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Book
xiv, 703 pages : music ; 27 cm
Music Library
Book
xxxiv, 523 pages : illustrations, music ; 28 cm.
Music Library
Book
viii, 241 pages ; 22 cm.
  • Chapter 1 Introduction: Afrofuturism and Black Sound Studies.- Chapter 2. Blackness, Technology, and the Changing Same.- Chapter 3. Space and Time.- Chapter 4. Vibrations, Rhythm and Cosmology.- Chapter 5. Interstellar Space, Outer Space, and Inner Space.- Chapter 6. The Sounds of the Future.- Conclusion.
  • (source: Nielsen Book Data)9783319660400 20180115
This book interrogates the meeting point between Afrofuturism and Black Sound Studies. Whereas Afrofuturism is often understood primarily in relation to science fiction and speculative fiction, it can also be examined from a sonic perspective. The sounds of Afrofuturism are deeply embedded in the speculative - demonstrated in mythmaking - in frameworks for songs and compositions, in the personas of the artists, and in how the sounds are produced. In highlighting the place of music within the lived experiences of African Americans, the author analyses how the perspectives of Black Sound Studies complement and overlap with the discussion of sonic Afrofuturism. Focusing upon blackness, technology, and sound, this unique text offers key insights in how music partakes in imagining and constructing the future. This innovative volume will appeal to students and scholars of sound studies, musicology and African American studies.
(source: Nielsen Book Data)9783319660400 20180115
Music Library
Book
197 pages ; 25 cm.
Music Library
Book
xv, 157 pages : illustrations, music ; 24 cm.
  • Table of Contents Series Editor's Foreword Preface Part I Introduction to the Musicalische Paradoxal-Discourse Werckmeister Biography Werckmeister Treatises Contents and Sources of the Musicalische Paradoxal-Discourse Part II Translation of the Musicalische Paradoxal-Discourse Title page and dedicatory comments Preface Index and contents of the chapters Chapter 1 An introduction to this work: the division of the musical proportions Chapter 2 A testimonial through mathematics and Holy Scriptures themselves, that the course of the heavens are harmonic Chapter 3 How the mortal body and soul are harmonically created, and furthermore, on the influence of the stars Chapter 4 Why humans find such pleasure in music, and whence composers and musicians arise Chapter 5 As the image of God, humans are to praise the Creator with music. Buildings and eras in scripture are also harmonic wonders of spiritual music. Chapter 6 On the abuse of music, which the authorities could abolish Chapter 7 How the inclination of a people determines its attitude towards music, and how the heathens were so scattered in their views on music Chapter 8 On the music of the early Christians, and the subsequent changes Chapter 9 The great difficulties arising out of solmization and the linear staff-system Chapter 10 Proof that the linear staff system is accompanied by great difficulties Chapter 11 Proof of how everything can be played or sung through the twelve note-names Chapter 12 Further proof, that the linear staff system has many more variants than the twelve note-names Chapter 13 How the temperaments can be examined, and on German tablature Chapter 14 How the chromatic system is to be applied to the tempered keyboard Chapter 15 On the disorder of hymn singing Chapter 16 On the simplicity of old organs Chapter 17 How the musical modes can be differentiated Chapter 18 On the nature and property of the harmonic numerals Chapter 19 On the hidden meaning of the numerals Chapter 20 On the properties of the harmonic numerals, when they themselves are subdivided Chapter 21 On the subdivision of the harmonic numerals Chapter 22 On the properties of the dissonant musical numerals Chapter 23 How the harmonic radical numerals are transformed into a tempered tuning, and of their hidden meaning Chapter 24 A comparison of incorrect tempered tuning with false Christianity Chapter 25 How the temperament can be perfect or imperfect, and how the same can be compared with Christianity Chapter 26 The Lord's Prayer in the musical proportional numerals Bibliography About the author.
  • (source: Nielsen Book Data)9781498566346 20180129
Andreas Werckmeister (1645 - 1706), a late seventeenth-century German Lutheran organist, composer, and music theorist, is the last great advocate and defender of the Great Tradition in music, with its assumptions that music is a divine gift to humanity, spiritually charged yet rationally accessible, the key being a complex of mathematical proportions which govern and are at the root of the entire universe and all which that embraces. Thus understood, music is the audible manifestation of the order of the universe, allowing glimpses, sound-bites of the very Creator of a well-tempered universe, and of our relationship to each other, our environment, and the divine powers which placed us here. This is the subject matter of the conversation which Werckmeister wishes to have with us, his readers, particularly in his last treatise, the Musicalische Paradoxal-Discourse. But he does not make it easy for today's readers. He assumes certain proficiencies from his readers, including detailed biblical knowledge, a fluency in Latin, and a familiarity with treatises and publications concerning music, theology, and a number of related disciplines. He writes in a rather archaic German, riddled with obscure references which require a thorough explanation. With its extensive commentary and translation of the treatise, this book seeks to bridge Werckmeister's world with that of the twenty-first century. Werckmeister wrote for novice and professional musicians alike, an author who wanted to consider with his readers the basic and existential questions and issues regarding the wondrous art of music, questions as relevant then as they are now.
(source: Nielsen Book Data)9781498566346 20180129
Music Library
Book
690 pages : illustrations ; 21 cm
Music Library
Book
vi, 290 pages : illustrations, music ; 29 cm
  • PART ONE Conducting Technique Chapter 1 THE BATON, PREPARATION, DOWNBEAT, AND RELEASE Chapter 2 BEAT PATTERNS AND PREPARATIONS IN TEMPO, DYNAMIC, AND BASIC STYLE Chapter 3 PREPARATIONS AND RELEASES FOR ALL COUNTS Chapter 4 FRACTIONAL BEAT PREPARATIONS Chapter 5 DIVIDED METERS Chapter 6 ASYMMETRICAL AND CHANGING METERS Chapter 7 THE FERMATA Chapter 8 THE CUE Chapter 9 CONDUCTING MUSICAL STYLES Chapter 10 EXPRESSIVE CONDUCTING AND THE LEFT HAND Chapter 11 TEMPO CHANGES AND ACCOMPANYING PART TWO Score Preparation and Rehearsal Technique Chapter 12 ANALYSIS AND SCORE PREPARATION Chapter 13 THE INSTRUMENTAL REHEARSAL Chapter 14 THE CHORAL REHEARSAL PART THREE Musical Excerpts Chapter 15 THE BATON, PREPARATION, DOWNBEAT, AND RELEASE Chapter 16 BEAT PATTERNS AND PREPARATIONS IN TEMPO, DYNAMIC, AND BASIC STYLE Chapter 17 PREPARATIONS AND RELEASES FOR ALL COUNTS Chapter 18 FRACTIONAL BEAT PREPARATIONS Chapter 19 DIVIDED METERS Chapter 20 ASYMMETRICAL AND CHANGING METERS Chapter 21 THE FERMATA Chapter 22 THE CUE Chapter 23 CONDUCTING MUSICAL STYLES Chapter 24 EXPRESSIVE CONDUCTING AND THE LEFT HAND Chapter 25 TEMPO CHANGES AND ACCOMPANYING TECHNICAL MASTERY APPENDICES Appendix A COMPETENCIES FOR THE BEGINNING CONDUCTING CLASS Appendix B STUDENT EVALUATION Appendix C CHART OF TRANSPOSITIONS AND CLEFS Appendix D FULL SCORE INSTRUMENTATION AND FOREIGN EQUIVALENTS Appendix E COUNTING DRILLS FOR UNEVEN METERS Appendix F MUSICAL STYLE CHART Appendix G GLOSSARY Appendix H MODEL VIDEO EXCERPT CHART.
  • (source: Nielsen Book Data)9781138656994 20171201
Basic Conducting Techniques, Seventh Edition provides a clear and intelligible introduction to the art of conducting an ensemble. Over twenty chapters lay out the elements of conducting, followed by an extensive selection of musical examples from the classical repertoire. This seventh edition has been updated to include the full scores of key excerpts. A companion website now accompanies the book, providing additional resources including transposed scores, recordings of the excerpts, and video demonstrations of techniques. The new edition will feature: * Chapters rewritten and redesigned to better highlight important information and show connections between different sections. * Material on expressive conducting has been updated and expanded to a new full chapter. * Select full scores added in the Musical Excerpts section. * Excerpts with transpositions added to the text of each chapter, allowing easy access for class performance. * A new companion website, which will include the scores and transpositions for all the musical excerpts, audio files of excerpts, and new demonstration videos modelling specific techniques for each chapter. * Updated photographs.
(source: Nielsen Book Data)9781138656994 20171201
Music Library
Book
xiv, 221 pages : illustrations ; 24 cm
  • 1. Pierre Dubois, "`Music ... is like a conversation among friends, where the few are of one mind": Charles Avison's Moral Philosophy.' 2. Margaret Maddison, `Charles Avison, Gentleman, And The Vicar Of Bedlington's Will'. 3. Matthew Gardiner, `Charles Avison, John Brown and English Oratorio'. 4. Susan Wollenberg, `Avison and Oxford, 1750-1810' 5. Terry Hurst, `Charles Avison and the Methodists - Evangelism and Civilisation'. 6. Steve Marini, `Charles Avison and the Psalmody Reform Movement in Britain'. 7. Roz Southey, `Managing a Musical Career in the Eighteenth Century: The interweaving of patronage and commercialisation in the careers of Charles Avison and Edward Meredith'.
  • (source: Nielsen Book Data)9781472450746 20180122
Despite recent interest in music-making in the so-called 'provinces', the idea still lingers that music-making outside London was small in scale, second-rate and behind the times. However, in Newcastle upon Tyne, the presence of a nationally known musician, Charles Avison (1709-1770), prompts a reassessment of how far this idea is still tenable. Avison's life and work illuminates many wider trends. His relationships with his patrons, the commercial imperatives which shaped his activities, the historical and social milieu in which he lived and worked, were influenced by and reflected many contemporary movements: Latitudinarianism, Methodism, the improvement of church music, the aesthetics of the day including new ideas circulating in Europe, discussions of issues such as gentility, and the new commercialism of leisure. He can be considered as the notional centre of a web of connections, both musical and non-musical, extending through every part of Britain and into both Europe and America. This book looks at these connections, exploring the ways in which the musical culture in the north-east region interacted with, and influenced, musical culture elsewhere, and the non-musical influences with which it was involved, including contemporary religious, philosophical and commercial developments, establishing that regional centres such as Newcastle could be as well-informed, influential and vibrant as London.
(source: Nielsen Book Data)9781472450746 20180122
Music Library

9. Chopin in Britain [2018]

Book
xxix, 278 pages, 28 unnumbered pages of plates : illustrations (some color), maps ; 24 cm
  • Introduction. Paris 1830s: Prologue 1. London: Summer 1837 2. Paris 1840s: Interlude 3. London 1848: Chopin in London 4. London 1848: Recitals 5. Edinburgh 6. Scottish Country Seats 7. Manchester: Concert in Gentlemen's Concert Hall, Monday 28 August 1848 8. Glasgow: Concert in Merchants' Hall, Wednesday 27 September 1848 9. Edinburgh: Concert in Hopetoun Rooms, Wednesday 4 October 1848 10. London: Concert in Guildhall, Thursday 16 November 1848 Conclusion. Paris 1849: Epilogue.
  • (source: Nielsen Book Data)9781472451279 20180213
In 1848, the penultimate year of his life, Chopin visited England and Scotland at the instigation of his aristocratic Scots pupil, Jane Stirling. In the autumn of that year, he returned to Paris. The following autumn he was dead. Despite the fascination the composer continues to hold for scholars, this brief but important period, and his previous visit to London in 1837, remain little known. In this richly illustrated study, Peter Willis draws on extensive original documentary evidence, as well as cultural artefacts, to tell the story of these two visits and to place them into aristocratic and artistic life in mid-nineteenth-century England and Scotland. In addition to filling a significant hole in our knowledge of the composer's life, the book adds to our understanding of a number of important figures, including Jane Stirling and the painter Ary Scheffer. The social and artistic milieux of London, Manchester, Glasgow and Edinburgh are brought to vivid life.
(source: Nielsen Book Data)9781472451279 20180213
Music Library
Book
xxxvi, 295 pages : illustrations, music ; 24 cm
  • Prelude: The Order of Mejidieh Chapter 1: A Soldier's Lament Chapter 2: The Holy War Chapter 3: Old Gallipoli Chapter 4: Mehter in the Museum Chapter 5: Hybrid Turks Chapter 6: Sound Bites Chapter 7: Music as Memory Coda: The Gallipoli Spirit.
  • (source: Nielsen Book Data)9781498556200 20180205
This monograph examines the relationship between music and memory as it relates to the Gallipoli Campaign (1915-6). Drawing upon a wide variety of sources in many languages, it explores the multiple ways in which music is employed to remember and to forget, to celebrate and to commemorate a victory (on the part of the Central Powers) and a defeat (on the part of the Allied forces) in the Dardanelles during the First World War (1914-8). Further, it argues that commemoration itself can be viewed as an 'instrument of war'. In particular, it investigates the complex positionality of individual actors during the centennial commemorations of the Gallipoli landings (24 April, 2015) where the Australians and the Turks most notably have employed music to reimagine the past, both nationalities invoking the 'Gallipoli spirit' (tr. 'Canakkale ruhu') to advance a nationalist agenda and a resurgent militarism through the selective memorialization of an imperial past. The book interrogates through music the ambivalent position of minorities. With specific reference to the Irish (amongst the British) and the Armenians (amongst the Ottomans), it shows how song might serve both to articulate a nationalist defiance and an imperialist consensus during a tumultuous period of irredentism. By uncovering the complex pathways of musical transmission, it demonstrates through musical analysis how the colonized could become the colonizer (in the case of the Irish) or a minority might conform to a majority (in the case of the Armenians). Further, the publication looks at the uneasy alliance between the Turks and the Germans. It focuses on a German musician (as an imperial bandmaster) and Germanic entrepreneurs (in the recording industry) who entertained or who served the German Mission in Istanbul. Here, it considers by way of musical composition the shared wish on the part of the Germans and the Turks to create a Lebensraum in Asia.
(source: Nielsen Book Data)9781498556200 20180205
Music Library
Book
xii, 198 pages : illustrations ; 25 cm.
  • Introduction: Identifying Do-It-Yourself Places Of Popular Music Preservation 1. The Global Extent of DIY Institutions: Popular Music Archives, Museums, and Halls of Fame around the World 2. Narratives of Foundation: Saving Popular Music's Material Culture from the Rubbish Dump 3. Places for Living: The Volunteer Experience in Popular Music Archives, Museums, and Halls of Fame 4. Communities of Heritage Practice: Becoming a Professional Amateur in Popular Music Preservation 5. Relationships with Authorized Heritage Institutions: Drawing on Others' Expertise 6. Making Popular Music's Material Past Publically Accessible: Engaging with the Community of Consumption 7. DIY Futures: The Challenge of Sustainability Bibliography Index.
  • (source: Nielsen Book Data)9781138961203 20180219
This book examines do-it-yourself (DIY) approaches to the collection, preservation, and display of popular music heritage being undertaken by volunteers in community archives, museums and halls of fame globally. DIY institutions of popular music heritage are much more than `unofficial' versions of `official' institutions; rather, they invoke a complex network of affect and sociality, and are sites where interested people - often enthusiasts - are able to assemble around shared goals related to the preservation of and ownership over the material histories of popular music culture. Drawing on interviews and observations with founders, volunteers and heritage workers in 23 DIY institutions in Australasia, Europe and North America, the book highlights the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music's material history. It reveals the kinds of collections being housed in these archives, how they are managed and maintained, and explores their relationship to mainstream heritage institutions. The study also considers the cultural labor of volunteers in the DIY institution, arguing that while these are places concerned with heritage management and the preservation of artefacts, they are also extensions of musical communities in the present in which activities around popular music preservation have personal, cultural, community and heritage benefits. By looking at volunteers' everyday interventions in the archiving and curating of popular music's material past, the book highlights how DIY institutions build upon national heritage strategies at the community level and have the capacity to contribute to the democratization of popular music heritage. This book will have a broad appeal to a range of scholars in the fields of popular music studies, musicology, ethnomusicology, archive studies and archival science, museum studies, critical heritage studies, cultural studies, cultural sociology and media studies.
(source: Nielsen Book Data)9781138961203 20180219
Music Library
Book
vi, 158 pages : illustrations ; 25 cm.
Music Library
Book
xvi, 475 pages : illustrations ; 26 cm
  • Acknowledgments Introduction: The Contemporary Commercial Composer and the Digital Audio Workstation I. Fundamentals of Music and Audio Ia: Fundamentals of Music Chapter 1: Introduction to Pitch Chapter 2: Introduction to Rhythm Chapter 3: Introduction to Harmony Chapter 4: Melody and Counterpoint Ib: Fundamentals of Audio Engineering and Sequencing Chapter 5: Introduction to Audio and MIDI Chapter 6: Manipulating Rhythm in the DAW Environment Chapter 7: Introduction to Acoustics Chapter 8: Melodic Sequencing II. Music Production Essentials IIa. Composition Essentials Chapter 9: Functional Diatonic Harmony Chapter 10: Expanding Your Harmonic Vocabulary Chapter 11: Form and Development Chapter 12: Basic Orchestration IIb. Audio Engineering Essentials Chapter 13: Introduction to Mixing Chapter 14: Recording and Editing Live Instruments Chapter 15: Mixing and Processing Chapter 16: Final Mix Considerations III. Producing Music for Media Chapter 17: The Client/Composer Relationship Chapter 18: Scoring for Short-Form Media Chapter 19: Scoring for Longer-Form Media IV. The Business of Music Composition Chapter 20: The Business of Music Composition Appendix A: List of CC Messages and Their Associated Functions Appendix B: Glossary Permission Acknowledgments Index.
  • (source: Nielsen Book Data)9781138930629 20171017
In the contemporary world, the role of the commercial composer has grown to include a wide range of new responsibilities. Modern composers not only write music, but also often need to perform, record, and market their own works. The Craft of Contemporary Commercial Music prepares today's music students for their careers by teaching them to compose their own music, produce it professionally, and sell it successfully. The textbook integrates three areas of concentration-music theory and composition, audio engineering, and music business-allowing students to understand and practice how to successfully navigate each stage of a score's life cycle from concept to contract. Students will learn how to: Translate musical ideas into scores utilizing music theory and composition techniques Transform scores into professional audio through the production stages of tracking, sequencing, editing, mixing, mastering, and bouncing Market works to prospective clients The textbook assumes no prior knowledge of music theory or audio topics, and its modular organization allows instructors to use the book flexibly. Exercises at the end of each chapter provide practice with key skills, and a companion website supports the book with video walkthroughs, streaming audio, a glossary, and printable exercise pages. Combining a grounding in music notation and theory concepts with a foundation in essential technologies, The Craft of Contemporary Commercial Music offers an innovative approach that addresses the needs of students preparing for music careers.
(source: Nielsen Book Data)9781138930629 20171017
Music Library
Book
256 p. 23 x 17 cm
Music Library
Book
x, 207 pages : illustrations ; 24 cm.
  • DIGITAL MUSIC DISTRIBUTION: * The sociology of online music streams * Hendrik Storstein Spilker * Table of contents * Acknowledgements * ã CHAPTER 1 * Introduction: Digital Dramas * Music On Demand? * The Folding of Technologies * Into and Beyond "The Piracy Wars" * ã CHAPTER 2: * Not only about listening: Understanding the new everyday life of music * Perspectives on the Appropriation of Digital Music * Analyzing youth * The omnipresence and omni-interest in music * Top ten music-related practices * You can always get what you want? * ã CHAPTER 3 * The value of access: Negotiating file-sharing and streaming among youth and with parents * Domesticating controversial technologies * Piracy as morality and rebellion * Digital music technologies as generational boundary markers and asymmetries * Reflections on piracy and legality * Together in crime? * Music in context - negotiating other ICT's * An access culture? * ã CHAPTER 4 * In search of the "hacker-punk": Digital music technologies for countercultural measures? * The promises of Punk Style Do-it-yourself * The Quest for the Hacker Punk * What is so Punk about Punk? * The Digitalized Underground * In Search of the Hacker Punk * The Gap between Near and Bin(e)ary Things * The Unruliness of Technology * ã CHAPTER 5: * Pre-distribution networks and professional networks: Becoming an artist in the age of "piracy cultures" * Of Network Studios and Piracy Cultures * Assembling Work * A Visit to the Network Studio * Being Within or Without the Music Industry? * The Pre-Distribution Network and the Professional Network * Hail to the Album! * ã CHAPTER 6 * The irony of virtuality: The production of music and news in "the new economy" * The contents of "the new economy" * Network society or Internet society? * A prehistory of digital news and music * Ensure control over the resources * Gain entry to the networks * Gain entry to the networks #part 2 * Ensure control #part 2 * The new economy: a parasitic economy? * The irony of virtuality * ã CHAPTER 7 * The making of "piracy standards": Assessing the interplay between commercialism and idealism in technology development * The Interplay between Idealism and Commercialism * The Movement of Technologies Across Time and Space * MP3's Route to Dominance * DivX: The MP3 of Video? * The power of the piracy-entrepreneur nexus * ã CHAPTER 8 * Media kills music? An Analysis of the Newspaper Coverage of the Piracy Kills Music Campaign * The Fourth Music Estate? * Understanding the Role of the Media in the Piracy Controversies * Identifying frames * Qualitative Framing Analysis * The-support-and-help-the-industry-frame * The-dying-dinosaur-frame * The-head-in-the-sand-frame * The-hopeless-and-desperate-frame * The most-successful-campaign-of-all-time-frame * Quantitative Framing Analysis * - Wasn't much help to get... * ã CHAPTER 9: * The regulation of digital music distribution: Assessing the states and futures of the field * Introducing five regulatory models * 1. The partly obviation of the ownership model * 2. The hope and heath of the access model * 3. The professionalization of the alternative revenue model * 4. The remix model as ideology and practice * 5. The radical and the limited compensation model * The manifold roles of music, musicians and music-users * ã CHAPTER 10 * The Music Welfare State * Folding Revisited * Programs, Antiprograms, Circumventions, Ramifications... * The Old and the New Divide * The Triumph of Piracy * The Technological Empire * A State of Balance? * ã References *.
  • (source: Nielsen Book Data)9781138673908 20171201
The digital music revolution and the rise of piracy cultures has transformed the music world as we knew it. Digital Music Distribution aims to go beyond the polarized and reductive perception of `piracy wars' to offer a broader and richer understanding of the paradoxes inherent in new forms of distribution. Covering both production and consumption perspectives, Spilker analyses the changes and regulatory issues through original case studies, looking at how digital music distribution has both changed and been changed by the cultural practices and politicking of ordinary youth, their parents, music counter cultures, artists and bands, record companies, technology developers, mass media and regulatory authorities. Exploring the fundamental change in distribution, Spilker investigates paradoxes such as: ã * The criminalization of file-sharing leading not to conflicts, but to increased collaboration between youths and their parents; * Why the circulation of cultural content, extremely damaging for its producers, has instead been advantageous for the manufacturers of recording equipment; * Why more artists are recording in professional sound studios, despite the proliferation of good quality equipment for home recording; * Why mass media, hit by many of the same challenges as the music industry, has been so critical of the way it has tackled these challenges. ã A rare and timely volume looking at the changes induced by the digitalization of music distribution, Digital Music Distribution will appeal to undergraduate students and policy makers interested in fields such as Media Studies, Digital Media, Music Business, Sociology and Cultural Studies.
(source: Nielsen Book Data)9781138673908 20171201
Music Library

16. Discovering music [2018]

Book
xxxvi, 611 pages : illustrations (chiefly color) ; 26 cm
Music Library

17. Don Giovanni [2018]

Book
288 p. ill. 20 cm
Music Library
Book
126 Seiten Illustrationen, Notenbeispiele
Music Library
Book
124 pages : illustrations ; 23 cm.
  • Prelude Chapter 1 Philosophy on Soil Chapter 2 Ecological Literacy Chapter 3 Ecomusicology Chapter 4 Deep Ecology Chapter 5 Spiritual Praxis Postlude.
  • (source: Nielsen Book Data)9780415792578 20171218
Eco-Literate Music Pedagogy examines the capacity of musiciking to cultivate ecological literacy, approaching eco-literate music pedagogy through philosophical and autoethnographical lenses. Building on the principle that music contributes uniquely to human ecological thinking, this volume tracks the course of eco-literate music pedagogy while guiding the discussion forward: What does it mean to embrace the impulse to teach music for ecological literacy? What is it like to theorize eco-literate music pedagogy? What is learned through enacting this pedagogy? How do the impulsion, the theorizing, and the enacting relate to one another? Music education for ecological consciousness is experienced in local places, and this study explores the theory underlying eco-literate music pedagogy in juxtaposition with the author's personal experiences. The work arrives at a new philosophy for music education: a spiritual praxis rooted in soil communities, one informed by ecology's intrinsic value for non-human being and musicking. Eco-Literate Music Pedagogy adds to the emerging body of music education literature considering ecological and environmental issues.
(source: Nielsen Book Data)9780415792578 20171218
Music Library
Book
xi, 144 pages ; 23 cm
  • James Tenney
  • Christian Wolff
  • Robert Ashley
  • Maryanne Amacher
  • La Monte Young
  • Steve Reich
  • Meredith Monk
  • Philip Glass.
In this brilliant collection, path-breaking figures of American experimental music discuss the meaning of their work at the turn of the twenty-first century. Presented between 1989 and 2002 at Wesleyan University, these captivating lectures provide rare insights by composers whose work has shaped our understanding of what it means to be experimental: Maryanne Amacher, Robert Ashley, Philip Glass, Meredith Monk, Steve Reich, James Tenney, Christian Wolff, and La Monte Young. Collected here for the first time, together these lectures tell the story of twentieth-century American experimental music, covering such topics as repetition, phase, drone, duration, collaboration, and technological innovation. Containing introductory comments by Lucier and the original question and answer sessions between the students and the composers, this book makes the theory and practice of experimental music available and accessible to a new generation of students, artists, and scholars.
(source: Nielsen Book Data)9780819577634 20171227
Music Library