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• Notes on Contributors
• Introduction / Emily Wilbourne and Suzanne G. Cusick
• 1. Listening as an Innu-French Contact Zone in the Jesuit Relations / Olivia Bloechl
• 2. Native Song and Dance Affect in Seventeenth-Century Christian Festivals in New Spain / Ireri E. Chávez Bárcenas
• 3. Performance in the Periphery: Colonial Encounters and Entertainments / Patricia Akhimie
• 4. 'Hideous Acclamations' / Glenda Goodman
• 5. Black Atlantic Acoustemologies and the Maritime Archive / Danielle Skeehan
• 6. Little Black Giovanni's Dream / Emily Wilbourne
• 7. A Global Phonographic Revolution / Zhuqing (Lester) S. Hu
• 8. 'La stiava dolente in suono di canto' / Suzanne G. Cusick
• 9. 'Now Despised, a Servant, Abandoned' / Nina Treadwell
• 10. 'Non basta il suono, e la voce' / Jane Tylus
• Bibliography
• List of illustrations
• Index.

"In this fascinating collection of essays, an international group of scholars explores the sonic consequences of transcultural contact in the early modern period. They examine how cultural configurations of sound impacted communication, comprehension, and the categorisation of people. Addressing questions of identity, difference, sound, and subjectivity in global early modernity, these authors share the conviction that the body itself is the most intimate of contact zones, and that the culturally contingent systems by which sounds made sense could be foreign to early modern listeners and to present day scholars. Drawing on a global range of archival evidence--from New France and New Spain, to the slave ships of the Middle Passage, to China, Europe, and the Mediterranean court environment--this collection challenges the privileged position of European acoustical practices within the discipline of global-historical musicology. The discussion of Black and non-European experiences demonstrates how the production of 'the canon' in the cosmopolitan centres of colonial empires was underpinned by processes of human exploitation and extraction of resources. As such, this text is a timely response to calls within the discipline to decolonise music history and to contextualise the canonical works of the European past. This volume is accessible to a wide and interdisciplinary audience, not only within musicology, but also to those interested in early modern global history, sound studies, race, and slavery."--Publisher's website.

• Acoustic Performativity : Practices of Composition
• Poetic Ecologies : Resonance, Imagination, Repair
• Skin-Work : Queer Acoustics, Borderspaces, Economies of Desire
• Deaf Attention : Peripheral Visions, Spatial Meanings, Sensory Politics

"Authored by leading sound studies scholar Brandon LaBelle, this book focuses on questions of acoustics as the basis for challenging normative structures"-- Provided by publisher

• List of Figures Notes on Contributors Acknowledgments Introduction, Andy Hamilton and Lara Pearson
• SECTION 1: THE POSITIVE VALUE OF IMPERFECTION
• 1. The Aesthetics of Imperfection: The Finished Work, and Process Versus Product, Andy Hamilton
• 2. Taking Aim at Imperfection , David Lloyd
• 3. The Aesthetics of Imperfection, John Tilbury
• 4. Reflections on the Value of Imperfection in Crafts Through the Japanese Philosophy of Wabi-Sabi, Vasiliki Tsaknaki
• 5. Built from the Root, Ever-changing at the Bloom: The Role of Imperfection in Systems of Musical Phonology, Morphology, and Syntax, Nate Wooley
• 6. Imperfect World, Linda Catlin Smith
• SECTION 2: SOCIAL AND CULTURAL CONTEXT
• 7. A Socially Situated Approach to Aesthetics: Games and Challenges in Karnatak Music, Lara Pearson
• 8. A Social Aesthetics of Imperfection: Spontaneity and Meaning in Pop on the Streets of China, Samuel Horlor
• 9. Age, Process, and Self-Raising Flour, Cara Stacey
• 10. Learning Music Aesthetics Through Imperfection: The Transmission of Shakuhachi Music, Kiku Day
• SECTION 3: COMPOSITION V. IMPROVISATION
• 11. The Inter-Dependence of Composition and Improvisation, Rohan De Saram
• 12. Improvising Beyond Hamilton's Aesthetics of Imperfection, Louise Gibbs
• 13. Better Than Perfect: Dave Brubeck and The Aesthetics of Imperfection, Darius Brubeck
• 14. The Aesthetics of Imperfection in Jazz and Free Improvisation, Trevor Barre
• 15. Decisions, Revisions, Intentions and Integrity: A Subjective Understanding of Composition and Improvisation, Paul Edis
• 16. A Literary Aesthetic of Perfection and Imperfection, Rebecca Wallbank
• SECTION 4: INTERPRETATION AND FREEDOM
• 17. Embracing Serendipity in Classical Performance, Stephanie Cant
• 18. That is Not Freedom, That is Taking License: The Pitfalls in Performing Morton Feldman's Graph Scores, John Snijders
• 19. Expanding the Ideal: Systemic Music as a Dialogue of Becoming, Kris Tiner
• SECTION 5: RISK, DISRUPTION AND FAILURE
• 20. Live Coding and Failure, Shelly Knotts
• 21. The Aesthetics of Failure, Claire Zakiewicz
• 22. The Mistake as Material, Corey Mwamba
• 23. The Aesthetics of Imperfection: Mistakes, and Hearing What You Intend, Enrico Pieranunzi
• 24. Risk in Improvisation and in Comedy, Donnchadh O'Conaill
• 25. Risk, Failure and Courage: Improvisation and Stand-Up Comedy, Victor Dura-Vila
• 26. Inciting Uncertainty, Mike Baggetta
• 27. Championing Risk and Discovery: Satoko Fujii and the Experimental Composition Improvisation Continuum, Alister Spence
• SECTION 6: COLLABORATION IN PERFORMANCE
• 28. Imperfect Unity and Productive Frictions: Ethics and Aesthetics of Play in Dance Improvisation, Annie Kloppenberg
• 29. Cross Purposes: Imperfect Interactions When Improvising With Others, Graeme B. Wilson
• 30. An Audience for Free Jazz: Joe McPhee Interviewed, Joe McPhee
• 31. Is Love Too Strong a Term?The Dissolution of Distinction Between Aesthetics and Sociality in a Moving Orchestra, Jim Denley
• SECTION 7: THE INSTRUMENTAL IMPULSE
• 32. The Instrumental Impulse: Developing a Free Improvisation Vocabulary for Alternative Keyboard Instruments, Adam Fairhall
• 33. Rarely Heard, Small Unwanted Sounds Form the Focus, Dave Brown aka Candlesnuffer
• 34. The Disagreeable Subject of Varese's Father: In Conversation With David Brown, Reuben Lewis
• 35. The Necks on the Aesthetics of Imperfection, Chris Abrahams, Lloyd Swanton, Tony Buck
• 36. 'Stardust': Seeing and Imagining What isn't There, Martin Mayes
• SECTION 8: FINISHED AND UNFINISHED WORK
• 37. Architecture of Imperfection: Unfinished Sketches and Burke's Sublime, Elizabeth Baldwin Gray
• 38. Still Water Moves, Philip G. Robinson
• 39. Notating Perfection? Beethoven and the Late String Quartets, Rachel Stroud Index.
• (source: Nielsen Book Data)

The aesthetics of imperfection emphasises spontaneity, disruption, process and energy over formal perfection and is often ignored by many commentators or seen only in improvisation. This comprehensive collection is the first time imperfection has been explored across all kinds of musical performance, whether improvisation or interpretation of compositions. Covering music, visual art, dance, comedy, architecture and design, it addresses the meaning, experience, and value of improvisation and spontaneous creation across different artistic media. A distinctive feature of the volume is that it brings together contributions from theoreticians and practitioners, presenting a wider range of perspectives on the issues involved. Contributors look at performance and practice across Western and non-Western musical, artistic and craft forms. Composers and non-performing artists offer a perspective on what is 'imperfect' or improvisatory within their work, contributing further dimensions to the discourse. The Aesthetics of Imperfection in Music and the Arts features 39 chapters organised into eight sections and written by a diverse group of scholars and performers. They consider divergent definitions of aesthetics, employing both 18th-century philosophy and more recent socially and historically situated conceptions making this an essential, up-to-date resource for anyone working on either side of the perfection-imperfection debate.
(source: Nielsen Book Data)

• Table of Contents
• Contributors
• Introduction
• Part I: Tonality
• Chapter 1
• Tonal Pairing in Two of Rachmaninoff's Songs
• Ellen Bakulina
• Chapter 2
• Abundant Novelty of Antitonic Harmony in the Music of Nikolai Myaskovsky
• Scott Murphy
• Chapter 3
• House of Mirrors: Distorted Proportions in Prokofiev's Piano Concerto No. 1
• Rebecca Perry
• Chapter 4
• A Curiosity in the Early String Quartets of Shostakovich, and Its Precedents in Previous Works
• Patrick McCreless
• Chapter 5
• Navigating Post-Soviet Armenia: On Decoloniality in Tigran Mansurian's Requiem
• Knar Abrahamyan
• Part II: Modernism
• Chapter 6
• Fifths' Paths through Nikolai Roslavets's Three Poems of Zinaida Gippius
• Inessa Bazayev
• Chapter 7
• Alexander Mosolov's Piano Sonata No. 1 and Its Synthetic Modernism
• Daniil Zavlunov
• Chapter 8
• The Rebirth of Melody in Lourie's Post-Neoclassical Concerto da camera
• Klara Moricz
• Chapter 9
• The Features of Alexander Tcherepnin's Nine-Step Scale and Its Use in the First Movement of His First Symphony
• Joshua Bedford
• Chapter 10
• Timbre and Vibration in Galina Ustvolskaya's Composition No. 1, "Dona nobis pacem"
• Maria Cizmic
• Part III: Serialism
• Chapter 11
• Edison Denisov and Multiple-Row Serialism
• Zachary Cairns
• Chapter 12
• Historical and Stylistic Reconciliation in Sofia Gubaidulina's Reflections on the Theme BACH
• Joseph Straus
• Chapter 13
• Monogram, Theme, and Large-Scale Form in Alfred Schnittke's Viola Concerto
• Christopher Segall
• Index.
• (source: Nielsen Book Data)

This volume brings together analyses of works by thirteen Russian composers from across the twentieth century, showing how their approaches to tonality, modernism, and serialism forge forward-looking paths independent from their Western counterparts. Russian music of this era is widely performed, and much research has situated this repertoire in its historical and social context, yet few analytical studies have explored the technical aspects of these composers' styles. With a set of representative analyses by leading scholars in music theory and analysis, this book for the first time identifies large-scale compositional trends in Russian music since 1900. The chapters progress by compositional style through the century, and each addresses a single work by a different composer, covering pieces by Rachmaninoff, Myaskovsky, Prokofiev, Shostakovich, Mansurian, Roslavets, Mosolov, Lourie, Tcherepnin, Ustvolskaya, Denisov, Gubaidulina, and Schnittke. Musicians, scholars, and students will find here a starting point for research and analysis of these composers' works and gain a richer understanding of how to listen to and interpret their music.
(source: Nielsen Book Data)

"Artistic Dynamos: An Ethnography on Music in Central African Kingdoms uses stories and research from the Ngiemboon community of West Cameroon as touchstones for proposing new approaches to arts scholarship and community development. Building on the results of ethnographic research, artistic action is viewed through the lens of communication. This view brings a picture of increased cultural energy in the enactment of artistic genres -- melodic, rhythmic, poetic, dramatic, visual, and performative. Schrag's treatise will change how scholars across disciplines understand and engage with the arts. This volume offers methods for improved scholarship, resulting in communities living better lives. The author's website contains the video and audio recordings discussed in the book, plus full color versions of many photos and diagrams"-- Provided by publisher.

• 1907
• Béla and Stefi : auspicious beginnings
• Béla and Stefi : coda of anguish
• Béla and Stefi : an unendurable farewell
• Béla and Stefi : in the spirit of Tristan
• Form and poetic content
• Stefi's leitmotif : variants and transformations
• Chain of thirds as nonfunctional vehicle for leitmotivic progression.

The genesis and genius of Bartók's Concerto was mingled with his love for Stefi Geyer. As Hungarian Tristan pursuing his Isolde, he sounds allusions to Wagner's paean of unfulfilled love. In transposing the ideal into the real, Bartók enlists folk sources voicing pristine truths of peasants. While biography and Tristan allusions supply the keys to Stefi's Concerto, the Tristan grief motif serves as bridge from idealized romance to the pentatonic simplicity of peasant realism. In these tensions private love and public life, and esoteric romance and raw worldliness are provoked and reconciled. The rise and fall of living romance and its musical mirroring against peasant scales and rhythms is background to "Tristan" ruling a score that incites and resolves the clash of two conflicting worlds.

• Music binding overview
• In-house basics
• Forming pamphlets
• Pamphlet binding
• Custom enclosures
• Conservation techniques and procedures
• Binding and rebinding thick scores
• Brittle score preservation
• Commercial conservation and preservation.

"The goal of Binding and Care of Printed Music is to present cost-effective, archivally sound practices for new binding and repair of older scores." "It is a necessary reference for music librarians who need to gain specific skills and new perspectives on the central issues of binding and care of music, and for self-publishing composers who wish to make their scores attractive to the music library market."--Jacket.

• Contributors What is an Anthropology of Sound? Holger Schulze Part I Living with Sonic Artifacts Pulse Michael Bull
• 1 The Headphone Naomi Smith & Anne-Marie Snider
• 2 The File Jens Gerrit Papenburg
• 3 The Instrument Rolf Grossmann
• 4 The Software Katrine Wallevik Coda Sebastian Schwesinger Part II Sounding Flesh Pulse Salome Voegelin
• 5 The Voice Ulrike Sowodniok
• 6 The Food Melissa Van Drie
• 7 The Intimate Holger Schulze
• 8 The Dance Inger Damsholt Coda Astrid Ellehoj Maaloe Part III The Habitat in Sound Pulse Jean-Paul Thibaud
• 9 The Plaza Sam Auinger & Dietmar Offenhuber
• 10 The Home Jacqueline Waldock
• 11 The Street Juhana Venalainen, Sonja Poellanen & Rajko Mursic?
• 12 The Workplace Andi Schoon Coda Marcel Cobussen Part IV Sonic Desires Pulse Marie Thompson
• 13 The Admiration Marcus S. Kleiner
• 14 The Entertainment Macon Holt
• 15 The Consonance Annemette Kirkegaard
• 16 The Quietude Tore Tvarno Lind Coda Jordan Lacey Part V The Listening Machines Pulse Jens Gerrit Papenburg
• 17 The Recording Toby Seay
• 18 The Amplification Carla J. Maier
• 19 The Studio Matthew Barnard
• 20 The Reproduction Anders Bach Coda Jessica Thompson Part VI Sensologies Pulse Holger Schulze
• 21 The Model Gabriele de Seta
• 22 The Everyday Jacob Kreutzfeldt
• 23 The Unheard Tobias Linnemann Ewe
• 24 The Ear Marc Couroux Coda Sam Auinger References Acknowledgments Index.
• (source: Nielsen Book Data)

The Bloomsbury Handbook of the Anthropology of Sound presents the key subjects and approaches of anthropological research into sound cultures. What are the common characteristics as well as the inconsistencies of living with and around sound in everyday life? This question drives research in this interdisciplinary area of sound studies: it propels each main chapter of this handbook into a thoroughly different world of listening, experiencing, receiving, sensing, dreaming, naming, desiring, and crafting sound. This handbook is composed of six sections: sonic artifacts; sounds and the body; habitat and sound; sonic desires; sounds and machines; and overarching sensologies. The individual chapters explore exemplary research objects and put them in the context of methodological approaches, historical predecessors, research practices, and contemporary research gaps. This volume offers therefore one of the broadest, most detailed, and instructive overviews on current research in this area of sensory anthropology.
(source: Nielsen Book Data)

• The demo tape ain't nobody wanna hear
• Spelling out the work
• Re-imagining slavery in the hip hop imagination
• Still ain't forgave myself.

"Chronicling Stankonia situates hip hop as an intervention in constructing post-Civil Rights black identities and cultural discourse. For southern blacks, the past is often restricted to three recognizable historical moments - the Antebellum Era, Jim Crow, and the Civil Rights Movement. Aside from the deeply traumatic experience of these periods of history, they also serve as cornerstones of validating and recognizing southern blacks' experiences. However, the challenge for post-Civil Rights generations of southern blacks is speaking truth to power when their truths depart the trajectory of what was considered power in the past. Chronicling Stankonia updates the black South using hip hop as an agent to reflect multiple intersections of time, race, and southernness in the late twentieth and early twenty-first centuries. Part of southern hip hop culture's truth remains attached to the past but its power is grounded in the fact that younger southerners use hip hop to embrace the possibility of multiple Souths, multiple narratives, and multiple entry points into contemporary southern black identities"-- Provided by publisher.

• Contents
• Acknowledgements List of Illustrations List of Tables List of Music Examples Manuscript Sigla and Other Abbreviations Notes on Contributors
• Introduction Andrew H. Weaver
• 1 Politics, Religion, and Music at the Early Modern Habsburg Courts: Some Context Paula Sutter Fichtner with Andrew H. Weaver
• Part 1: Institutional Contexts
• 2 The Court Chapels of the Habsburg-Burgundian Line: From Emperor Maximilian I to Emperor Charles V Honey Meconi
• 3 The Court Chapels of the Spanish Line: From King Philip II to King Charles II Pablo L. Rodriguez
• 4 The Court Chapels of the Austrian Line (I): From Emperor Ferdinand I to Emperor Matthias Jonas Pfohl
• 5 The Court Chapels of the Austrian Line (II): From Archduke Charles II to Emperor Leopold I Lawrence Bennett, Steven Saunders, and Andrew H. Weaver
• 6 The Court Chapels of the Tyrolean Line: From Archduke Ferdinand II to Archduke Ferdinand Charles Sara Pecknold
• Part 2: Cultural Contexts
• 7 Italian Musical Dramatic Genres at the Courts of the Austrian Habsburgs Herbert Seifert
• 8 Festivity and Spectacle at the Spanish Royal Court Louise K. Stein
• 9 Contexts for and Functions of Instrumental Music in Central Europe Charles E. Brewer
• 10 Manuscript Culture: The Habsburg-Burgundian Scriptorium and Some Successors Honey Meconi
• 11 Print Culture: Printed Music and Other Media in the Service of the Habsburgs Andrew H. Weaver
• 12 Colonialism and Music in Habsburg New Spain Drew Edward Davies
• Part 3: International Contexts
• 13 Die Teutsche Nation: Musical Links between the Habsburg Courts and the German States of the Empire Alexander J. Fisher
• 14 Milan: Imperial City and 'Theatre of the World' Christine Getz
• 15 Musical Connections between the Austrian Habsburgs and Venice in the Late Sixteenth and Seventeenth Centuries Beth L. Glixon, Jeffrey Kurtzman, and Steven Saunders
• 16 A Tale of Two entrate:Processions, Politics, and Patronage for the Habsburgs in Sixteenth - and Seventeenth-Century Rome Virginia Christy Lamothe
• Index.
• (source: Nielsen Book Data)

A Companion to Music at the Habsburgs Courts in the Sixteenth and Seventeenth Centuries, edited by Andrew H. Weaver, is the first in-depth survey of Habsburg musical patronage over a broad timeframe. Bringing together existing research and drawing upon primary sources, the authors, all established experts, provide overviews of the musical institutions, the functions of music, the styles and genres cultivated, and the historical, political, and cultural contexts for music at the Habsburg courts. The wide geographical scope includes the imperial courts in Vienna and Prague, the royal court in Madrid, the archducal courts in Graz and Innsbruck, and others. This broad view of Habsburg musical activities affirms the dynasty's unique position in the cultural life of early modern Europe. Contributors are Lawrence Bennett, Charles E. Brewer, Drew Edward Davies, Paula Sutter Fichtner, Alexander J. Fisher, Christine Getz, Beth L. Glixon, Jeffrey Kurtzman, Virginia Christy Lamothe, Honey Meconi, Sara Pecknold, Jonas Pfohl, Pablo L. Rodriguez, Steven Saunders, Herbert Seifert, Louise K. Stein, and Andrew H. Weaver.
(source: Nielsen Book Data)

• Foreword / Robin D. G. Kelley
• Introduction. Entering a theory of black musical space
• Terence Blanchard and the politics of breathing
• Billy Higgins in the zone : brushwork, breath, and imagination
• The social science music of Terri Lyne Carrington
• Ambrose Akinmusire's satchel of origami
• Unified fragmentation : Andrew Hill's street theory of black musical space
• Epilogue. The sonic archive of black spatiality.

"In Crossing Bar Lines: The Politics and Practices of Black Musical Space James Gordon Williams reframes the nature and purpose of jazz improvisation to illuminate the cultural work being done by five creative musicians between 2005 and 2019. The political thought of five African American improvisers-trumpeters Terence Blanchard and Ambrose Akinmusire, drummers Billy Higgins and Terri Lyne Carrington, and pianist Andrew Hill-is documented through insightful, multilayered case studies that make explicit how these musicians articulate their positionality in broader society. Informed by Black feminist thought, these case studies unite around the theory of Black musical space that comes from the lived experiences of African Americans as they improvise through daily life. The central argument builds upon the idea of space-making and the geographic imagination in Black Geographies theory. Williams considers how these musicians interface with contemporary social movements like Black Lives Matter, build alternative institutional models that challenge gender imbalance in improvisation culture, and practice improvisation as joyful affirmation of Black value and mobility. Both Terence Blanchard and Ambrose Akinmusire innovate musical strategies to address systemic violence. Billy Higgins's performance is discussed through the framework of breath to understand his politics of inclusive space. Terri Lyne Carrington confronts patriarchy in jazz culture through her Social Science music project. The work of Andrew Hill is examined through the context of his street theory, revealing his political stance on performance and pedagogy. All readers will be elevated by this innovative and timely book that speaks to issues that continue to shape the lives of African Americans today"-- Provided by publisher.

"In this book, Ronald Ebrecht has meticulously studied each of Duruflé’s works and put together the first book to discuss in detail all of Duruflé’s music. With encouragement from Duruflé’s editor and the foundation established in his name, Ebrecht has compiled copious examples from manuscript sources to be published for the first time along with the little-known contextualizing works of Messiaen and Barraine. Most widely known for his masterpiece Requiem, the composer’s orchestral gems are analyzed alongside his delightful miniature: the orchestration of the Sicilienne. The organ works which set the standard for virtuosity at conservatories around the world are given new insightful and thorough evaluation by Ebrecht, whose long association with late 19th and early 20th century France and French music affords illuminating connections between Duruflé and his predecessors and successors with sweeping insight and minute detail."-- Publisher's website

"For a century and more, the idea of democracy has fuelled musicians' imaginations. Seeking to go beyond music's proven capacity to contribute to specific political causes, musicians have explored how aspects of their practice embody democratic principles. This may involve adopting particular approaches to compositional material, performance practice, relationships to audiences, or modes of dissemination and distribution. Finding Democracy in Music is the first study to offer a wide-ranging investigation of ways in which democracy may thus be found in music. A guiding theme of the volume is that this takes place in a plurality of ways, depending upon the perspective taken to music's manifold relationships, and the idea of democracy being entertained. Contributing authors explore various genres including orchestral composition, jazz, the post-war avant-garde, online performance, and contemporary popular music, as well as employing a wide array of theoretical, archival, and ethnographic methodologies. Particular attention is given to the contested nature of democracy as a category, and the gaps that frequently arise between utopian aspiration and reality. In so doing, the volume interrogates a key way in which music helps to articulate and shape our social lives and our politics." -- Back cover

• Spaces and places
• Los tres grandes : redefining the mambo genre
• La mecha : Belisario López, José Fajardo, and Rolando Lozano
• Exile and adaptation : Eddy Zervigón and Orquesta Broadway
• Charanga or pachanga?
• Charanga embalao : Charlie Palmieri and Johnny Pacheco
• Charanguea'o en típico : Eddie Palmieri's La perfecta
• "I don't like it like that" : the Latin bugalú
• La charanga moderna and the modern charanga
• Conclusion : Defining New York sabor.

The first thorough exploration of the innovative, flute-driven Cuban dance music of New York, charanga.
"Improvising Sabor: Cuban Dance Music in New York begins in 1960s New York and examines in rich detail the playing styles and international influence of important figures in US Latin music. Such innovators as José Fajardo, Johnny Pacheco, George Castro, and Eddy Zervigón dazzled the Palladium ballroom and other Latin music venues in those crucible years. Author Sue Miller focuses on the Cuban flute style in light of its transformations in the US after the 1959 revolution and within the vibrant context of 1960s New York. While much about Latin jazz and salsa has been written, this book focuses on the relatively unexplored New York charangas that were performing during the chachachá and pachanga craze of the early sixties. Indeed, many accounts cut straight from the 1950s and the mambo to the bugalú's development in the late 1960s with little mention of the chachachá and pachanga's popularity in the mid-twentieth century. Improvising Sabor addresses not only this lost and ignored history, but contends with issues of race, class, and identity while evaluating differences in style between players from prerevolution Cuban charangas and those of 1960s New York. Through comprehensive explorations and transcriptions of numerous musical examples as well as interviews with and commentary from Latin musicians, Improvising Sabor highlights a specific sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York. The distinctive styles generated by these musicians sparked compelling points of departure and influence"-- Provided by publisher.

"The conventional way of understanding what musicians do as performers is to treat them as producers of sound; some even argue that it is unnecessary to see musicians in performance as long as one can hear them. But musical performance, counters Philip Auslander, is also a social interaction between musicians and their audiences, appealing as much to the eye as to the ear. In Concert: Performing Musical Persona he addresses not only the visual means by which musicians engage their audiences through costume and physical gesture, but also spectacular aspects of performance such as light shows. Although musicians do not usually enact fictional characters on stage, they nevertheless present themselves to audiences in ways specific to the performance situation. Auslander's term to denote the musician's presence before the audience is musical persona. While presence of a musical persona may be most obvious within rock and pop music, the book's analysis extends to classical music, jazz, blues, country, electronic music, laptop performance, and music made with experimental digital interfaces. The eclectic group of performers discussed include the Beatles, Miles Davis, Keith Urban, Lady Gaga, Nicki Minaj, Frank Zappa, B. B. King, Jefferson Airplane, Virgil Fox, Keith Jarrett, Glenn Gould, and Laurie Anderson"-- Provided by publisher.

• A Southwestern Ohio Bluegrass Timeline
• Appalachian Migration : Setting the Musical Stage in Southwestern Ohio / Phillip J. Obermiller
• Bobby Osborne Remembers How It Was / Bobby Osborne and Joe Mullins
• All the Way to the Fence : Bluegrass Broadcasting in the Miami Valley / Daniel Mullins
• Taking the Music Home : Bluegrass Recording Studios, Record Labels, and Record Stores / Mac McDivitt
• Sing Me Back Home : Early Bluegrass Venues in Southwestern Ohio / Larry Nager
• Using My Bible for a Roadmap : Sacred Bluegrass Music in the Miami Valley / Fred Bartenstein
• Green to Bluegrass : Reflections on an Unlikely Musical Career / Lily Isaacs
• Buckeyes in the Briar Patch : Southwestern Ohio Bluegrass in the 1970s / Jon Hartley Fox
• The Living Arts Center's East Dayton Roots / Rick Good
• Bluegrass Music and Urban Appalachian Identity in Cincinnati / Nathan McGee
• Distinctive Qualities of Southwestern Ohio Bluegrass / Ben Krakauer.

"In the twentieth century, Appalachian migrants seeking economic opportunities relocated to southwestern Ohio, bringing their music with them. Between 1947 and 1989, they created an internationally renowned capital for the thriving bluegrass music genre, centered on the industrial region of Cincinnati, Dayton, Hamilton, Middletown, and Springfield. Fred Bartenstein and Curtis W. Ellison edit a collection of eyewitness narratives and in-depth analyses that explore southwestern Ohio's bluegrass musicians, radio broadcasters, recording studios, record labels, and performance venues, along with the music's contributions to religious activities, community development, and public education. As the bluegrass scene grew, southwestern Ohio's distinctive sounds reached new fans and influenced those everywhere who continue to play, produce, and love roots music. Revelatory and multifaceted, Industrial Strength Bluegrass shares the inspiring story of a bluegrass hotbed and the people who created it"-- Provided by publisher.

• Introduction--
• 1. Historiography of the English 'Madrigal'--
• 2. The Music of Sense Perception--
• 3. Music and Myth: Confronting Representations and Realities--
• 4. Dialogues of Knowledge--
• 5. Conclusion--
• Appendix I: additional song and poem texts--
• Appendix II: Thomas Weelkes: 'Ha ha' (1608)--
• Appendix III: Weelkes: 'Thule, the period of Cosmographie' and 'The Andalusian Merchant' (1601)-- Index.
• (source: Nielsen Book Data)

Knowledge Building in Early Modern English Music is a rich, interdisciplinary investigation into the role of music and musical culture in the development of metaphysical thought in late sixteenth-, early seventeenth-century England. The book considers how music presented questions about the relationships between the mind, body, passions, and the soul, drawing out examples of domestic music that explicitly address topics of human consciousness, such as dreams, love, and sensing. Early seventeenth-century metaphysical thought is said to pave the way for the Enlightenment Self. Yet studies of the music's role in natural philosophy has been primarily limited to symbolic functions in philosophical treatises, virtually ignoring music making's substantial contribution to this watershed period. Contrary to prevailing narratives, the author shows why music making did not only reflect impending change in philosophical thought but contributed to its formation. The book demonstrates how recreational song such as the English madrigal confronted assumptions about reality and representation and the role of dialogue in cultural production, and other ideas linked to changes in how knowledge was built. Focusing on music by John Dowland, Martin Peerson, Thomas Weelkes, and William Byrd, this study revises historiography by reflecting on the experience of music and how music contributed to the way early modern awareness was shaped.
(source: Nielsen Book Data)

"Listen to Soul! Exploring a Musical Genre provides an overview of soul music for fans of the genre, with a focus on 50 must-hear singers, songs, and albums that define it"-- Provided by publisher.

"Award-winning music historian J. Peter Burkholder explores Charles Ives's diverse musical output and unusual career, discussing about thirty of the best and most characteristic pieces framed with biographical sketches. Offering readers of any background a guide to listening, this book is an ideal introduction to the iconic, American composer"-- Provided by publisher

• Introduction: Deutschland - Echt jetzt? German Popular Music's Complicated Relationship with German Identity Oliver Seibt, Martin Ringsmut, and David-Emil Wickstro m / Interview: Rocking the Academy? Two Cold-War Careers and the Emergence of Popular Music Studies and Higher Popular Music Education in Germany. An Interview with Peter Wicke and Udo Dahmen David-Emil Wickstroem / Part I: Historical Spotlights /
• 1: Transnational Networks and Intermedial Interfaces in German Popular Music, 1900-1939 Caroline Stahrenberg /
• 2: Nazis and Quiet Sounds: Popular Music, Simulated Normality, and Cultural Niches in the Terror Regime, 1933-45 Jens Gerrit Papenburg /
• 3: Conflicting Identities: The Meaning and Significance of Popular Music in the GDR Michael Rauhut /
• 4: 'Party on the Death Strip' - Reflections on an Historical Turning Point Susanne Binas-Preisendo rfer / Part II: Globally German /
• 5: The Krauts Are Coming: Electronic Music and Rock in the 1970s Ulrich Adelt /
• 6: German Metal Attack: Power Metal in and from Germany Jan-Peter Herbst /
• 7: German Longings: A Dialogue on the Promises and Dangers of National Stereotypes Melanie Schiller and Jeroen de Kloet / Part III: Also "Made in Germany" /
• 8: Peepl rock: Post-Soviet Popular Music in Germany David-Emil Wickstro m /
• 9: Made in Almanya: The Birth of Turkish Rap Thomas Solomo /
• 10: G.I. Blues and German Schlager: The Politics of Popular Music in Germany during the Cold War Bodo Mrozek / Part IV: Explicitly German /
• 11: Neue Deutsche Welle: Tactical Affirmation as a Strategy of Subversion Barbara Hornberger /
• 12: "One Day You Will Wish We'd Only Played Music": Some Remarks on Recent Developments of Germany's RechtsRock Scene Thorsten Hindrichs /
• 13: Hallo Blumenau, bom dia Brasil! German Music Beyond Germany Julio Mendiivil / Part V: Reluctantly German /
• 14: "Meine Lieder sind anders": Hildegard Knef and the Idea(l) of German Chanson Renei Michaelsen /
• 15: How Munich and Frankfurt Brought (Electronic) Dance Music to the Top of the International Charts with Eurodisco and Eurodance - and Why Germany Was Not Involved Heiko Wandler /
• 16: Japonisme 2.0: German visual-kei Fans, Tokio Hotel, and the Popular Music Genre That Must Not Exist Oliver Seibt / Coda /
• 17: The Germaican Connection - German Reggae Abroad Martin Ringsmut / Interview: Standing Up Against Discrimination and Exclusion: An Interview with Kutlu Yurtseven (Microphone Mafia) Monika E. Schoop / Selected Bibliography.
• (source: Nielsen Book Data)

Made in Germany: Studies in Popular Music serves as a comprehensive introduction to the history, sociology, and musicology of contemporary German popular music. Each essay, written by a leading scholar of German music, covers the major figures, styles, and social contexts of pop music in Germany and provides adequate context so readers understand why the figure or genre under discussion is of lasting significance. The book first presents a general description of the history and background of popular music in Germany, followed by essays organized into thematic sections: Historical Spotlights; Globally German; Also "Made in Germany"; Explicitly German; and Reluctantly German.
(source: Nielsen Book Data)

"Mastering in Music is a cutting-edge edited collection that offers twenty perspectives on the contexts and process of mastering. This book collects the perspectives of both academics and professionals to discuss recent developments in the field, such as mastering for VR and high resolution mastering, alongside crucial perspectives on fundamental skills, such as the business of mastering, equipment design and audio processing. Including a range of detailed case studies and interviews, Mastering in Music offers a comprehensive overview of the foremost hot topics affecting the industry, making it key reading for students and professionals engaged in music production"-- Provided by publisher

"The first study focusing on the composition of new plainchant in northern-French confraternities for masses and offices in honor of saints thought to have healing powers."-- Provided by publisher

• Music in Iberia and the Mashriq up to
• 711. Music in Iberia to 711 ; Arab music to 711
• Andalusi Music to the Fall of the Umayyad Caliphate, 711-1031. From the conquest to the reign of 'Abd al-Raḥmān II, 711-822 ; 'Abd al-Raḥmān II and Ziryāb, 822-858 ; The final years of the Caliphate, 858-1031
• Music in the Medieval Mediterranean. Instrumentarium ; Music Theory and Performance Practices ; The Musical Revolution in al-Andalus. From Ṣawt to Muwashshaḥ ; Hebrew Muwashshaḥāt
• Post-Umayyad Iberia (11th-17th c.). The Era of the 'Petty Kings,' Almoravids, and Almohads (11th-12th c.) ; The Age of Minstrels (13th -15th c.) ; Music of the Moriscos (16th-17th c.)

"The Musical Heritage of Al-Andalus is a critical account of the history of Andalusian music in Iberia from the Islamic conquest of 711 to the final expulsion of the Moriscos (Spanish Muslims converted to Christianity) in the early 17th century. This volume presents the documentation that has come down to us, accompanied by critical and detailed analyses of the sources written in Arabic, Old Catalan, Castilian, Hebrew, and Latin. It is also informed by research the author has conducted on modern Andalusian musical traditions in Morocco, Algeria, Tunisia, Egypt, Lebanon and Syria. While the cultural achievements of medieval Muslim Spain have been the topic of a large number of scholarly and popular publications in recent decades; what may arguably be its most enduring contribution - music - has been almost entirely neglected.The overarching purpose of this work is to elucidate as clearly as possible the many different types of musical interactions that took place in medieval Iberia and the complexity of the various borrowings, adaptations, hybridizations, and appropriations involved"-- Provided by publisher.

• Acknowledgments
• Introduction
• Chapter 1: Latin music education in New York
• Chapter 2: Strings and skins-Latin music instrument makers in New York
• Chapter 3: Sonny Bravo, Tipica 73, and the New York Sound
• Chapter 4: "This Guy Does Not Look Latin," the Panamanian connection-Race, ethnicity, and musical Identity in New York
• Chapter 5: Puerto Rican engagement with jazz and Its effects on Latin music
• Chapter 6: "Where's Barry?"-Another Look at Jews and Latin music in New York
• Chapter 7: "Invasión del 80/¡Yo vine del Mariel!-the musical impact of the Mariel boatlift"
• Conclusion
• Glossary
• Notes
• References
• Index

New York City has long been a generative nexus for the transnational Latin music scene. Currently, there is no other place in the Americas where such large numbers of people from throughout the Caribbean come together to make music. In this book, Benjamin Lapidus seeks to recognize all of those musicians under one mighty musical sound, especially those who have historically gone unnoticed. Based on archival research, oral histories, interviews, and musicological analysis, Lapidus examines how interethnic collaboration among musicians, composers, dancers, instrument builders, and music teachers in New York City set a standard for the study, creation, performance, and innovation of Latin music. Musicians specializing in Spanish Caribbean music in New York cultivated a sound that was grounded in tradition, including classical, jazz, and Spanish Caribbean folkloric music. For the first time, Lapidus studies this sound in detail and in its context. He offers a fresh understanding of how musicians made and formally transmitted Spanish Caribbean popular music in New York City from 1940 to 1990. Without diminishing the historical facts of segregation and racism the musicians experienced, Lapidus treats music as a unifying force. By giving recognition to those musicians who helped bridge the gap between cultural and musical backgrounds, he recognizes the impact of entire ethnic groups who helped change music in New York. The study of these individual musicians through interviews and musical transcriptions helps to characterize the specific and identifiable New York City Latin music aesthetic that has come to be emulated internationally.
(source: Nielsen Book Data)

• Preface Acknowledgments
• Chapter 1. Johann Sebastian Bach: Brandenburg Concerto No. 6, BWV 1051
• Chapter 2. Bela Bartok: Concerto for Viola and Orchestra, Sz. 120 (BB 128)
• Chapter 3. Hector Berlioz: Harold in Italy, op. 16
• Chapter 4. Ernest Bloch: Suite hebraique
• Chapter 5. York Bowen: Sonata No. 1 in C Minor for Viola and Piano, op. 18
• Chapter 6. Johannes Brahms: Sonata for Clarinet (or Viola) and Piano in E flat Major, op. 120, no. 2
• Chapter 7. Benjamin Britten: Lachrymae, op. 48
• Chapter 8. Max Bruch: Romanze for Viola and Orchestra, op. 85
• Chapter 9. Henri Casadesus: Concerto in B Minor for Viola and Orchestra (attributed to G. F. Handel)
• Chapter 10. Rebecca Clarke: Sonata for Viola and Piano
• Chapter 11. George Enescu: Concertstuck for Viola and Piano
• Chapter 12. Cecil Forsyth: Concerto in G Minor for Viola and Orchestra
• Chapter 13. Lilian Fuchs: Sonata Pastorale for Unaccompanied Viola
• Chapter 14. Aleksandr Glazunov: Elegie for Viola and Piano, op. 44
• Chapter 15. Paul Hindemith: Sonata for Viola and Piano, op. 11, no. 4
• Chapter 16. Paul Hindemith: Der Schwanendreher: Concerto after Old Folksongs for Viola and Small Orchestra
• Chapter 17. Franz Anton Hoffmeister: Concerto for Viola and Orchestra in D Major
• Chapter 18. Johann Nepomuk Hummel: Sonata for Piano and Viola, op. 5, no. 3
• Chapter 19. Bohuslav Martinu: Rhapsody-Concerto for Viola and Orchestra, H. 337
• Chapter 20. Felix Mendelssohn: Sonata in C Minor for Viola and Piano
• Chapter 21. Darius Milhaud: Quatre Visages for Viola and Piano, op. 238
• Chapter 22. Wolfgang Amadeus Mozart: Sinfonia concertante for Violin, Viola, and Orchestra, K. 364 (320d)
• Chapter 23. Krzysztof Penderecki: Cadenza for Viola Solo
• Chapter 24. Quincy Porter: Suite for Viola Alone
• Chapter 25. Max Reger: Three Suites for Solo Viola, op. 131d: No. 1 in G Minor
• Chapter 26. Robert Schumann: Marchenbilder for Viola and Piano, op. 113
• Chapter 27. Dmitry Shostakovich: Sonata for Viola and Piano, op. 147
• Chapter 28. Carl Stamitz: Concerto for Viola and Orchestra in D Major
• Chapter 29. Igor Stravinsky: Elegie for Viola or Violin Unaccompanied
• Chapter 30. Toru Takemitsu: A Bird came down the Walk, for viola and piano
• Chapter 31. Georg Philipp Telemann: Concerto in G Major for Viola, Strings, and Basso continuo, TWV 51:G9
• Chapter 32. Ralph Vaughan Williams: Suite for Viola and Small Orchestra
• Chapter 33. Henry Vieuxtemps: Elegie for Viola and Piano, op. 30
• Chapter 34. William Walton: Concerto for Viola and Orchestra
• Chapter 35. Carl Maria von Weber: Andante e Rondo ungarese for Viola and Orchestra, J. 79
• Bibliography Index.
• (source: Nielsen Book Data)

Notes for Violists: A Guide to the Repertoire offers historical and analytical information about thirty-five of the best-known pieces for the instrument, making it an essential resource for professional, amateur, and student violists alike. With engaging prose supported by fact-filled analytical charts, the book offers rich biographical information and insightful analyses that help violists gain a more complete understanding of pieces like Bela Bartok's Concerto for Viola and Orchestra, Rebecca Clarke's Sonata for Viola and Piano, Robert Schumann's Marchenbilder for Viola and Piano, op. 113, Carl Stamitz's Concerto for Viola and Orchestra in D Major, Igor Stravinsky's Elegie for Viola or Violin Unaccompanied, and thirty other masterpieces. This comprehensive guide to key pieces from the viola repertoire from the eighteenth through the twentieth century covers concertos, chamber pieces, and works for solo viola by a wide range of composers, including Bach, Telemann, Mozart, Hoffmeister, Walton, and Hindemith. Author David M. Bynog not only offers clear structural analyses of these compositions but also situates them in their historical contexts as he highlights crucial biographical information on composers and explores the circumstances of the development and performance of each work. By connecting performance studies with scholarship, this indispensable handbook for students and professionals allows readers to gain a more complete picture of each work and encourages them to approach other compositions in a similarly analytical manner.
(source: Nielsen Book Data)

• Introduction
• Damien Colas Gallet, Alessandro Di Profio
• Melo-dramatic concepts and configurations at the threshold of the eighteenth and nineteenth century
• Helen Geyer
• Chevaliers de l'ordre dorique ? Le cercle Florimo et la longue durée du classicisme napolitain
• Luca Zoppelli
• L'opéra-comique français au delà des Alpes : le cas du Raoul sire de Créqui de Dalayrac adapté pour la scène italienne (Monza, 1791) et remis en musique par Valentino Fioravanti
• (Naples, 1811)
• Emilio Sala
• Opera riformata e francesismi nell'opera italiana napoleonica. Cesare in Egitto di Giovanni Schmidt e Giacomo Tritto
• Paolo Russo
• Un cas de médiation culturelle : de Hécube à Ecuba (Nicola Manfroce, Naples 1812)
• Andrea Chegai
• Giuseppe et Luigi Mosca, ou La modernité dans la transition
• Daniele Carnini
• De Velluti à Nozzari. Éléments d'un transfert culturel dans l'opera serin napolitain (1806-1815)
• Arnold Jacobshagen
• Gabriella di Vergi de Michele Carafa (1816) : l'opéra napolitain à l'épreuve du genre terrible
• Olivier Bara
• Rire et faire rire alla napoletana. "Naturalisation" des artistes napolitains et italianisation du public parisien entre 1806 et 1815
• Céline Frigau Manning
• "Naples" et "napolitain" dans Le Théâtre-Italien. Étude lexicographique autour de l'opéra napolitain dans la presse française de 1801 à 1831
• Étienne Jardin.

"L'âge d'or de l'opéra italien au XIXe siècle, de Rossini à Verdi, n'est apparu ni par hasard ni par miracle. Il a été précédé par plusieurs épisodes expérimentaux en Europe, dont la réforme de l'opéra à Vienne dans les années 1760 est le plus connu. Le decennio francese à Naples constitue, dans l'histoire de l'opéra, l'une des périodes lés plus intéressantes à cet égard. C'est pendant ces dix années, de 1806 à 1815, que la confrontation entre la tradition italienne et des nouveautés exigées par l'administration française de Joseph Bonaparte, puis de Joachim Murat, aboutit à une refonte des cadres de composition de l'opéra italien. Ce volume collectif regroupe les contributions de spécialistes de divers pays européens et présente des études de cas relatives à quelques-unes des innovations majeures du decennio francese L'abolition des castrats eut pour conséquence l'émergence de l'emploi du ténor, qui allait connaître un développement sans précédent avec la génération romantique. L'oeuvre de librettistes, comme Schmidt, et de musiciens, comme Carafa, les frères Mosca ou encore Manfroce, illustre la vivacité des échanges entre France et Italie à cette époque. Enfin, à l'heure où les nouveautés importées de France s'imposaient à Naples, le public parisien succombait au charme de l'"école napolitaine", dont la "simplicité", réelle ou imaginée, s'opposait à la tradition du style galant. Naples fut ainsi, pendant ces dix années, l'un des principaux incubateurs de pratiques nouvelles dans le domaine de l'opéra."--Page 4 of cover.

The mass is an extraordinary musical form. Whereas other Western art music genres from medieval times have fallen out of favour, the mass has not merely survived but flourished. A variety of historical forces within religious, secular, and musical arenas saw the mass expand well beyond its origins as a cycle of medieval chants, become concertised and ultimately bifurcate. Even as Western societies moved away from their Christian origins to become the religiously plural and politically secular societies of today, and the Church itself moved in favour of congregational singing, composers continued to compose masses. By the early twentieth century two forms of mass existed: the liturgical mass composed for church services, and the concert mass composed for secular venues. Spanning two millennia, The Origins and Ascendancy of the Concert Mass outlines the origins and meanings of the liturgical texts, defines the concert mass, explains how and why the split occurred, and provides examples that demonstrate composers' gradual appropriation of the genre as a vehicle for personal expression on serious issues. By the end of the twentieth century the concert mass had become a repository for an eclectic range of theological and political ideas.

• Preface
• Acknowledgements
• 1. Music making then and now
• 2. With broad strokes (an overview)
• 3. The early days of piano: Haydn and Mozart
• 4. Beethoven and the evolving piano
• 5. Schubert
• 6. Chopin
• 7. The clavichord
• Epilogue: creativity in the performance of old music
• Appendix: overtone structure of the Steinway and Waler, compared
• Glossary of terms
• Notes
• Bibliography
• Index of works
• General index

• List of Images Introduction: Foolish Inconsistency
• 1. Penis Riot: Pussy Riot's Pre-Feminist Roots
• 2. Inciting a Pussy Riot
• 3. When is a Church not a Church?
• 4. Like a (Punk) Prayer
• 5. Hurting Believers' Feelings
• 6. Pussy Riot and Political Speech
• 7. Performance vs. Archive
• 8. Feminism and Other Dirty Words
• 9. Anonymity and Glamour: Does the Camera Love Pussy Riot? Conclusion.
• (source: Nielsen Book Data)

Both more and less than a band, Pussy Riot is continually misunderstood by the Western media. This book sets the record straight. After their scandalous performance of an anti-Putin protest song in Moscow's Cathedral of Christ the Savior and the imprisonment of two of its members, the punk feminist art collective known as Pussy Riot became an international phenomenon. But, what, exactly, is Pussy Riot, and what are they trying to achieve? The award-winning author Eliot Borenstein explores the movement's explosive history and takes you beyond the hype.
(source: Nielsen Book Data)

"The first edition of Rebel Musics, published in 2003, sought to explore how musical activism resonates in practical and political terms, how musical resistance brings together voices that might otherwise remain silent, and how political action through music increases the potential for people to determine their own fate. If anything, these issues seem to be even more pressing today. In celebration of the 50th anniversary of Black Rose Books, this second volume of Rebel Musics features a collection of new essays from artists and scholars that will continue to explore and spark debate about these vital topics in compelling ways. The book offers a fascinating journey into a rich, complex world, where music and politics unite, where rebel musicians are mobilizing for political change, resistance, and social justice. With explosive lyrics and driving rhythms, rebel musicians are helping to mobilize movements for political change and social justice, at home and around the world."-- Provided by publisher.

• Introduction. "La Plus Grande Consolatrice" : Music as a Corporeal Technology of Consolation in Interwar France
• Music Making as Emotional Care: Negotiating Trauma, Expressional Norms, and Politics in Wartime France
• Embodying Sonic Resonance As/After Trauma : Vibration, Music, and Medicine
• Soothing Movements : The Consolatory Potential of Musique Dépouillé's Rhythm and Repetition
• In Search of a Consolatory Past : Grief and Embodied Musical Memory
• Rire as Release and Rapport : Pleasure and Laughter in French Interwar Musical Theater
• Conclusion. Touched by Music Making : Intimacy and Love in the Wake of Trauma

"French Music and Trauma Between the World Wars illustrates that coping with trauma was a central concern for French musicians active after World War I. The losses and violent warfare of World War I shaped how interwar French musicians-from those fighting in the trenches and working in military hospitals to more well-known musicians-engaged with music. Situated at the intersections of musicology, history, sound and performance studies, and psychology and trauma studies, Resonant Recoveries argues that modernists' compositions and musical activities were sonorous locations for managing and performing trauma. Through analysis of archival materials, French medical, philosophical, and literary texts, and the music produced between the wars, this book illuminates how music emerged during World War I as an embodied technology of consolation. Resonant Recoveries demonstrates that music making came to be understood by French interwar musicians as a consolatory practice that enhanced their abilities to remember lost loved ones, gave them opportunities to perform their grief publicly and privately, allowed them to create healing bonds of friendship, and soothed them with sonic vibrations and the rhythmically regular bodily movements required in order to perform many French neoclassical compositions. In revealing the importance music making held for interwar French musicians, this book refigures French modernist music as a therapeutic medium for creators, performers, and audiences, while also underlining the importance of addressing trauma, mourning, and people's emotional lives in music scholarship"-- Provided by publisher

• Introduction 1.Culture and Transcendence: Three Explanations of Romanticism 2.The Archaeology of Film Music: Wagner, Liszt and the Symphonic Poem 3.Audio-Visual Explanations of Franz Liszt and His Music: Cultural Image and Schematic Types 4.'Nothing untrue, simply convenient': Song Without End (1960) and the Hollywood Composer Biopic 5.'Piss off, Brahms!': Lisztomania (1975) and Ken Russell in 1975
• Conclusion Appendix A. Music and Language Appendix B. Wagnerian Terminology and Film Bibliography Index.
• (source: Nielsen Book Data)

The relationship between Romanticism and film remains one of the most neglected topics in film theory and history, with analysis often focusing on the proto-cinematic significance of Richard Wagner's music-dramas. One new and interesting way of examining this relationship is by looking beyond Wagner, and developing a concept of audio-visual explanation rooted in Romantic philosophical aesthetics, and employing it in the analysis of film discourse and representation. Using this concept of audio-visual explanation, the cultural image of the Hungarian pianist and composer Franz Liszt, a contemporary of Wagner and another significant practitioner of Romantic audio-visual aesthetics, is examined in reference to specific case studies, including the rarely-explored films Song Without End (1960) and Lisztomania (1975). This multifaceted study of film discourse and representation employs Liszt as a guiding-thread, structuring a general exploration of the concept of Romanticism and its relationship with film more generally. This exploration is supported by new theories of representation based on schematic cognition, the philosophy of explanation, and the recently-developed film theory of Jacques Ranciere. Individual chapters address the historical background of audio-visual explanation in Romantic philosophical aesthetics, Liszt's role in the historical discourses of film and film music, and various filmic representations of Liszt and his compositions. Throughout these investigations, Will Kitchen explores the various ways that films explain, or 'make sense' of things, through a 'Romantic' aesthetic combination of sound and vision.
(source: Nielsen Book Data)

• Introduction / Jon Hackett
• A Night at the Opera : Updating The Phantom / Mark Duffett
• His Muscles Still Bulged Like Iron Bands' : King Kong and the Promotion of Lead Belly / Mark Duffett
• Colonel Parker and the Art of Commercial Exploitation : The Manager as Monster / Mark Duffett
• The Platformed Prometheus : Frankenstein and Glam Rock / Jon Hackett
• The Case of Mark Chapman : Extreme Fandom as Monstrosity? / Mark Duffett
• Exhuming the Gravediggaz : Gothic Hip Hop and Monster Capital / Jon Hackett
• Masculinity on Trial : Noir Désir and Perverse Narcissism / Jon Hackett
• 'Jingle Jangle Man' : Jimmy Savile, Paedophilia and the Music Industry / Mark Duffett.

"Through a series of case studies, Scary Monsters examines masculinity in popular music culture from the perspective of research into monstrosity"-- Provided by publisher.

"Contributions by Nilanjana Bhattacharjya, Benjamin Burkhart, Ivy Chevers, Martha I. Chew Sánchez, Athena Elafros, William García-Medina, Sara Goek, Eyvind Kang, Junko Oba, Juan David Rubio Restrepo, and Gareth Dylan Smith In Scattered Musics, editors Martha I. Chew Sánchez and David Henderson, along with a range of authors from a variety of scholarly backgrounds, consider the musics that diaspora and migrant populations are inspired to create, how musics and musicians travel, and how they change in transit. Its authors cover a lot of ground: cumbia in Mexico, música sertaneja in Japan, hip-hop in Canada, Irish music in the US and the UK, reggae and dancehall in Germany, and more. Diasporic groups transform the musical expressions of their home countries as well as those in their host communities. The studies collected here show how these transformations are ways of grappling with ever-changing patterns of movement. Different diasporas hold their homelands in different regards. Some communities try to recreate home away from home in musical performances, while others use music to critique and redefine their senses of home. Through music, people seek to reconstruct and refine collective memory and a collective sense of place. The essays in this volume-by sociologists, historians, ethnomusicologists, and others-explore these questions in ways that are theoretically sophisticated yet readable making evident the complexities of musical and social phenomena in diaspora and migrant populations. As the opening paragraph of the introduction to the volume observes, "What remains when people have been scattered apart is a strong urge to gather together, to collect." At few times in our lives has that ever been more apparent than right now"-- Provided by publisher.

• Download Table of Contents
• Introduction: Into the Music Rooms Kirkland A. Fulk
• Chapter 1. Licht aus-Spot an: How Schlager (ZDF 1969-1984) Beat Disco (ZDF 1971-1982) Sunka Simon
• Chapter 2. The Birth of Autotune and the Loop of (West) German Identity Cyrus Shahan
• Chapter 3. Wenn eine Band lange Zeit lebt: Pudhys, Politics, and Popularity John Littlejohn
• Chapter 4. DIY, im Eigenverlag: East German Tamizdat LPs Seth Howes
• Chapter 5. Poetry of an Alien: Black Tape, Silo Nation, and the Historiography of German Hip-Hop's Alte Schule Kai-Uwe Werbeck
• Chapter 6. Death in June and the Apoliteic Specter of Neofolk in Germany Mirko M. Hall
• Chapter 7. Knitted Naked Suits and Shedding Skins: The Body Politics of Popfeminist Musical Performances in the Twenty-first Century Maria Stehle
• Chapter 8. Searching for the Young Soul Rebels: On Writing, New Wave, and the Ends of Cultural Studies Richard Langston.
• (source: Nielsen Book Data)

For decades, Germany has been shaped and reshaped by the sounds of popular music-whether viewed as uniquely German or an ideological invader from abroad. This collected volume brings together leading figures in the field of German Studies, popular music studies, and cultural studies at large to survey the sociopolitical impact of music on conceptions of the German state and national identity, gender and sexuality, and transnational cultural production and consumption, expanding on the ways in which sounds, technologies, media practices, and exchanges of popular music provide a unique glimpse into the cultural dynamics of postwar Germany.
(source: Nielsen Book Data)

From one of the most lyrically gifted, socially conscious rappers of the past twenty years, Vibrate Higher is a firsthand account of hip-hop as a political force Before Talib Kweli became a world-renowned hip hop artist, he was a Brooklyn kid who liked to cut class, spit rhymes, and wander the streets of Greenwich Village with a motley crew of artists, rappers, and DJs who found hip hop more inspiring than their textbooks (much to the chagrin of the educator parents who had given their son an Afrocentric name in hope of securing for him a more traditional sense of pride and purpose). Kweli's was the first generation to grow up with hip hop as established culture--a genre of music that has expanded to include its own pantheon of heroes, rich history and politics, and distinct worldview. Eventually, childhood friendships turned into collaborations and Kweli gained notoriety as a rapper in his own right. From collaborating with some of hip hop's greatest--including Mos Def, Common, Kanye West, Pharrell Williams, and Kendrick Lamar--to selling books out of the oldest African-American bookstore in Brooklyn, and ultimately leaving his record label and taking control of his own recording career, Kweli tells the winding, always compelling story of the people and events that shaped his own life as well as the culture of hip hop which informs American culture at large. Vibrate Higher illuminates Talib Kweli's upbringing and artistic success, but so too does it give life to hip hop as a political force--one that galvanized the Movement for Black Lives, and serves a continual channel for resistance against the rising tide of white nation.

"Historically Informed Performance, or HIP, has become an influential and exciting development for scholars, musicians, and audiences alike. Yet it has not been unchallenged, with debate over the desirability of its central goals and the accuracy of its results. The author suggests ways out of this impasse in Romantic performance style. In this wide-ranging study, pianist and scholar Andrew John Snedden takes a step back, examining the strengths and limitations of HIP. He proposes that many problems are avoided when performance styles are understood as expressions of their cultural era rather than as simply composer intention, explaining not merely how we play, but why we play the way we do, and why the nineteenth century Romantics played very differently. Snedden examines the principal evidence we have for Romantic performance style, especially in translation of score indications and analysis of early recordings, finally focusing on the performance styles of Liszt and Chopin. He concludes with a call for the reanimation of culturally appropriate performance styles in Romantic repertoire. This study will be of great interest to scholars, performers, and students, to anyone wondering about how our performances reflect our culture, and about how the Romantics played their own culturally-embedded music"-- Provided by publisher.

• Music and the Social (Introduction)
• Music and Identity Politics
• Sonic Politics from Above, Below, and Within Market Circuits
• Tourism, Nostalgia, and the Fabrication of 'Authenticity' : 'Sonic Urban' Identities
• Music Goes Museum : Cultural Heritage Politics and Museums of Popular Music in Brazil, Jamaica, and the U.S. Deep South
• Music in Literature and the Arts : Black Historiographies
• Sonic America(s) : Politics of Recognition and Recent Trends in Music Documentary to Rethink the Relation between Music and the Social.

"This book begins from the premise that we are living in an age in which the social is in a continuous process of reinvention. The book is also grounded in the assumption that music is a perennial key player in the processes of reinventing the social since music holds the power to stimulate and transport visions of change through its appeal to all human senses in the Americas and beyond the American hemisphere. Chapters address the intersection of music and identity politics, the role of music in social movements, music's presence in commodity and tourist culture, music in the context of museum culture, music's presence in literature and the visual arts, and music documentary as alternative sonic historiography"-- Provided by publisher.

• Introducing A Women's History of the Beatles
• "Remember Me" : Stories from Merseyside
• With the Beatles : A Fan History
• "Don't Blame it On Yoko" : Wives and Girlfriends in the Beatles Fairy Tale
• "Free as a Bird" : Music-Making and the Liberatory Beatlesque
• "Think For Yourself" : Entrepreneurs and Intellectuals
• Conclusion. Beatles History, Women's Lives.

"The only academic book to discuss the Beatles and their social and cultural impact as understood through the experiences and lives of women"-- Provided by publisher.

• Vorwort / Johanna Rachinger
• Vorwort der Herausgeber / Stefan Engl und Andrea Harrandt
• Musiksammlungen und Bibliotheksgeschichte
• Von der Schlafkammer übers Mauerloch in den Prunksaal und in die Stadtpalais : Eine kurze Geschichte der Musiksammlung der Österreichischen Nationalbibliothek am Beispiel des Pomo d'oro / Stefan Engl
• Aus der Korrespondenz an Anton Schmid (1787-1857) : Scriptor und Custos der K.K. Hofbibliothek / Otto Biba
• "... die Fixierung der vergänglichsten aller Kunstleistungen, der Musik" : Zwei Institutionen mit gleichem Ziel / Gerda Lechleitner
• Der Nachlass Hans Pfitzner in der Musiksammlung der Österreichischen Nationalbibliothek / Michaela Auchmann
• Der Nachlass Luna Alcalays in der Musiksammlung der Österreichischen Nationalbibliothek / Christa Traunsteiner
• Provenienzforschung an der Universitätsbibliothek Mozarteum Salzburg : Ein Bericht / Manfred Kammerer
• Über die allmähliche Verfertigung der gebäude beim hören : Josef Reiters musikalische Intervention im Prunksaal der Österreichischen Nationalbibliothek 1996 / Hans Petschar
• Die Sendung des Prokurators der China-Mission, Pater Prospero Intorcetta S.J., an Kaiser Leopold I. im Jahr 1672 / Jan Mokre
• Musik In Geschichte und Gegenwart
• Zu Tisch mit den Königen : Guillaume de Machaut und der Krakauer Kongress von 1364 / Eike Rathgeber
• Die Blockflöte als Begleitinstrument der Singstimme in der Barockoper am Wiener Kaiserhof zu Beginn des 18. Jahrhunderts : Einblicke in die Klangfarbensymbolik des Flauto dolce / Barbara Fuchslehner
• "Mehr auf die Ergötzung des Ohres, als auf den Ausdruck einer bestimmten Empfindung" : Das Wiener Divertimento / Martin Eybl
• Unvollkommener Versuch über das Vollkommene : Wie spricht man über Mozart? / Joachim Reiber
• Der Karrierestart von Joseph Lanner und Johann Strauss (Vater) / Thomas Aigner
• Franz Liszt in Tirol / Martin Czernin
• Multi-Identität versus Exotismus : Carl Goldmarks Ort im Kreis der musikalischen Eliten Wiens / Cornelia Szabó-Knotik
• Der Sündenfall des Eduard Hanslick : Überlegungen zum musikalischen Verstehen / Reiner Nägele
• Fragen, Thesen und Anmerkungen zu Eduard Hanslicks Musikästhetik : Versuch, ihre Widersprüche zu verstehen, samt einer vorläufigen Conclusio / Hans-Joachim Hinrichsen
• Bachianas austriacas : Vorläufige Anmerkungen zu einer verschollenen österreichischen Musikerfamilie / Claus-Christian Schuster
• Promoting Mahler, 1880-1930 / Paul Banks
• Julius Bittner : Ein Opernmeister als Symphoniker / Wilhelm Sinkovicz
• Wilhelm Grosz (1894 Wien : 1939 New York) : Komponist, Pianist, Dirigent : Erste Erfolge in Wien / Carmen Ottner
• Konzert-Programm-Austausch : Breitkopf und Härtel and the international circulation of concert programmes, 1893-1943 / Rupert Ridgewell
• "Die Gefahr kommt näher [... und] führt zur Katastrophe" : Schönbergs "Lichtspielscene" im Kontext der Wiener Schule / Hartmut Krones
• "Da wohnt das Glück!" : Alban und Helene Bergs Waldhaus in Auen am Wörthersee : Mit der Erstveröffentlichung eines Briefes von Alban Berg / Daniel Ender
• Alban Berg in seiner Zeit / Herwig Knaus
• "Je mehr Quinten platzen, desto mehr neue werden eben fabricirt" : Darmsaite versus Stahlsaite in der Zeitschrift für Instrumentenbau, 1880-1940 / Rudolf Hopfner
• "Was heisst und zu welchem Ende studiert man Musikpädagogik?" : Eine Nicht-Beantwortung in nicht-pädagogischen, literarischphilosophischen Streifzügen / Christoph Khittl
• Ludwig Van Beethoven
• Interdependenzen zwischen Beethovens Freundes- und Bekanntenkreisen im Rheinland und in Wien im Spiegel von Helene von Breunings Stammbuch (1832-1848) / Michael Ladenburger
• "Eine grosse musikalisch-declamatorische Academie dem Andenken Göthe's und Beethoven's geweiht", veranstaltet von der Gesellschaft der Musikfreunde in Wien im Jahr 1834 / Ingrid Fuchs
• Schaffensspuren : Kognitive Prozesse im Spiegel der Skizzen zum 2. Satz von Beethovens 6. Symphonie, op. 68 / Benedikt Lodes
• Die Beethoven-Sammlung der Staatsbibliothek zu Berlin : Zur Chronologie der Bestands- und Erschliessungsgeschichte / Martina Rebmann
• Anton Bruckner
• "Aber droben im Festspielhause lebt er noch ..." : Die Brüder Schalk bei den Bayreuther Festspielen / Andrea Harrandt
• The Early History of Anton Bruckner's Seventh Symphony / Paul Hawkshaw
• "Die Philharmoniker sollen thun, was sie wollen" / Clemens Hellsberg
• Bruckneriana : Aktuelle Fundstücke aus der "Feldforschung" / Renate Grasberger und Elisabeth Maier
• "Das Mystische" und "die Gestalt" : Anton Bruckner und die österreichische Philosophie des 20. Jahrhunderts / Johannes Leopold Mayer
• Anhang
• Bibliografie Thomas Leibnitz
• Register

• Introduction
• The first Rollini generation arrives in the USA
• Piano roll artist
• Ed Kirkeby and the California Ramblers
• The California Ramblers taking off
• The California Ramblers grown up
• The California Ramblers to the top with Adrian Rollini
• The California Ramblers back to business
• Kirkeby loses his grip, the end of the contracts
• Freelancer Adrian Rollini
• A band of his own
• With Fred Elizalde in England,
• With Fred Elizalde in 1929, the second year
• Out of Europe and into the Depression: Bert Lown
• Adrian Rollini: freelance
• Back to the California Ramblers and Bert Lown
• In and out of the deepest depression
• A shop and a trio
• Trio years: before and during the war
• Postwar trio years
• Appendix 1: Adrian Rollini's instruments
• Appendix 2: Engagements without definite dates
• Appendix 3: Filmography
• Appendix 4: Adrian Rollini compositions
• Appendix 5: Adrian Rollini recordings issued on CD

Adrian Rollini (1903-1956), an American jazz multi-instrumentalist, played the bass saxophone, piano, vibraphone, and an array of other instruments. He even introduced some, such as the harmonica-like cuesnophone, called Goofus, never before wielded in jazz. Adrian Rollini: The Life and Music of a Jazz Rambler draws on oral history, countless vintage articles, and family archives to trace Rollini's life, from his family's arrival in the US to his development and career as a musician and to his retirement and death. A child prodigy, Rollini was playing the piano in public at the age of five. At sixteen in New York he was recording pianola rolls when his peers recognized his talent and asked him to play xylophone and piano in a new band, the California Ramblers. When he decided to play a relatively new instrument, the bass saxophone, the Ramblers made their mark on jazz forever. Rollini became the man who gave this instrument its place. Yet he did not limit himself to playing bass parts-he became the California Ramblers' major soloist and created the studio and public sound of the band. In 1927 Rollini led a new band that included such jazz greats as Bix Beiderbecke and Frank Trumbauer. During the Depression years, he was back in New York playing with several bands including his own New California Ramblers. In the 1940s, Rollini purchased a property on Key Largo. He rarely performed again for the public but hosted rollicking jam sessions at his fishing lodge with some of the best nationally known and local players. After a car wreck and an unfortunate hospitalization, Rollini passed away at age fifty-three.
(source: Nielsen Book Data)

• Prologue: Music and Language Music, Logos, Musicology After Debussy The margins of philosophy Part I: Saying Nothing
• 1. Sirenes Wordless voices Shipwreck and abyss Constellation
• 2. Melisande and the silence of music Framing nothing Orchestral voices Being mute
• 3. Mallarme and the edge of language Breathing Fold upon fold Empty words Part II: Appearing
• 4. Coming to presence Apparition Present absence Evanescence
• 5. Mirrors Reflection Threshold Echo
• 6. Taking place Listening to landscape Le jardin clos: dwelling in music Landscapes without figures Part III: Touching
• 7. The art of touch Debussy at the piano Bathers Towards an erotics of music
• 8. Writing the body L'ecriture musicale Imaginary bodies The philosopher's body
• 9. Thinking in sound The play of the sensible The grammar of dreams Music as knowing Epilogue: Being musical After words Before words The margins of music Bibliography Guide to discussion of individual works.
• (source: Nielsen Book Data)

Classical music shows a close relationship to language, and both musicology and philosophy have tended to approach music from that angle, exploring it in terms of expression, representation, and discourse. This book turns that idea on its head. Focusing on the music of Debussy and its legacy in the century since his death, After Debussy offers a groundbreaking new perspective on twentieth-century music that foregrounds a sensory logic of sound over quasi-linguistic ideas of structure or meaning. Author Julian Johnson argues that Debussy's music exemplifies this idea, influencing the music of successive composers who took up the mantle of emphasizing sound over syntax, sense over signification. In doing so, this music not only anticipates a central problem of contemporary thought-the gap between language and our embodied relation to the world-but also offers a solution. With a readable narrative structure grounded in an impressive body of literature, After Debussy ranges widely across French music, demonstrating the impact of Debussy's music on composers from Faure and Ravel to Dutilleux, Boulez, Grisey, Murail and Saariaho. It ranges similarly through a set of French writers and philosophers, from Mallarme and Proust to Merleau-Ponty, Jankelevitch, Derrida, Lyotard and Nancy, and even draws from the visual arts to help embody key ideas. In accessibly tackling substantial ideas of both musicology and philosophy, this book not only presents bold new ways of understanding each discipline but also lays the groundwork for exciting new discourse between them.
(source: Nielsen Book Data)

• Sounding Carnival
• Mixed Modes and Performance Codes of Political Demonstrations and Carnival
• Wyclef's Score: Popular Motion, Emotion, and Commotion
• Sweet Micky's Allure : Vagabonds, Vulgarities, and Street Politics
• The Konpa President's Government on Parade
• Ti Lili and Nèg Bannann nan (the Banana Man)
• The Population's Bacchanalia
• Response from the Roots: Still Not Afraid
• Re-Sounding Mizik Angaje

"Haitian carnival offers a lens into popular power and politics. Political demonstrations in Haiti often manifest as musical performances. Studying carnival and political protest side by side brings insight to the musical engagement that ordinary citizens and celebrity musicians often cultivate and revere in contemporary Haiti. This book explores how the self-declared president of konpa Sweet Micky (Michel Martelly) rose to the nation's highest office while methodically crafting a political product inherently entangled with his musical product. It offers deep historical perspective on the characteristics of carnivalesque verbal play-and the performative skillset of the artist (Sweet Micky) who dominated carnival for more than a decade-including vulgarities and polemics. It moreover demonstrates that the practice of leveraging the carnivalesque for expedient political function has precedence in Haiti's history. Yet there has been profound resistance to this brand of politics led by many other high-profile artists, including Matyas and Jòj, Brothers Posse, Boukman Eksperyans, and RAM. These groups have each released popular carnival songs that have contributed to the public's discussions on what civic participation and citizenship in Haiti can and should be. Author Rebecca Dirksen presents an in-depth consideration of politically and socially engaged music and what these expressions mean for the Haitian population in the face of challenging political and economic circumstances. After the Dance, the Drums Are Heavy centers the voices of Haitian musicians and regular citizens by extensively sharing interviews and detailed analyses of musical performance in the context of contemporary events well beyond the musical realm"-- Provided by publisher

• Introduction - Myth and reality Part One: The 16th and 17th centuries
• 1. Context
• 2. Creation
• 3. Transformation Part Two: The 18th century
• 4. Show business
• 5. 18th century sources 1 - Blainville and Mozart
• 6. 18th century sources 2 - The Paris and Manchester manuscripts
• 7. 'Con suoi rifiorimente, come si deve eseguire' - What the earliest ornamented manuscripts show Part Three: The 19th century
• 8. The Papal Choir in the 19th century 1 - Giuseppe Baini
• 9. 19th century sources 1 - British Library Add. MS 31525 and related manuscripts
• 10. 19th century sources 2 - Alfieri's Il Salmo Miserere of 1840
• 11. The Papal Choir in the 19th century 2 - Domenico Mustafa
• 12. 19th century sources 3 - The Vatican manuscript of Domenico Mustafa Part Four: Performing the Miserere in the 20th century
• 13. The current 'popular' version of the Allegri Miserere: the 'English Miserere'
• 14. Introduction to the editions
• 15. Aspects of performance practice 1 - Performing pitch
• 16. Aspects of performance practice 2 - Expression
• 17. Aspects of performance practice 3 - Performing forces
• 18. Conclusion Part Five: Appendices, editions and notes Bibliography.
• (source: Nielsen Book Data)

The Miserere attributed to the Italian composer Gregorio Allegri (1582-1652) is one of the most popular, often performed and recorded choral pieces of late Renaissance/early Baroque music. It was composed during the reign of Pope Urban VIII in the 1630s, for the exclusive use of the Papal Choir in the Sistine Chapel during Holy Week, the last of thirteen surviving Misereres sung at the services of Tenebrae since 1514. When the young Mozart visited Rome, so the story goes, he transcribed it from memory, risking excommunication but helping posterity to reclaim the piece. Yet the Miserere known today bears little resemblance to Allegri's original or to its method of performance before 1900. This book is the first detailed account of this iconic work's performance history in the Sistine Chapel, in particular focussing on its heyday in the eighteenth and nineteenth centuries. Rather than looking at the Miserere as a work on paper, the key to its genesis - as this book reveals - can only be found in a performance context. The book includes consideration both of the implications of that context in recreating it for performance, and of the history and practice of the "English Miserere" - the version commonly heard today. Appendices present key source transcriptions and two performance editions. GRAHAM O'REILLY is founder and conductor of the French-based Ensemble William Byrd, which recorded the Miserere from a late Vatican manuscript in 2000.
(source: Nielsen Book Data)

• Acknowledgments
• Introduction
• Fiddle tunes in music commonplace books: young musicians illustrate American taste at the beginning of the nineteenth century
• Charles Morris Cobb, William Sidney Mount, and their large manuscript music collections from the 1840s to the 1850s
• Fiddlers noving south, and west, and away from notation
• Notes
• Bibliography
• Index

This unique volume is the only book solely about antebellum American fiddling. It includes more than 250 easy-to-read and clearly notated fiddle tunes alongside biographies of fiddlers and careful analysis of their personal tune collections. The reader learns what the tunes of the day were, what the fiddlers' lives were like, and as much as can be discovered about how fiddling sounded then. Personal histories and tunes' biographies offer an accessible window on a fascinating period, on decades of growth and change, and on rich cultural history made audible. In the decades before the Civil War, American fiddling thrived mostly in oral tradition, but some fiddlers also wrote down versions of their tunes. This overlap between oral and written traditions reveals much about the sounds and social contexts of fiddling at that time. In the early 1800s, aspiring young violinists maintained manuscript collections of tunes they intended to learn. These books contained notations of oral-tradition dance tunes - many of them melodies that predated and would survive this era - plus plenty of song melodies and marches. Chris Goertzen takes us into the lives and repertoires of two such young men, Arthur McArthur and Philander Seward. Later, in the 1830s to 1850s, music publications grew in size and shrunk in cost, so fewer musicians kept personal manuscript collections. But a pair of energetic musicians did. Goertzen tells the stories of two remarkable violinist/fiddlers who wrote down many hundreds of tunes and whose notations of those tunes are wonderfully detailed, Charles M. Cobb and William Sidney Mount. Goertzen closes by examining particularly problematic collections. He takes a fresh look at George Knauff's Virginia Reels and presents and analyzes an amateur musician's own questionable but valuable transcriptions of his grandfather's fiddling, which reaches back to antebellum western Virginia.
(source: Nielsen Book Data)

• Acknowledgments
• 1 Interlocking Sounds, Interlocking Communities
• 2 Early Encounters in Bimusicality
• 3 From Bali to America: Teachers and Transitions
• 4 Creating and Conceptualizing a Balinese American Gamelan Community
• 5 Teaching, Learning, Representing
• 6 Americans Learning Gamelan in Bali
• 7 Kembali: To Return or Change
• 8 Bimusicality and Beyond
• 9 Sustainability and the Academic World Music Ensemble
• 10 Cultivating New Flowers Glossary Notes References Index.
• (source: Nielsen Book Data)

Gamelan and American academic institutions have maintained their close association for more than sixty years. Elizabeth A. Clendinning illuminates what it means to devote one's life to world music ensemble education by examining the career and community surrounding the Balinese-American performer and teacher I Made Lasmawan. Weaving together stories of Indonesian and American practitioners, colleagues, and friends, Clendinning shows the impact of academic world music ensembles on the local and transnational communities devoted to education and the performing arts. While arguing for the importance of such ensembles, Clendinning also spotlights how performers and educators use them to create stable and rewarding artistic communities. Cross-cultural ensemble education emerges as a worthy goal for students and teachers alike, particularly at a time when people around the world express more enthusiasm about raising walls to keep others out rather than building bridges to invite them in.
(source: Nielsen Book Data)

• Introduction
• Melody and counterpoint
• Bass lines and harmonic structure
• Linear techniques
• Tonal structure
• Techniques of melodic prolongation
• Some basic elaborations of fundamental structures
• One-part forms
• Binary forms
• Ternary forms and rondo
• Sonata principle
• Some common tonal patterns and procedures
• Appendix: Introduction to graphic notation

The authors use specific, memorable compositions to explain structural principles. This approach teaches students how to think about, critically examine, understand, and perform great compositions of Western art music. Part 1 covers principles fundamental to the study of Schenkerian analysis and includes discussions of melody, counterpoint, bass-line structures, the imaginary continuo, linear techniques, and the essential properties of the Ursatz (fundamental structure). Part 2 presents complete compositions by formal category, beginning with one-part forms; proceeding through binary, ternary, and rondo forms; and concluding with the sonata principle. The book includes more than 200 analytical graphs, an appendix on graphic notation, and a bibliography

• Slippery concepts : Music, sound, and noise
• Private individuals and the music from elsewhere
• Sharing spaces and sounds in public and private
• Sound, music and violence
• What music? Taste, moral and value
• Regarding the sound of the others

"Discusses the role of uninvited music in our day-to-day lives and its personal and social impacts"-- Provided by publisher

"The definitive biography of the rock 'n' roll kings of the North. With extensive, first-hand reflections from Geddy Lee, Alex Lifeson, and Neil Peart, as well as from family, friends, and fellow musicians, Anthem: Rush in the '70s is a detailed portrait of Canada's greatest rock ambassadors. The first of three volumes, Anthem puts the band's catalog, from their self-titled debut to 1978's Hemispheres (the next volume resumes with the release of Permanent Waves) into both Canadian and general pop culture context, and presents the trio of quintessentially dependable, courteous Canucks as generators of incendiary, groundbreaking rock 'n' roll. Fighting complacency, provoking thought, and often enraging critics, Rush has been at war with the music industry since 1974, when they were first dismissed as the Led Zeppelin of the north. Anthem, like each volume in this series, celebrates the perseverance of Geddy, Alex, and Neil: three men who maintained their values while operating from a Canadian base, throughout lean years, personal tragedies, and the band's eventual worldwide success."--Provided by publisher

• Introduction / Gregorio Bevilacqua [and] Thomas B. Payne
• List of cited manuscripts
• The production of polyphonic conductus collections in ars antiqua manuscripts / Gregorio Bevilacqua
• Texting vocality: musical and material poetics of the voice in medieval Latin song / Mary Channen Caldwell
• Poetic and melodic recurrences in the thirteenth-century refrain repertoire / Anne Ibos-Augé
• Franco of Cologne, Ars canus mensuravilis: ligature, notation and mode / Kaho Inoue
• L'audito del pulchum musicale in Tommaso d'Aquino e Bonaventura da Bagnoregio / Matteo Macinanti
• The corpus of sequences for Saint Anthony of Padua: a study of the musical sources / Mausica Morandi
• Britain's cleric composers: poetic stress and ornamentation in Worldes blis / Grace Newcombe
• Vetus abit littera: from the old to the new law in Parisian conductus / Thomas B. Payne
• Conductus sine musica: some thoughts on the poetic sources of Latin songs / Anne-Zoé Rillon-Marne
• Mapping melodic composition: a metadata approach to understanding the creation of Parisian organum dupulm / Jennifer Louise Roth-Burnette
• Polyphonic music in the British Isles c.
• 1300: networks of practice / Amy Williamson
• Abstracts
• Biographies
• Index of names

• Who Were the Experts? Defining Excellence, Quality, and Style : Consultants as Contributory Experts ; Gatekeeping from Within : Grantmaking Officers as Interactional Experts ; Pluralism and Public-Private Relationships in the Field of Cultural Production
• Experts in Action. Rockefeller Foundation, the University New Music Center, and "Foundation Music" ; The Ford Foundation, Matching Grants, and Endowment Building ; The National Endowment for the Arts, the United States Bicentennial, and the Expansion Arts and Jazz-Folk-Ethnic Programs

From the end of the Second World War through the U.S. Bicentennial, the National Endowment for the Arts, the Rockefeller Foundation, and the Ford Foundation granted close to $300 million (approximately $2.3 billion in 2017 dollars) in the field of music alone. In deciding what to fund, these three grantmaking institutions decided to "ask the experts, " adopting seemingly objective, scientific models of peer review and specialist evaluation. They recruited music composers at elite institutions, professors from prestigious universities, and leaders of performing arts organizations. Among the most influential expert-consultants were Leonard Bernstein, Aaron Copland, Lukas Foss, and Milton Babbitt. The significance was two-fold: not only were male, Western art composers put in charge of directing large and unprecedented channels of public and private funds, but in doing so they also determined and defined what was meant by artistic excellence. They decided the fate of their peers and shaped the direction of music-making in this country. By asking the experts, the grantmaking institutions produced a concentrated and interconnected field of artists and musicians. Officers and directors utilized ostensibly objective financial tools like matching grants and endowments in an attempt to diversify and stabilize applicants' sources of funding, as well as the number of applicants they funded. Such economics-based strategies, however, relied more on personal connections among the wealthy and elite, rather than local community citizens. Ultimately, this history demonstrates how "expertise" served as an exclusionary form of cultural and social capital that prevented racial minorities and non-dominant groups from fully participating.
(source: Nielsen Book Data)