At first glance, there may appear to be more to separate Michelangelo (1475-1564) and Bill Viola (b. 1951) than to unite them: one, the great master of the Italian Renaissance; the other, the creator of state-of-the-art immersive sound and video installations. And yet, when Martin Clayton showed Viola Her Majesty The Queen's unsurpassed collection of Michelangelo drawings at Windsor in 2006, parallels began to emerge. This book presents a new perspective on both artists' works. Stills and sequences from ten key video pieces by Viola are reproduced alongside fourteen of Michelangelo's presentation drawings, as well as the Taddei Tondo, the only Michelangelo marble sculpture in the UK and a treasure of the Royal Academy's collection. Texts by Martin Clayton examine how existential concerns - the preoccupation of many Renaissance artists, not least Michelangelo - are explored in Viola's often profoundly moving video installations, while Kira Perov provides insight into Viola's working processes.

What is the relationship between music and culture? The first edition of The Cultural Study of Music: A Critical Introduction explored this question with groundbreaking rigor and breadth. Now this second edition refines that original analysis while examining the ways the field has developed in the years since the book's initial publication. Including contributions from scholars of music, cultural studies, anthropology, sociology, and psychology, this anthology provides a comprehensive introduction to the study of music and culture. It includes both pioneering theoretical essays and exhaustively researched case studies on particular issues in world musics. For the second edition, the original essays have been revised and nine new chapters have been added, covering themes such as race, religion, geography, technology, and the politics of music. With an even broader scope and a larger roster of world-renowned contributors, The Cultural Study of Music is certain to remain a canonical text in the field of cultural musicology.

How does the immediate experience of musical sound relate to processes of meaning construction and discursive mediation?
This question lies at the heart of the studies presented in Experience and Meaning in Music Performance, a unique multi-authored work that both draws on and contributes to current debates in a wide range of disciplines, including ethnomusicology, musicology, psychology, and cognitive science. Addressing a wide range of musical practices from Indian raga and Afro-Brazilian Congado rituals to jazz, rock, and Canadian aboriginal fiddling, the coherence of this study is underpinned by its three main themes: experience, meaning, and performance. Central to all of the studies are moments of performance: those junctures when sound and meaning are actually produced. Experience-what people do, and what they feel, while engaging in music-is equally important. And considered alongside these is meaning: what people put into a performance, what they (and others) get out of it, and, more broadly, how discourses shape performances and experiences of music. In tracing trajectories from moments of musical execution, this volume a novel and productive view of how cultural practice relates to the experience and meaning of musical performance.
A model of interdisciplinary study, and including access to an array of audio-visual materials available on an extensive companion website, Experience and Meaning in Music Performance is essential reading for scholars and students of ethnomusicology and music psychology.

Filling a significant gap in current scholarship, the fourteen original essays that make up this volume individually and collectively reflect on the relationship between music and Orientalism in the British Empire over the course of the long nineteenth century. The book is in four themed sections. 'Portrayal of the East' traces the routes from encounter to representation and restores the Orient to its rightful place in histories of Orientalism. 'Interpreting Concert Music' looks at one of the principal forms in which Orientalism could be brought to an eager and largely receptive - yet sometimes resistant - mass market. 'Words and Music' investigates the confluence of musical and Orientalist themes in different genres of writing, including criticism, fiction and travel writing. Finally, 'The Orientalist Stage' discusses crucial sites of Orientalist representation - music theatre and opera - as well as tracing similar phenomena in twentieth-century Hindi cinema. These final chapters examine the rendering of the East as 'unachievable and unrecognizable' for the consuming gaze of the western spectator.

Time in Indian Music is the first major study of rhythm, metre, and form in North Indian rag, or classical, music. Martin Clayton presents a theoretical model for the organization of time in this repertory, a model which is related explicitly to other spheres of Indian thought and culture as well as to current ideas on musical time in alternative repertoriesnullincluding that of Western music. This theoretical model is elucidated and illustrated with reference to many musical examples drawn from authentic recorded performances. These examples clarify key Indian musicological concepts such as tal (metre), lay (tempo or rhythm), and laykari (rhythmic variation).
More generally, the volume addresses the implications of performance practice for the organization of rhythm and metre. Written in a clear and accessible style and illustrated with 102 music examples and diagrams, it will appeal to anyone interested in Indian aesthetic forms and the study of musical time.

What is the relationship between music and culture? The first edition of The Cultural Study of Music: A Critical Introduction explored this question with groundbreaking rigor and breadth. Now this second edition refines that original analysis while examining the ways the field has developed in the years since the book's initial publication. Including contributions from scholars of music, cultural studies, anthropology, sociology, and psychology, this anthology provides a comprehensive introduction to the study of music and culture. It includes both pioneering theoretical essays and exhaustively researched case studies on particular issues in world musics. For the second edition, the original essays have been revised and nine new chapters have been added, covering themes such as race, religion, geography, technology, and the politics of music. With an even broader scope and a larger roster of world-renowned contributors, The Cultural Study of Music is certain to remain a canonical text in the field of cultural musicology.

How does the immediate experience of musical sound relate to processes of meaning construction and discursive mediation?
This question lies at the heart of the studies presented in Experience and Meaning in Music Performance, a unique multi-authored work that both draws on and contributes to current debates in a wide range of disciplines, including ethnomusicology, musicology, psychology, and cognitive science. Addressing a wide range of musical practices from Indian raga and Afro-Brazilian Congado rituals to jazz, rock, and Canadian aboriginal fiddling, the coherence of this study is underpinned by its three main themes: experience, meaning, and performance. Central to all of the studies are moments of performance: those junctures when sound and meaning are actually produced. Experience-what people do, and what they feel, while engaging in music-is equally important. And considered alongside these is meaning: what people put into a performance, what they (and others) get out of it, and, more broadly, how discourses shape performances and experiences of music. In tracing trajectories from moments of musical execution, this volume a novel and productive view of how cultural practice relates to the experience and meaning of musical performance.
A model of interdisciplinary study, and including access to an array of audio-visual materials available on an extensive companion website, Experience and Meaning in Music Performance is essential reading for scholars and students of ethnomusicology and music psychology.

The full range of Leonardo's genius is revealed in this elegant book, which reproduces for the first time many unfamiliar drawings from the masters hand as well as more widely known works.

Leonardo da Vinci (1452-1519) was arguably the greatest draftsman in the history of Western art. Best known as a painter, he also excelled as sculptor, architect, musician, anatomist, botanist, engineer, geologist, and mapmaker. But since he completed few of his projects, most of his work is known to us only through his drawings and notes. This selection of 100 sheets from the collection at Windsor Castle are presented in five sections covering major periods of Leonardo's life. Included in Martin Clayton's authoritative text is a discussion of the master's drawing materials, the development of his style, and the types and functions of his drawings.

Mike Huntingden is an Englishman with an enquiring mind and an often-humorous outlook on life. The story begins with our hero on a plane travelling to the USA. Mike has left everything behind in pursuit of a new life. During the flight he strikes up a friendship with Carrie-Ann, who is flying home to Ohio and they arrange to meet up in The US. When Carrie-Ann is murdered and the police want to talk to Mike, he decides that for his own safety his only option is to flee. So begins an adventure of suspense and violence through the 'Rust Belt' of the USA. Mike's journey takes him to Akron where he looks for clues to Carrie-Ann's murder, and becomes embroiled in the hunt for cash and bearer bonds lost in an armoured car robbery years before. His adventure involves local crime bosses, dramatic shoot-outs, and a friendship with the owner of the Forks of the Ohio Inn and his pretty sister, Beth. Packed with intrigue and humour - The Forks of the Ohio will keep you turning pages!

This book is a new and exciting interdisciplinary resource which integrates the worlds of music and literature. It is the first primary and secondary source collection of its kind to focus on the relationships between words and music, and between musical and verbal forms. Featured along with key writings on music, speech and their relationship are previously unpublished articles and interview transcripts, and a new translation of an extract from Wagner's theoretical works.

Designed for undergraduate students, the book uniquely:

- examines a historically and geographically diverse selection of genres from a variety of academic perspectives

- explores issues of language, musical form, performance, song, narrative, sound and action, and identity

- enables readers to connect with different histories, cultures and technologies via the linkages between musical and literary texts.

This anthology is an important contribution to the growing field of music and literature studies, and an engaging read for anyone interested in a culturally rich musical and literary inheritance.

This book is a new and exciting interdisciplinary resource which integrates the worlds of music and literature. It is the first primary and secondary source collection of its kind to focus on the relationships between words and music, and between musical and verbal forms. Featured along with key writings on music, speech and their relationship are previously unpublished articles and interview transcripts, and a new translation of an extract from Wagner's theoretical works.

Designed for undergraduate students, the book uniquely:

- examines a historically and geographically diverse selection of genres from a variety of academic perspectives

- explores issues of language, musical form, performance, song, narrative, sound and action, and identity

- enables readers to connect with different histories, cultures and technologies via the linkages between musical and literary texts.

This anthology is an important contribution to the growing field of music and literature studies, and an engaging read for anyone interested in a culturally rich musical and literary inheritance.

Filling a significant gap in current scholarship, the fourteen original essays that make up this volume individually and collectively reflect on the relationship between music and Orientalism in the British Empire over the course of the long nineteenth century. The book is in four themed sections. 'Portrayal of the East' traces the routes from encounter to representation and restores the Orient to its rightful place in histories of Orientalism. 'Interpreting Concert Music' looks at one of the principal forms in which Orientalism could be brought to an eager and largely receptive - yet sometimes resistant - mass market. 'Words and Music' investigates the confluence of musical and Orientalist themes in different genres of writing, including criticism, fiction and travel writing. Finally, 'The Orientalist Stage' discusses crucial sites of Orientalist representation - music theatre and opera - as well as tracing similar phenomena in twentieth-century Hindi cinema. These final chapters examine the rendering of the East as 'unachievable and unrecognizable' for the consuming gaze of the western spectator.

Leonardo da Vinci (1452-1519) spent over twenty-five years investigating the workings of the human body. While his paintings were widely known in his day, only a few friends and associates had any intimation of the extent of his medical research. Leonardo's "Anatomical Manuscript A," created over the winter of 1510-11, is the only group of such drawings in which he approached complete coverage of the human form, and it represents his finest work in this area.
This fascinating book presents a complete discussion of all the drawings in Manuscript A, not only as evidence of Leonardo's artistic genius, but also as the product of the sophisticated scientific investigations they represent. Each drawing records a meticulous human dissection and is extensively annotated with Leonardo's notes, questions, and memoranda to himself in "mirror-writing," (backward writing legible only when held up to a mirror, the motivations for which have been the subject of much speculation).
Each drawing is reproduced twice: once in its original form and once with a new English translation in place of Leonardo's original notes. The authors comment on the accuracy of the anatomical renderings and the conclusions Leonardo draws from them.

This volume catalogues Cassiano dal Pozzo's copy of the Codex Cruz-Badianus, an Aztec herbal prepared for the son of the Viceroy of Mexico in 1552 and the earliest medical text to have survived from the New World. The original codex was presented to Cassiano's patron, Cardinal Francesco Barberini, during a papal legation to Spain in 1626, and was copied on the Cardinal's return to Rome for Cassiano's fellow members of the Accademia dei Lincei, who at that time were completing their own vast illustrated natural history of Central America.Cassiano's copy of the Codex Cruz-Badianus is preserved in the Royal Library at Windsor Castle together with the larger surviving part of his 'Paper Museum', an encyclopaedic collection of prints and drawings of antiquities, architecture and natural history subjects, acquired by George III in 1762.Each folio of the Windsor manuscript is reproduced in colour together with full comparative illustrations of the Codex Cruz-Badianus. The Latin text is transcribed with a parallel English translation, and each of the 184 drawings of plants is analysed. The catalogue is preceded by general introductions to the Paper Museum and to the natural history drawings, and by two thematic essays: Luigi Guerrini discusses the Windsor copy in the context of the Lincei's researches into the natural history of the New World; and Alejandro de Avila reviews the current state of research into the original Codex Cruz-Badianus, including the fieldwork and linguistic researches in Mexico that are changing our understanding of the manuscript.

Giovanni Benedetto Castiglione (1609-64) was perhaps the most innovative and technically brilliant Italian draftsman of his time.Working in oils on paper he produced large, vibrant compositions as works of art in their own right; his dramatic etchings were as intense as those of Rembrandt; and he combined drawing and printmaking to invent the technique of the monotype.Though highly esteemed for a century after his death, he has fallen from fame in the modern era. In this book, the first publication on Castiglione in decades, extensive new research reveals the story of the artist's scandalous private life, in fascinating contrast to the ethereal beauty of his art. Illustrated with over 80 of Castiglione's extraordinary works from the Royal Collection, this catalogue restores his reputation as one of the great artists of the Baroque.

This scholarly and richly illustrated publication celebrates one of the most exciting periods in European art. It brings together 93 paintings and 90 drawings from the Royal Collection and accompanies an exhibition of international importance.

Over the past twenty years, a range of radical developments has revolutionized musicology, leading certain practitioners to describe their discipline as 'New.' What has happened to ethnomusicology during this period? Have its theories, methodologies, and values remain rooted in the 1970s and 1980s or have they also transformed? What directions might or should it take in the new millennium? The New (Ethno)musicologies seeks to answer these questions by addressing and critically examining key issues in contemporary ethnomusicology. Set in two parts, the volume explores ethnomusicology's shifting relationship to other disciplines and to its own 'mythic' histories and plots a range of potential developments for its future. It attempts to address how ethnomusicology might be viewed by those working both inside and outside the discipline and what its broader contribution and relevance might be within and beyond the academy. Henry Stobart has collected essays from key figures in ethnomusicology and musicology, including Caroline Bithell, Martin Clayton, Fabian Holt, Jim Samson, and Abigail Wood, as well as Europea series editors, Martin Stokes and Philip V. Bohlman. The engaging result presents a range of perspectives, reflecting on disciplinary change, methodological developments, and the broader sphere of music scholarship in a fresh and unique way, and will be a key source for students and scholars.

Drawing on writers from music, anthropology, sociology, and the related fields, The Cultural Study of Music is an anthology of new writings that define the relation between music and culture and present case studies of particular issues in world musics. This book reflects the latest and most up to date thinking on the complex issues surrounding how music and culture interrelate.