- Comprehensive overview offering a careful balance of the practical and theoretical - No competing titles - Diverse set of contributors from a range of geographical regions and professional/academic backgrounds

- Comprehensive overview offering a careful balance of the practical and theoretical - No competing titles - Diverse set of contributors from a range of geographical regions and professional/academic backgrounds

This book examines Louis Armstrong, Duke Ellington, and Miles Davis as distinctively global symbols of threatening and nonthreatening black masculinity. It centers them in debates over U.S. cultural exceptionalism, noting how they have been part of the definition of jazz as a jingoistic and exclusively American form of popular culture.

- Emphasizes the creative process, not only individual techniques, allowing students to better grasp the full process of composing a piece of music - Includes examples of perspectives on the creative process from wide variety of composers, helping students understand how composers think about their work - Flexible chapter structure allows instructors to adapt the text to their preferred order of teaching topics

- Emphasizes the creative process, not only individual techniques, allowing students to better grasp the full process of composing a piece of music - Includes examples of perspectives on the creative process from wide variety of composers, helping students understand how composers think about their work - Flexible chapter structure allows instructors to adapt the text to their preferred order of teaching topics

This practical book describes the specific use of receptive (listening) methods and techniques in music therapy clinical practice and research, including relaxation with music for children and adults, the use of visualisation and imagery, music and collage, song-lyric discussion, vibroacoustic applications, music and movement techniques, and other forms of aesthetic listening to music. The authors explain these receptive methods of intervention using a format that enables practitioners to apply them in practice and make informed choices about music suitable for each of the different techniques. Protocols are described step-by-step, with reference to the necessary environment, conditions, skills and appropriate musical material. Receptive Methods in Music Therapy will prove indispensable to music therapy students, practitioners, educators and researchers

This book is a comprehensive examination of the conception, perception, performance, and composition of time in music across time and culture. It surveys the literature of time in mathematics, philosophy, psychology, music theory, and somatic studies (medicine and disability studies) and looks ahead through original research in performance, composition, psychology, and education. It is the first monograph solely devoted to the theory of construction of musical time since Kramer in 1988, with new insights, mathematical precision, and an expansive global and historical context. The mathematical methods applied for the construction of musical time are totally new. They relate to category theory (projective limits) and the mathematical theory of gestures. These methods and results extend the music theory of time but also apply to the applied performative understanding of making music. In addition, it is the very first approach to a constructive theory of time, deduced from the recent theory of musical gestures and their categories. Making Musical Time is intended for a wide audience of scholars with interest in music. These include mathematicians, music theorists, (ethno)musicologists, music psychologists / educators / therapists, music performers, philosophers of music, audiologists, and acousticians.

The political has always been part of popular music, but how does that play out in today's musical and political landscape? Mixing Pop and Politics: Political Dimensions of Popular Music in the 21st Century provides an innovative exploration of the complex politics of popular music in its contemporary formations. Amid the shifting paradigms of power in the 2020s, the chapters in this book go beyond the idea of popular music as protest to explore how resistance, subversion, containment, and reconciliation all interact in the popular music realm. Covering a wide range of international artists and genres, from South African hip-hop to Polish punk, and addressing topics such as climate change and environmentalism, feminism, diasporic identity, political parties, music-making as labour, the far right, conservatism and nostalgia, and civic engagement, the contributors expand our understanding of how popular music is political. For students and scholars of music, popular culture, and politics, the volume offers a broad, exciting snapshot of the latest scholarship on contemporary popular music and politics.

Tyranny and Music is an edited collection of essays that explore how musical artists respond to cruel or oppressive governments and ruling regimes. Its primary strength and unique quality lies in its diversity, presenting a postmodern collage of scholarship that reaches across the divides of classical, popular and traditional musics just as it connects musical resistance of the past with the present and the near (Western) with the far (non-Western). Contemporary topics include Chosan's analysis of blood diamonds in the Sierra Leonean Civil War, and collective memory in the Persian Gulf War songs. Historical topics include the image of John Wilkes Booth in the popular imagination, censorship in the Soviet Union, Victor Ullman's song setting at Terezin, artistic restrictions in Maoist China, anti-inquisition propaganda in the outbreak of the Dutch revolt, Revolutionary Era Anthems in the United States and much more. These essays, while remarkable in their scholarly erudition, also provide intimate glimpses of the resiliency of the individual artist. From Cherine Amr's Heavy Metal resistance to the Muslim Brotherhood to Hanns Eisler's battle with the United States House on Un-American Activities Committee, stories of human struggle and perseverance arise from each of these narratives.

This is a self-contained monograph on human voice. It systematically expounds a theory of voice production initiated by Leonhard Euler, through an analysis of large amount of human voice data, especially simultaneously acquired voice signals and electroglottograph signals, as well as temporal variations of pressures directly below and above the vocal folds. Its contents include the physics and physiology of human voice production, parametrical representations of voice signals, and technology applications. Background knowledge on general acoustics and mathematical tools pertinent to quantitative descriptions of human voice are explained in detail.Readers of this monograph include researchers, practitioners and students in the fields of physiology and medicine, acoustics, computer science, telecommunication, acoustic phonetics, and vocal music.

On March 1, 1954, the US military detonated "Castle Bravo," its most powerful nuclear bomb, at Bikini Atoll in the Marshall Islands. Two days later, the US military evacuated the Marshallese to a nearby atoll where they became part of a classified study, without their consent, on the effects of radiation on humans. In Radiation Sounds Jessica A. Schwartz examines the seventy-five years of Marshallese music developed in response to US nuclear militarism on their homeland. Schwartz shows how Marshallese singing draws on religious, cultural, and political practices to make heard the deleterious effects of US nuclear violence. Schwartz also points to the literal silencing of Marshallese voices and throats compromised by radiation as well as the United States' silencing of information about the human radiation study. By foregrounding the centrality of the aural and sensorial in understanding nuclear testing's long-term effects, Schwartz offers new modes of understanding the relationships between the voice, sound, militarism, indigeneity, and geopolitics.

This first full translation provides English-speaking theorists the opportunity to delve deeper into Ernst Kuth's ideas. Would be of interest to scholars who work at the intersections of music theory, psychology, linguistics, and related disciplines.

Well before she married Robert Schumann, Clara Schumann was already an internationally renowned pianist, and she concertized extensively for several decades after her husband's death. Despite being tied professionally to Robert, Clara forged her own career and played an important role in forming what we now recognize as the culture of classical music. Becoming Clara Schumann guides readers through her entire career, including performance, composition, edits to her husband's music, and teaching. Alexander Stefaniak brings together the full run of Schumann's concert programs, detailed accounts of her performances and reception, and other previously unexplored primary source material to illuminate how she positioned herself within larger currents in concert life and musical aesthetics. He reveals that she was an accomplished strategist, having played roughly 1,300 concerts across western and central Europe over the course of her six-decade career, and she shaped the canonization of her husband's music. Extraordinary for her time, Schumann earned success and prestige by crafting her own playing style, selecting and composing her own concerts, and acting as her own manager. By highlighting Schumann's navigation of her musical culture's gendered boundaries, Becoming Clara Schumann details how she cultivated her public image in order to win over audiences and embody some of her field's most ambitious aspirations for musical performance.

This book explores the interactions between science and music in the late nineteenth- and early twentieth century. It examines and evaluates the work of Hermann von Helmholtz, Max Planck, Shohe Tanaka, and Adriaan Fokker, leading physicists and physiologists who were committed to understanding crucial aesthetic components of the art of music, including the standardization of pitch and the implementation of various types of intonations. With a mixture of physics, physiology, and aesthetics, author Erwin Hiebert addresses throughout the book how just intonation came to intersect with the history of keyboard instruments and exert an influence on the development of Western music. He begins with the work of Hermann von Helmholtz, a leading nineteenth-century physicist and physiologist who not only made important contributions in vision, optics, electrodynamics and thermodynamics, but also helped advanced the field of music theory as well. The author traces the Helmholtzian trends of thought that become inherently more complex by reaching beyond the sciences to perform a bridge with aesthetics and the diverse ways in which the human mind interprets or is taught, in different cultures, to interpret and understand music. Next, the author explores the works of other key physicists and physiologists who were influenced by Helmholtz and added to his legacy. He examines Japanese music theory student Shohe Tanaka, who sought to design a harmonium that was not based on equal temperament but rather on just intonation. Dutch physicist Adriaan Daniel Fokker, who arranged for organs to be built based on 31-tones per octave, orchestrated concerts for these new instruments and even attempted to compose microtonal music, or music whose tonality is based on intervals smaller than the typical twelve semitones of Western music."

This monograph is an authoritative study of the oeuvre of one of the most important composers of our time. For the first time, Ligeti's key works are presented in the context of their drafts and sketches. His personal and artistic development is set forth and illuminated, and his principal compositions are analyzed and reinterpreted, based on detailed studies of the scores and drafts, as well as on personal conversations with the composer. In addition, numerous questions concerning today's composing are raised and discussed. Music does not have to be puristic: Ligeti's spheres of interest are close to universal, embracing history, natural science, and visual arts, as well as music of diverse eras and ethnicities. This expanded world of the musical comprises not just tones and sounds, speech and music, the vocal and the instrumental: Ligeti conceives music as a cosmos of acoustic form.

Kramer was one of the most visionary musical thinkers of the second half of the 20th century. In his The Time of Music, he approached the idea of the many different ways that time itself is articulated musically. This book has become influential among composers, theorists, and aestheticians. Now, in his almost completed text written before his untimely death in 2004, he examines the concept of postmodernism in music. Kramer created a series of markers by which we can identify postmodern works. He suggests that the postmodern project actually creates a radically different relationship between the composer and listener. Written with wit, precision, and at times playfully subverting traditional tropes to make a very serious point about this difference, Postmodern Music, Postmodern Listening leads us to a strongly grounded intellectual basis for stylistic description and an intuitive sensibility of what postmodernism in music entails. Postmodern Music, Postmodern Listening is an examination of how musical postmodernism is not just a style or movement, but a fundamental shift in the relationship between composer and listener. The result is a multifaceted and provocative look at a critical turning point in music history, one whose implications we are only just beginning to understand.

The London firm of Gray (later Gray & Davison) was one of Britain's leading organ-makers between the 1790s and the 1880s. Established for the building of keyboard instruments, by the mid-1790s the workshop of brothers Robert and William Gray had become one of the leading organ-makers in London, with instruments in St Paul's, Covent Garden and St Martin-in-the-Fields. Under William's son John Gray, the firm built some of the largest English organs of the 1820s and 1830s, as well as exporting major instruments to Boston and Charleston in the United States. In the early 1840s, with the marriage of John Gray's daughter to Frederick Davison - a member of the circle of Bach-enthusiasts around the composer Samuel Wesley - the firm became 'Gray & Davison'. Davison was a progressive figure who reformed workshop practices, commissioned a purpose-built organ factory in Euston Road and opened a branch workshop in Liverpool to exploit the booming market for church organs in Lancashire and the north-west. Under Davison's management,the firm was responsible for significant mechanical and musical innovations, especially in the design of concert organs. Instruments such as those built in the 1850s for Glasgow City Hall, the Crystal Palace and Leeds Town Hall were heavily influenced by contemporary French practice; they were designed to perform a repertoire dominated by orchestral transcriptions. Many of the instruments made by the firm have been lost or altered; but the surviving organs in St Anne, Limehouse (1851), Usk Parish Church (1861) and Clumber Chapel (1889) testify to the quality and importance of Gray & Davison's work. This book charts the firm's history from its foundation in 1772 to Frederick Davison's death in 1889. At the same time, it describes changes in musical taste and liturgical use and explores such topics as provincial music festivals, the town hall organ, domestic music-making and popular entertainment, the building of churches and the impact on church music of the Evangelical and Tractarian movements. It will appeal to organ aficionados interested in the evolution of the English organ in the later Georgian and Victorian eras, as well as other music scholars and cultural historians.

Music Downtown Eastside draws on two decades of research in one of North America's poorest urban areas to illustrate how human rights can be promoted through music. Harrison's examination of how gentrification, grant funding, and community organizations affect the success or failure of human rights-focused musical initiatives offers insights into the complex relationship between culture, poverty, and human rights that have global implications and applicability. The book takes the reader into popular music jams and music therapy sessions offered to the poor in churches, community centers and health organizations. Harrison analyzes the capabilities music-making develops, and musical moments where human rights are respected, promoted, threatened, or violated. The book offers insights on the relationship between music and poverty, a social deprivation that diminishes capabilities and rights. It contributes to the human rights literature by examining critically how human rights can be strengthened in cultural practices and policy.

ABRSM's official Music Theory Sample Papers are essential resources for candidates preparing for our Music Theory exams. They provide authentic practice material and are a reliable guide as to what to expect in the exam. * Essential practice material for the new format ABRSM Grade 1 Theory exams * Model Answers also available * Includes four sample papers

The early years of the Franco regime saw the formation of a strong governmental propaganda apparatus. Through expansive press laws that solidified state control over public and private media outlets alike, the Franco government directly influenced what information was made available to the public. While music critics and journalists were by no means free from government control and direction, music criticism under the Franco regime did not adhere to any official party "line" on music. Indeed, music criticism often demonstrated a diversity of opinion and ideological belief that runs counter to many common assumptions about journalism under fascist regimes. In Music Criticism and Music Critics in Early Francoist Spain, Eva Moreda Rodriguez presents a kaleidoscopic portrait of the diverse and often divergent writings of music critics in the early years of the Franco regime. Although she does not shy away from the thorny issues of propaganda and censorship, Moreda Rodriguez considers other factors that shaped the journalistic discourse surrounding music. Political rivalries, ideological diversity within musical "conservatism," as well as the explicit and implicit expectations of the Franco government all influenced the diverse landscape of music criticism. Moreover, the central issues that music critics were concerned with during Francoism's early years-modernist music, Spanish early music, traditional music, and music's role in organizing the state-had already been at the center of debates within the press for several decades. Carefully selecting contemporary writings by well-known music critics, Moreda Rodriguez contextualizes music criticism written during the Franco regime within the broader intellectual history of Spain from the nineteenth century onwards. The first critical study of the musical press of Francoist Spain in the broader cultural and social fabric of the regime, Music Criticism and Music Critics in Early Francoist Spain is an essential resource for musicologists interested in 20th-century Spain, as well as Hispanists interested in the early Franco regime.

- Highly accessible and code-free introduction to game audio, suitable for a wide range of undergraduate courses, such as music production, sound design and composition - Accompanied by eresources, including downloadable projects for each chapter - A great addition to our growing catalogue of game audio titles

- First volume in almost 10 years to bring together a broad collection on world music analysis, capturing where the field is now - Wide-reaching scope makes this the perfect first stop for anyone interested in world music analysis, and could make it a good focus for seminars at graduate or advanced undergraduate level.

Introduction to Digital Music with Python Programming provides a foundation in music and code for the beginner. It shows how coding empowers new forms of creative expression while simplifying and automating many of the tedious aspects of production and composition. With the help of online, interactive examples, this book covers the fundamentals of rhythm, chord structure, and melodic composition alongside the basics of digital production. Each new concept is anchored in a real-world musical example that will have you making beats in a matter of minutes. Music is also a great way to learn core programming concepts such as loops, variables, lists, and functions, Introduction to Digital Music with Python Programming is designed for beginners of all backgrounds, including high school students, undergraduates, and aspiring professionals, and requires no previous experience with music or code.

Bella Ciao is the album that kick-started the Italian folk revival in the mid-1960s, made by Il Nuovo Canzoniere Italiano, a group of researchers, musicians, and radical intellectuals. Based on a contested music show that debuted in 1964, Bella Ciao also featured a double version of the popular song of the same title, an anti-Fascist anthem from World War II, which was destined to become one of the most sung political songs in the world and translated into more than 40 languages. The book reconstructs the history and the reception of the Bella Ciao project in 1960s' Italy and, more broadly, explores the origins and the distinctive development of the Italian folk revival movement through the lens of this pivotal album.