond social organization and political activism, black popular movements provide much-needed spaces for cultural development and artistic experimentation, including the mixing of musical and other aesthetic traditions. "Movement music" experimentation has historically led to musical innovation, and musical innovation in turn has led to new music that has myriad meanings and messages-some social, some political, some cultural, some spiritual and, indeed, some sexual. Just as black popular movements have a multiplicity of meanings, this book argues that the music that emerges out of black popular movements has a multiplicity of meanings as well.

Nobody doubts that music has a special, somewhat mysterious power. Less clear is how we can evaluate that power. What makes music good or bad? Are there objective criteria for such a distinction? What impact can or should music have on individuals and on society as a whole? What are the factors responsible for the effect of music? This book summarizes and discusses how authors of classical antiquity addressed these questions on musical "ethos" and how they can be approached from a modern-day perspective. After systematically assembling and assessing the value-carrying characterizations of music in poetic literature, the author reviews all noteworthy Greek and Latin writings which enlighten musical "ethos" from the theoretical-philosophical perspective. He then carries the intuitions of the ancients into our time by proposing a coherent model to explain the relationship between music, ethos, and emotions based on the results of contemporary research in the disciplines of music psychology and philosophy. The concept of harmony, understood as the appropriate measure or as the balance of opposites and so central to the reflections of the ancient authors, plays a key role in shedding light on the value and impact, both positive and negative, of music in human existence. This book provides the most comprehensive overview available about the effect and ethos of music in antiquity and discusses many related questions of scholarly interest. It includes numerous references provided in the original language with translation, ample empirical material for further research, and an extensive bibliography.

Basic Elements of Music introduces readers to a wide range of knowledge essential for a well-rounded understanding of music. This primer surveys the history of music and the composers who made that history; the history of instrument families and how the instruments function; an introduction to the science of sound and sound production; the various types of ensembles; and the fundamentals of music theory, form in music, musical notation, and music vocabulary. Accessible, yet detailed and comprehensive, Michael Pagliaro's handbook is an excellent guide for music lovers, instructors, and students in any music program. As an introduction to music for the layman, a refresher for music teachers planning lessons, or an enrichment source for professional musicians seeking broader music knowledge, this book is an invaluable addition to any library.

Originally published in 2003, Charles Edward Horn's Memoirs of His Father and Himself is an annotated collection of the memoirs of Charles Edward Horn. They include an account of Horn's father, Charles Frederick Horn, who arrived penniless in London in 1782 and rose to become music master to Queen Charlotte. Today he is most remembered for his pioneering publications of J.S. Bach's music in England. Charles Edward Horn's memoir covers his activities in England and Ireland and provide numerous details of English musical life in the Georgian era not previously known to scholars. They are supplemented in this book by transcripts of four other autobiographical accounts of the Horns, a summary of their extant correspondence and a chronology of their activities.