For decades now, scholars of music theory have firmly established the supranational importance of the pedagogical tradition that flourished in the Neapolitan conservatories from the 17th to the 19th century. Beyond its potential in today's teaching practice, many questions remain open about the didactic tools peculiar to this tradition. As is well known, Neapolitan maestri did not produce theoretical treatises, but drafted short exercises such as partimenti and solfeggi to be realized extempore, which were at the core of their composition teaching. But what about the mechanisms of creation and transmission of these tools? And to what extent were Neapolitan methods imitated or adapted across Europe? This volume brings together contributions from an international conference (Milan - Bern, 2017) addressing these issues.

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.

The first study to explore the crucial influence of Kurt Weill on operas and musicals by Marc Blitzstein and Leonard Bernstein. Theodor Adorno famously proclaimed that the model of Kurt Weill could not be repeated. Yet Weill's stage works set an inescapable precedent for composers on both sides of the Atlantic. Rebecca Schmid explores how Weill's formal innovations in particular laid the groundwork for operas and musicals by Marc Blitzstein and Leonard Bernstein, although both composers resisted or downplayed his aesthetic contribution to American tradition. Comparative analysis based on Harold Bloom's Anxiety of Influence and other modes of intertextuality reveals that the principles of Weill's opera reform would catalyze an indigenous movement in sophisticated, socially engaged music theatre. Weill, Blitzstein, and Bernstein: A Study of Influence focuses on works that represent different phases of Weill's mission to renew the genre of opera, evolving from Die Dreigroschenoper to the musical play Lady in the Dark and the Broadway Opera Street Scene. Blitzstein and Bernstein in turn defied formal boundaries with The Cradle Will Rock, Regina, Trouble in Tahiti, Candide, and West Side Story - part of a short-lived movement in mid-twentieth century America that coincided with a renaissance for Weill's German-period works following the premiere of Blitzstein's translation, The Threepenny Opera, under Bernstein's baton. The unpublished A Pray by Blecht, for which Bernstein rejoined Stephen Sondheim and Jerome Robbins, his collaborators on West Side Story, deepens the connection of Bernstein's aesthetic to Weill.

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.

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.

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.

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.

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.

Ever hear of a butt splice? A cover? An iron mother? A biscuit? These were terms used in the heyday of vinyl records, from 1949 to the mid-1980s. This colorful and almost forgotten language was once used by record producers, label owners, disc jockeys, jukebox operators, record distributors, and others in the music industry. Their language is collected in this dictionary. Each entry offers both an explanation of a term's meaning as well as its context and use in the history of the record business.

Starting in 1945 and continuing for the next twenty years, dozens of African American rhythm and blues artists made records that incorporated West Indian calypso. Some of these recordings were remakes or adaptations of existing calypsos, but many were original compositions. Several, such as "Stone Cold Dead in de Market" by Ella Fitzgerald and Louis Jordan or "If You Wanna Be Happy" by Jimmy Soul, became major hits in both the rhythm and blues and pop music charts. While most remained obscurities, the fact that over 170 such recordings were made during this time period suggests that there was sustained interest in calypso among rhythm and blues artists and record companies during this era. Rhythm and Blues Goes Calypso explores this phenomenon starting with a brief history of calypso music as it developed in its land of origin, Trinidad and Tobago, the music's arrival in the United States, a brief history of the development of rhythm and blues, and a detailed description and analysis of the adaptation of calypso by African American R&B artists between 1945 and 1965. This book also makes musical and cultural connections between the West Indian immigrant community and the broader African American community that produced this musical hybrid. While the number of such recordings was small compared to the total number of rhythm and blues recordings, calypso was a persistent and sometimes major component of early rhythm and blues for at least two decades and deserves recognition as part of the history of African American popular music.

Artistic creation has proven remarkably resistant to philosophical analysis. Artists have long struggled to explain how they do what they do, and philosophers have struggled along with them. This study does not attempt to offer a comprehensive account of all creativity or all art. Instead it tries to identify an essential feature of an activity that has been cloaked in mystery for as long as history records. Jeff Mitscherling and Paul Fairfield argue that the process by which art is created has a good deal in common with the experience of the audience of a work, and that both experiences may be described phenomenologically in ways that show surprising affinities with what artists themselves often report.

Activism through Music during the Apartheid Era and Beyond documents the grassroots activism of Sharon Katz and the Peace Train against the backdrop of enormous diversity and the volatile social and political climate in South Africa in the early 1990s. Among the intersections of race, healing and the "soft power" of music, Katz offers a vision of the possibilities of national identity and belonging as South Africans grappled with the transition from apartheid to democracy. Through extensive fieldwork across two countries (South Africa and the United States) and drawing on personal experiences as a South African of color, Ambigay Yudkoff reveals a compelling narrative of multigenerational collaboration. This experience creates a sense of community fostering relationships that develop through music, travel, performances, and socialization. In South Africa and the United States, and recently in Cuba and Mexico, the Peace Train's journey in musical activism provides a vehicle for racial integration and intercultural understanding.

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.

Twelve authors probe the mind of the Romantic era in its thinking about music. They provide a searching examination of writings by music theorists, critics, aestheticians, philosophers, and commentators from 1800 to 1875. In doing so, they wield new critical tools as well as old, casting fresh light, for example, on familiar problems of musical form by inspecting eighteenth-century rhetoric and nineteenth-century gendered discourse; exploring Schubertian modulation and Wagnerian motif with the insights of cognitive science; reinterpreting pianistic finger exercise by way of Michel Foucault and Frankenstein and so on. The impact of Hegel and Schelling on music theory occupies an important place, as does Schleiermacher's hermeneutics on analysis and criticism. The brilliant group of young historians of theory, represented here, provides an array of approaches, from detailed music analysis, through close reading of texts, through critical discourse, to philosophical enquiry.

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.

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.

Though George Grove, 1820-1900, was never a professional musician, his is one of the most familiar names in music: as founder of the great <I>Dictionary of Music and Musicians</I> that bears his name and first director of the Royal College of Music. This book surveys his varied activities as engineer, biblical scholar, administrator, educationalist, and writer on music, and assesses the qualities that led him to play a major role in the cultural life of London in the period 1850-1900.

In "This Is America": Race, Gender, and Politics in America's Musical Landscape, Katie Rios argues that prominent American artists and musicians build encoded gestures of resistance into their works and challenge the status quo. These artists offer both an interpretation and a critique of what "This Is America" means. Using Childish Gambino's video for "This Is America" as a starting point, Rios considers how elements including clothing, hairstyles, body movements, gaze, lighting effects, distortion, and word play symbolize American dissonance. From Laurie Anderson's presence in challenging authority and playing with traditional gender roles in her works, to the Black female feminism and social activism of Beyonce, Rhiannon Giddens, and Janelle Monae, to hip hop as resistance in the age of Trump, to sonic and visual variety in the musical Hamilton, the subjects are as powerful as they are topical. Rios explores the ways in which artists relate to and represent underrepresented groups, especially groups that are not traditionally perceived as having a majority voice. The encoded resistances recur across performances and video recordings so that they begin to become recognizable as repeated acts of resistance directed at injustices based on a number of categories, including race, gender, class, religion, and politics.

By the end of the Second World War, Germany was in ruins and its Jewish population so gravely diminished that a rich cultural life seemed unthinkable. And yet, as surviving Jews returned from hiding, the camps, and their exiles abroad, so did their music. Transcending Dystopia tells the story of the remarkable revival of Jewish musical activity that developed in postwar Germany against all odds. Author Tina Fruhauf provides a kaleidoscopic panorama of musical practices in worship and social life across the country to illuminate how music contributed to transitions and transformations within and beyond Jewish communities in the aftermath of the Holocaust. Drawing on newly unearthed sources from archives and private collections, this book covers a wide spectrum of musical activity-from its role in commemorations and community events to synagogue concerts and its presence on the radio-across the divided Germany until the Fall of the Wall in 1989. Fruhauf's use of mobility as a conceptual framework reveals the myriad ways in which the reemergence of Jewish music in Germany was shaped by cultural transfer and exchange that often relied on the circulation of musicians, their ideas, and practices within and between communities. By illuminating the centrality of mobility to Jewish experiences and highlighting how postwar Jewish musical practices in Germany were defined by politics that reached across national borders to the United States and Israel, this pioneering study makes a major contribution to our understanding of Jewish life and culture in a transnational context.

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.

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.

As children, many of us learn to sing, "If you're happy and you know it, clap your hands." But despite the familiarity of this tune, few of us realize that what we're singing is actually part of a pervasive - and centuries-old - musical scheme. This particular pattern, the "Sweet Thing" scheme, has generated a large group of songs spanning a broad range of topics, genres, and time periods, but all related through a specific stanzaic form. Early twentieth-century blues songs "My Babe" and "Motherless Children," country songs "Peg and Awl" and "Crawdad Song," and gospel songs "Pure Religion" and "This Train" use this form, along with popular songs like Ray Charles's "I Got a Woman," The Beatles's "One After 909," and the Velvet Underground's "I'm Waiting for the Man." Sweet Thing: The History and Musical Structure of a Shared American Vernacular Form studies one of the most productive and enduring shared musical resources in North American vernacular music. Author Nicholas Stoia offers the most comprehensive examination to date of the long history of the "Sweet Thing" scheme, exploring how it made its way from sixteenth-century Scotland to eighteenth-century British broadside ballads to nineteenth-century American ragtime. Stoia also examines the form in various contexts, including early blues and country music, and moving forward to rhythm and blues, soul, and rock music, connecting these modern forms to their ancient roots. Through this close look at a ubiquitous musical from, Sweet Thing shows us how it has linked listeners and musicians alike across the boundaries of genre, race, and even time.

Site and Sound: Understanding Independent Music Scenes examines how independent pop and rock music scenes of the 1980s and 1990s were constituted within social and geographical spaces. Those active in the production and consumption of « indie pop and rock music thought of their practices as largely independent of the music mainstream - even though some acts recorded for major labels. This book explores the web of personal, social, historical, geographical, cultural, and economic practices and relationships involved in the production and consumption of « indie music.

What is serialism? Defended by enthusiastic champions and decried by horrified detractors, serialism was central to twentieth-century art music, but riven, too, by inherent contradictions. The term can be a synonym for dodecaphony, Arnold Schoenberg's 'method of composing with twelve tones which are related only to one another'. It can be more expansive, describing ways of composing systematically with parameters beyond pitch - duration, dynamic, and more - and can even stand as a sort of antonym to dodecaphony: 'Schoenberg is Dead', as Pierre Boulez once insisted. Stretched to its limits, it can describe approaches where sound can be divided into discrete parameters and later recombined to generate the new, the unexpected, beginning to blur into a further antonym, post-serialism. This Companion introduces and embraces serialism in all its dimensions and contradictions, from Schoenberg and Stravinsky to Stockhausen and Babbitt, and explores its variants and legacies in Europe, the Americas and Asia.