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• 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)

"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 across the past hundred years of Russian music. The chapters move by compositional style across the century and each address a single work by a different composer, covering pieces by Rachmaninoff, Myaskovsky, Prokofiev, Shostakovich, Mansurian, Roslavets, Mosolov, Lourié, 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 a richer understanding of how to listen to and interpret their music"-- Provided by publisher.

• Prologue
• Mer et mère
• La liberté à l'école du documentaire
• Barcelone 1936
• Deuil et dépression, connaissance et reconnaissance, l'année 1937
• Les tentations d'outre-Atlantique
• Le retour de l'enfant prodig(u)e
• Naissance du Wozzeck britannique
• Adieu au cinéma, opéras de voyage
• Un petit Bayreuth maritime
• Le temps des déconvenues
• Un chef-d'oeuvre réparateur
• Désir d'Orient
• Revisiter Shakespeare
• Chaudes amitiés de la guerre froide
• Le tournant du demi-siècle
• Retour inégal à Henry James
• Miroir de Venise
• Derniers feux
• Epilogue.

"Originaire de la région du Suffolk, Benjamin Britten (1913-1976) est élève de Frank Bridge puis boursier au Royal College of Music de Londres. D'abord compositeur pour le cinéma, il rencontre le ténor Peter Pears (1910-1986, son futur compagnon et interprète) en 1937 avec qui il s'exilera trois ans aux USA pendant la guerre. Ses premiers opéras, Peter Grimes (1945) et Le viol de Lucrèce (1946), le poussent à créer sa compagnie, l'English Opera Group, privilégiant ensuite des formes réduites pour en faciliter les productions, comme Albert Herring (1947), Le tour d'écrou (1954) ou les Paraboles d'église (1964-68), tout en composant encore des pièces imposantes comme Billy Budd (1951), Le Songe d'une nuit d'été (1960) ou son testamentaire Mort à Venise (1973). Pacifiste et ami de Rostropovitch et Chostakovitch en pleine Guerre froide, il est anobli en 1976 par Elisabeth II. Parmi ses oeuvres orchestrales, le public affectionne toujours son Young Person's Guide to the Orchestra sur un thème de Purcell - qu'il a contribué à faire redécouvrir ainsi que son poignant War Requiem sur la Première Guerre mondiale. Ce nouveau volume de la collection horizons vous propose de partir à la rencontre d'une figure majeure de la musique anglaise du XXe siècle dans cette étude illustrée inédite et complétée de multiples annexes."--Page 4 of cover.

• 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)

• 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)

• 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"-- Provided by publisher.

• Johann Sebastian Bach : Brandenburg Concerto No. 6, BWV 1051
• Béla Bartók : Concerto for Viola and Orchestra, Sz. 120 (BB 128)
• Hector Berlioz : Harold in Italy, op. 16
• Ernest Bloch : Suite hébraïque
• York Bowen : Sonata No. 1 in C Minor for Viola and Piano, op. 18
• Johannes Brahms : Sonata for Clarinet (or Viola) and Piano in Eb Major, op. 120, no. 2
• Benjamin Britten : Lachrymae, op. 48
• Max Bruch : Romanze for Viola and Orchestra, op. 85
• Henri Casadesus : Concerto in B Minor for Viola and Orchestra (attributed to G. F. Handel)
• Rebecca Clarke : Sonata for Viola and Piano
• George Enescu : Concertstück for Viola and Piano
• Cecil Forsyth : Concerto in G Minor for Viola and Orchestra
• Lillian Fuchs : Sonata Pastorale for Unaccompanied Viola
• Aleksandr Glazunov : Élegié for Viola and Piano, op. 44
• Paul Hindemith : Sonata for Viola and Piano, op. 11, no. 4
• Paul Hindemith : Der Schwanendreher : Concerto after Old Folksongs for Viola and Small Orchestra
• Franz Anton Hoffmeister : Concerto for Viola and Orchestra in D Major
• Johann Nepomuk Hummel : Sonata for Piano and Viola, op. 5, no. 3
• Bohuslav Martinü : Rhapsody-Concerto for Viola and Orchestra, H. 337
• Felix Mendelssohn : Sonata in C Minor for Viola and Piano
• Darius Milhaud : Quatre Visages for Viola and Piano, op. 238
• Wolfgang Amadeus Mozart : Sinfonia concertante for Violin, Viola, and Orchestra, K. 364 (320d)
• Krzysztof Penderecki : Cadenza for Viola Solo
• Quincy Porter : Suite for Viola Alone
• Max Reger : Three Suites for Solo Viola, op. 131d : No. 1 in G Minor
• Robert Schumann : Märchenbilder for Viola and Piano, op. 113
• Dmitry Shostakovich : Sonata for Viola and Piano, op. 147
• Carl Stamitz : Concerto for Viola and Orchestra in D Major
• Igor Stravinsky : Élégie for Viola or Violin Unaccompanied
• Toru Takemitsu : A Bird came down the Walk, for viola and piano
• Georg Philipp Telemann : Concerto in G Major for Viola, Strings, and Basso continuo, TWV 51:G9
• Ralph Vaughan Williams : Suite for Viola and Small Orchestra
• Henry Vieuxtemps : Élegié for Viola and Piano, op. 30
• William Walton : Concerto for Viola and Orchestra
• Carl Maria von Weber : Andante e Rondo ungarese for Viola and Orchestra, J. 79.

"Notes for Violists : A Guide to the Repertoire provides historical and analytical information about thirty-five pieces of classical music written for the viola. Arranged alphabetically by composer, the book covers some of the best-known examples of string music repertoire prominently involving the viola. A single chapter is devoted to each of the thirty-five works. The selected string repertoire includes concertos, chamber music, and works for solo viola composed between the early part of the eighteenth century through the end of the twentieth century. Each chapter includes biographical information about the composer and historical information about the work. A detailed musical analysis of each work is also included. Numerous charts and musical examples provide further references for the reader"-- Provided by publisher.

• Introduction. Foolish Inconsistency
• Penis Riot : Pussy Riot's Pre-Feminist Roots
• Inciting a Pussy Riot
• When is a Church not a Church?
• Like a (Punk) Prayer
• Hurting Believers' Feelings
• Pussy Riot and Political Speech
• Public Enemies
• Performance vs. Archive
• Gender Troubles
• Anonymity and Glamour : Who Was that Masked Woman?
• Quiet Riot?
• Conclusion. The Punk Art of Compromise.

"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"-- Provided by publisher.

"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.