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Book
viii, 241 pages ; 22 cm.
  • Chapter 1 Introduction: Afrofuturism and Black Sound Studies.- Chapter 2. Blackness, Technology, and the Changing Same.- Chapter 3. Space and Time.- Chapter 4. Vibrations, Rhythm and Cosmology.- Chapter 5. Interstellar Space, Outer Space, and Inner Space.- Chapter 6. The Sounds of the Future.- Conclusion.
  • (source: Nielsen Book Data)9783319660400 20180115
This book interrogates the meeting point between Afrofuturism and Black Sound Studies. Whereas Afrofuturism is often understood primarily in relation to science fiction and speculative fiction, it can also be examined from a sonic perspective. The sounds of Afrofuturism are deeply embedded in the speculative - demonstrated in mythmaking - in frameworks for songs and compositions, in the personas of the artists, and in how the sounds are produced. In highlighting the place of music within the lived experiences of African Americans, the author analyses how the perspectives of Black Sound Studies complement and overlap with the discussion of sonic Afrofuturism. Focusing upon blackness, technology, and sound, this unique text offers key insights in how music partakes in imagining and constructing the future. This innovative volume will appeal to students and scholars of sound studies, musicology and African American studies.
(source: Nielsen Book Data)9783319660400 20180115
Music Library
Book
xv, 157 pages : illustrations, music ; 24 cm.
Music Library
Book
690 pages : illustrations ; 21 cm
Music Library
Book
vi, 290 pages : illustrations, music ; 29 cm
  • PART ONE Conducting Technique Chapter 1 THE BATON, PREPARATION, DOWNBEAT, AND RELEASE Chapter 2 BEAT PATTERNS AND PREPARATIONS IN TEMPO, DYNAMIC, AND BASIC STYLE Chapter 3 PREPARATIONS AND RELEASES FOR ALL COUNTS Chapter 4 FRACTIONAL BEAT PREPARATIONS Chapter 5 DIVIDED METERS Chapter 6 ASYMMETRICAL AND CHANGING METERS Chapter 7 THE FERMATA Chapter 8 THE CUE Chapter 9 CONDUCTING MUSICAL STYLES Chapter 10 EXPRESSIVE CONDUCTING AND THE LEFT HAND Chapter 11 TEMPO CHANGES AND ACCOMPANYING PART TWO Score Preparation and Rehearsal Technique Chapter 12 ANALYSIS AND SCORE PREPARATION Chapter 13 THE INSTRUMENTAL REHEARSAL Chapter 14 THE CHORAL REHEARSAL PART THREE Musical Excerpts Chapter 15 THE BATON, PREPARATION, DOWNBEAT, AND RELEASE Chapter 16 BEAT PATTERNS AND PREPARATIONS IN TEMPO, DYNAMIC, AND BASIC STYLE Chapter 17 PREPARATIONS AND RELEASES FOR ALL COUNTS Chapter 18 FRACTIONAL BEAT PREPARATIONS Chapter 19 DIVIDED METERS Chapter 20 ASYMMETRICAL AND CHANGING METERS Chapter 21 THE FERMATA Chapter 22 THE CUE Chapter 23 CONDUCTING MUSICAL STYLES Chapter 24 EXPRESSIVE CONDUCTING AND THE LEFT HAND Chapter 25 TEMPO CHANGES AND ACCOMPANYING TECHNICAL MASTERY APPENDICES Appendix A COMPETENCIES FOR THE BEGINNING CONDUCTING CLASS Appendix B STUDENT EVALUATION Appendix C CHART OF TRANSPOSITIONS AND CLEFS Appendix D FULL SCORE INSTRUMENTATION AND FOREIGN EQUIVALENTS Appendix E COUNTING DRILLS FOR UNEVEN METERS Appendix F MUSICAL STYLE CHART Appendix G GLOSSARY Appendix H MODEL VIDEO EXCERPT CHART.
  • (source: Nielsen Book Data)9781138656994 20171201
Basic Conducting Techniques, Seventh Edition provides a clear and intelligible introduction to the art of conducting an ensemble. Over twenty chapters lay out the elements of conducting, followed by an extensive selection of musical examples from the classical repertoire. This seventh edition has been updated to include the full scores of key excerpts. A companion website now accompanies the book, providing additional resources including transposed scores, recordings of the excerpts, and video demonstrations of techniques. The new edition will feature: * Chapters rewritten and redesigned to better highlight important information and show connections between different sections. * Material on expressive conducting has been updated and expanded to a new full chapter. * Select full scores added in the Musical Excerpts section. * Excerpts with transpositions added to the text of each chapter, allowing easy access for class performance. * A new companion website, which will include the scores and transpositions for all the musical excerpts, audio files of excerpts, and new demonstration videos modelling specific techniques for each chapter. * Updated photographs.
(source: Nielsen Book Data)9781138656994 20171201
Music Library
Book
192 pages : illustrations (colour) ; 27 cm
Music Library
Book
325 pages : illustrations, music ; 25 cm.
  • Einleitung
  • Zielsetzung
  • Vorgehensweise
  • "Thomas Bernhard und die Musik"
  • Kindheit und Jugend
  • "Wahre Kunst ist in den Sängern" : der Sänger Thomas Bernhard
  • Thomas Bernhards Musikgeschmack
  • Bernhards autobiografisch-musikalische Selbstdarstellung
  • Die Musik in Thomas Bernhards Literarischem Werk
  • Der Ignorant und der Wahnsinnige
  • Inhalt und Thematik
  • Intermediale Bezüge zwischen Oper und Drama
  • Thomas Bernhards Bezug zur Zauberflöte
  • Thomas Bernhards Umsetzung der musikalischen Vorlage
  • Die Musik als dramaturgisches Mittel
  • Zahlensymbolik : die Zahl Drei in Text und Musik
  • Thomas Bernhards Dreizahl-Referenz
  • Lakunen zwischen Oper und Theaterstück
  • Resümee
  • Die Macht der Gewohnheit
  • Inhalt und Thematik
  • Das Forellenquintett : Entstehungsgeschichte
  • Das Lied 'Die Forelle' : Vorlage für den 4. Satz
  • Musik als Inspiration für Thomas Bernhard : Quellenlage
  • Das Forellenquintett und seine besonderen Charakteristika
  • Bernhards Umsetzung der musikalischen Vorlage
  • Strukturelle Konzeption und Übernahmen
  • Kritische Betrachtungen zu bereits vorliegenden Theorien
  • Die intermediale Verbindung zweier Kunstwelten : Zirkus : Musik
  • Wahl der Instrumente
  • Resümee
  • Die Berühmten
  • Vorwort
  • Inhalt und Thematik
  • Wahl und Funktion der Musik
  • Thematisierung von Musikerfiguren in der Salzburger Musikwelt
  • Musikwerke
  • Resümee im Spiegel der Rezension
  • Der Untergeher
  • Inhalt und Thematik
  • Forschungsstand
  • Wahl und Funktion der Musik
  • Der Untergeher : eine thematisch-musikalische Variation von
  • Der Ignorant und der Wahnsinnige?
  • Resümee
  • Ja
  • Inhalt und Thematik
  • Wahl und Funktion der Musik und der Philosophie
  • Robert Schumann
  • Robert Schumann : Arthur Schopenhauer
  • Resümee
  • Vor dem Ruhestand
  • Inhalt und Thematik
  • Wahl und Funktion der Musik
  • Musikpflege in der grossbürgerlichen Gesellschaft
  • "Die Kunst ist ein Mittel, sich zu erretten"
  • Die Bedeutung der hörbaren Musikwerke
  • Resümee
  • Beton
  • Inhalt und Thematik
  • Wahl und Funktion der Musik
  • Eine problematische Bruder-Schwester-Beziehung
  • Felix Mendelssohn Bartholdys Kompositionen
  • Resümee
  • Holzfällen
  • Inhalt und Thematik
  • Holzfallen, ein durch und durch musikalischer Text? : Forschungsstand
  • Wahl und Funktion der Musik
  • Der Komponist Auersberger : ein Musiker als Protagonist
  • Ravels Bolero : Bedeutung des Musikstückes
  • Quellenlage
  • Resümee
  • Ritter, Dene, Voss
  • Inhalt und Thematik
  • Wahl und Funktion der Musik
  • Traditionelle grossbürgerliche Musikpflege
  • "Musik ist sehr oft die Rettung"
  • Beethovens Streichquartette und die Eroica
  • Resümee
  • Alte Meister
  • Inhalt und Thematik
  • Die Bedeutung der Sturmsonate und der Kunst der Fuge
  • Ludwig van Beethovens Sturmsonate
  • Johann Sebastian Bachs die Kunst der Fuge
  • Die leitmotivische Verwendung der Sturmsonate und der Kunst der Fuge
  • Reger
  • Quellenlage
  • Resümee
  • Conclusio : Zusammenfassung und Ausblick
  • Zusammenfassung
  • Ausblick
  • Anhang
  • Forschungsbericht
  • Forschungskritik
  • Die viel zitierte Musikalität der Sprache
  • Persönlicher Forschungsansatz
  • Interview mit Hermann Beil
  • Quellen und Literaturverzeichnis
  • Verzeichnis der Abbildungen und Notenbeispiele
  • Danksagung
  • Personenregister.
Music Library
Book
xiv, 221 pages : illustrations ; 24 cm
  • 1. Pierre Dubois, "`Music ... is like a conversation among friends, where the few are of one mind": Charles Avison's Moral Philosophy.' 2. Margaret Maddison, `Charles Avison, Gentleman, And The Vicar Of Bedlington's Will'. 3. Matthew Gardiner, `Charles Avison, John Brown and English Oratorio'. 4. Susan Wollenberg, `Avison and Oxford, 1750-1810' 5. Terry Hurst, `Charles Avison and the Methodists - Evangelism and Civilisation'. 6. Steve Marini, `Charles Avison and the Psalmody Reform Movement in Britain'. 7. Roz Southey, `Managing a Musical Career in the Eighteenth Century: The interweaving of patronage and commercialisation in the careers of Charles Avison and Edward Meredith'.
  • (source: Nielsen Book Data)9781472450746 20180122
Despite recent interest in music-making in the so-called 'provinces', the idea still lingers that music-making outside London was small in scale, second-rate and behind the times. However, in Newcastle upon Tyne, the presence of a nationally known musician, Charles Avison (1709-1770), prompts a reassessment of how far this idea is still tenable. Avison's life and work illuminates many wider trends. His relationships with his patrons, the commercial imperatives which shaped his activities, the historical and social milieu in which he lived and worked, were influenced by and reflected many contemporary movements: Latitudinarianism, Methodism, the improvement of church music, the aesthetics of the day including new ideas circulating in Europe, discussions of issues such as gentility, and the new commercialism of leisure. He can be considered as the notional centre of a web of connections, both musical and non-musical, extending through every part of Britain and into both Europe and America. This book looks at these connections, exploring the ways in which the musical culture in the north-east region interacted with, and influenced, musical culture elsewhere, and the non-musical influences with which it was involved, including contemporary religious, philosophical and commercial developments, establishing that regional centres such as Newcastle could be as well-informed, influential and vibrant as London.
(source: Nielsen Book Data)9781472450746 20180122
Music Library
Book
xxxvi, 295 pages : illustrations, music ; 24 cm
  • The order of Mejidieh
  • A soldier's lament
  • The holy war
  • Old Gallipoli
  • Mehter in the museum
  • Hybrid Turks
  • Sound bites
  • Music as memory.
Music Library
Book
vi, 158 pages : illustrations ; 25 cm.
Music Library
Book
xvi, 475 pages : illustrations ; 26 cm
  • Acknowledgments Introduction: The Contemporary Commercial Composer and the Digital Audio Workstation I. Fundamentals of Music and Audio Ia: Fundamentals of Music Chapter 1: Introduction to Pitch Chapter 2: Introduction to Rhythm Chapter 3: Introduction to Harmony Chapter 4: Melody and Counterpoint Ib: Fundamentals of Audio Engineering and Sequencing Chapter 5: Introduction to Audio and MIDI Chapter 6: Manipulating Rhythm in the DAW Environment Chapter 7: Introduction to Acoustics Chapter 8: Melodic Sequencing II. Music Production Essentials IIa. Composition Essentials Chapter 9: Functional Diatonic Harmony Chapter 10: Expanding Your Harmonic Vocabulary Chapter 11: Form and Development Chapter 12: Basic Orchestration IIb. Audio Engineering Essentials Chapter 13: Introduction to Mixing Chapter 14: Recording and Editing Live Instruments Chapter 15: Mixing and Processing Chapter 16: Final Mix Considerations III. Producing Music for Media Chapter 17: The Client/Composer Relationship Chapter 18: Scoring for Short-Form Media Chapter 19: Scoring for Longer-Form Media IV. The Business of Music Composition Chapter 20: The Business of Music Composition Appendix A: List of CC Messages and Their Associated Functions Appendix B: Glossary Permission Acknowledgments Index.
  • (source: Nielsen Book Data)9781138930629 20171017
In the contemporary world, the role of the commercial composer has grown to include a wide range of new responsibilities. Modern composers not only write music, but also often need to perform, record, and market their own works. The Craft of Contemporary Commercial Music prepares today's music students for their careers by teaching them to compose their own music, produce it professionally, and sell it successfully. The textbook integrates three areas of concentration-music theory and composition, audio engineering, and music business-allowing students to understand and practice how to successfully navigate each stage of a score's life cycle from concept to contract. Students will learn how to: Translate musical ideas into scores utilizing music theory and composition techniques Transform scores into professional audio through the production stages of tracking, sequencing, editing, mixing, mastering, and bouncing Market works to prospective clients The textbook assumes no prior knowledge of music theory or audio topics, and its modular organization allows instructors to use the book flexibly. Exercises at the end of each chapter provide practice with key skills, and a companion website supports the book with video walkthroughs, streaming audio, a glossary, and printable exercise pages. Combining a grounding in music notation and theory concepts with a foundation in essential technologies, The Craft of Contemporary Commercial Music offers an innovative approach that addresses the needs of students preparing for music careers.
(source: Nielsen Book Data)9781138930629 20171017
Music Library
Book
x, 207 pages : illustrations ; 24 cm.
  • DIGITAL MUSIC DISTRIBUTION: * The sociology of online music streams * Hendrik Storstein Spilker * Table of contents * Acknowledgements * ã CHAPTER 1 * Introduction: Digital Dramas * Music On Demand? * The Folding of Technologies * Into and Beyond "The Piracy Wars" * ã CHAPTER 2: * Not only about listening: Understanding the new everyday life of music * Perspectives on the Appropriation of Digital Music * Analyzing youth * The omnipresence and omni-interest in music * Top ten music-related practices * You can always get what you want? * ã CHAPTER 3 * The value of access: Negotiating file-sharing and streaming among youth and with parents * Domesticating controversial technologies * Piracy as morality and rebellion * Digital music technologies as generational boundary markers and asymmetries * Reflections on piracy and legality * Together in crime? * Music in context - negotiating other ICT's * An access culture? * ã CHAPTER 4 * In search of the "hacker-punk": Digital music technologies for countercultural measures? * The promises of Punk Style Do-it-yourself * The Quest for the Hacker Punk * What is so Punk about Punk? * The Digitalized Underground * In Search of the Hacker Punk * The Gap between Near and Bin(e)ary Things * The Unruliness of Technology * ã CHAPTER 5: * Pre-distribution networks and professional networks: Becoming an artist in the age of "piracy cultures" * Of Network Studios and Piracy Cultures * Assembling Work * A Visit to the Network Studio * Being Within or Without the Music Industry? * The Pre-Distribution Network and the Professional Network * Hail to the Album! * ã CHAPTER 6 * The irony of virtuality: The production of music and news in "the new economy" * The contents of "the new economy" * Network society or Internet society? * A prehistory of digital news and music * Ensure control over the resources * Gain entry to the networks * Gain entry to the networks #part 2 * Ensure control #part 2 * The new economy: a parasitic economy? * The irony of virtuality * ã CHAPTER 7 * The making of "piracy standards": Assessing the interplay between commercialism and idealism in technology development * The Interplay between Idealism and Commercialism * The Movement of Technologies Across Time and Space * MP3's Route to Dominance * DivX: The MP3 of Video? * The power of the piracy-entrepreneur nexus * ã CHAPTER 8 * Media kills music? An Analysis of the Newspaper Coverage of the Piracy Kills Music Campaign * The Fourth Music Estate? * Understanding the Role of the Media in the Piracy Controversies * Identifying frames * Qualitative Framing Analysis * The-support-and-help-the-industry-frame * The-dying-dinosaur-frame * The-head-in-the-sand-frame * The-hopeless-and-desperate-frame * The most-successful-campaign-of-all-time-frame * Quantitative Framing Analysis * - Wasn't much help to get... * ã CHAPTER 9: * The regulation of digital music distribution: Assessing the states and futures of the field * Introducing five regulatory models * 1. The partly obviation of the ownership model * 2. The hope and heath of the access model * 3. The professionalization of the alternative revenue model * 4. The remix model as ideology and practice * 5. The radical and the limited compensation model * The manifold roles of music, musicians and music-users * ã CHAPTER 10 * The Music Welfare State * Folding Revisited * Programs, Antiprograms, Circumventions, Ramifications... * The Old and the New Divide * The Triumph of Piracy * The Technological Empire * A State of Balance? * ã References *.
  • (source: Nielsen Book Data)9781138673908 20171201
The digital music revolution and the rise of piracy cultures has transformed the music world as we knew it. Digital Music Distribution aims to go beyond the polarized and reductive perception of `piracy wars' to offer a broader and richer understanding of the paradoxes inherent in new forms of distribution. Covering both production and consumption perspectives, Spilker analyses the changes and regulatory issues through original case studies, looking at how digital music distribution has both changed and been changed by the cultural practices and politicking of ordinary youth, their parents, music counter cultures, artists and bands, record companies, technology developers, mass media and regulatory authorities. Exploring the fundamental change in distribution, Spilker investigates paradoxes such as: ã * The criminalization of file-sharing leading not to conflicts, but to increased collaboration between youths and their parents; * Why the circulation of cultural content, extremely damaging for its producers, has instead been advantageous for the manufacturers of recording equipment; * Why more artists are recording in professional sound studios, despite the proliferation of good quality equipment for home recording; * Why mass media, hit by many of the same challenges as the music industry, has been so critical of the way it has tackled these challenges. ã A rare and timely volume looking at the changes induced by the digitalization of music distribution, Digital Music Distribution will appeal to undergraduate students and policy makers interested in fields such as Media Studies, Digital Media, Music Business, Sociology and Cultural Studies.
(source: Nielsen Book Data)9781138673908 20171201
Music Library

12. Discovering music [2018]

Book
xxxvi, 611 pages : illustrations (chiefly color) ; 26 cm
Music Library
Book
124 pages : illustrations ; 23 cm.
  • Prelude Chapter 1 Philosophy on Soil Chapter 2 Ecological Literacy Chapter 3 Ecomusicology Chapter 4 Deep Ecology Chapter 5 Spiritual Praxis Postlude.
  • (source: Nielsen Book Data)9780415792578 20171218
Eco-Literate Music Pedagogy examines the capacity of musiciking to cultivate ecological literacy, approaching eco-literate music pedagogy through philosophical and autoethnographical lenses. Building on the principle that music contributes uniquely to human ecological thinking, this volume tracks the course of eco-literate music pedagogy while guiding the discussion forward: What does it mean to embrace the impulse to teach music for ecological literacy? What is it like to theorize eco-literate music pedagogy? What is learned through enacting this pedagogy? How do the impulsion, the theorizing, and the enacting relate to one another? Music education for ecological consciousness is experienced in local places, and this study explores the theory underlying eco-literate music pedagogy in juxtaposition with the author's personal experiences. The work arrives at a new philosophy for music education: a spiritual praxis rooted in soil communities, one informed by ecology's intrinsic value for non-human being and musicking. Eco-Literate Music Pedagogy adds to the emerging body of music education literature considering ecological and environmental issues.
(source: Nielsen Book Data)9780415792578 20171218
Music Library
Book
xi, 144 pages ; 23 cm
  • James Tenney
  • Christian Wolff
  • Robert Ashley
  • Maryanne Amacher
  • La Monte Young
  • Steve Reich
  • Meredith Monk
  • Philip Glass.
In this brilliant collection, path-breaking figures of American experimental music discuss the meaning of their work at the turn of the twenty-first century. Presented between 1989 and 2002 at Wesleyan University, these captivating lectures provide rare insights by composers whose work has shaped our understanding of what it means to be experimental: Maryanne Amacher, Robert Ashley, Philip Glass, Meredith Monk, Steve Reich, James Tenney, Christian Wolff, and La Monte Young. Collected here for the first time, together these lectures tell the story of twentieth-century American experimental music, covering such topics as repetition, phase, drone, duration, collaboration, and technological innovation. Containing introductory comments by Lucier and the original question and answer sessions between the students and the composers, this book makes the theory and practice of experimental music available and accessible to a new generation of students, artists, and scholars.
(source: Nielsen Book Data)9780819577634 20171227
Music Library
Book
xxiv, 181 pages ; 24 cm.
Music Library
Book
xv, 209 pages ; 24 cm.
  • Chapter 1: Introducing The Beatles and Meet The Beatles Chapter 2: You Really Got a Hold On Me Chapter 3: Can't Buy Me Love Chapter 4: I Feel Fine Chapter 5: Ticket to Ride Chapter 6: Tomorrow Never Knows Chapter 7: A Day in the Life Chapter 8: Magical Mystery Tour Chapter 9: Hey Jude Chapter 10: All Together Now Chapter 11: The Long and Winding Road Selected Listening.
  • (source: Nielsen Book Data)9781442271432 20171127
Starting an undeniable revolution, the Beatles took pop culture by storm, shook up the recording industry, and provided a soundtrack for the lives of millions of American teenagers. No band would ever come close to the mania inspired by these four Liverpudlian exports. Brooke Halpin takes readers on a comprehensive tour behind the masterful instrumentation, timeless (yet sometimes mysterious) lyrics, and experimental recording techniques of the Beatles' American releases from 1964 through 1970. Halpin explores the rock covers from which the four lads launched their careers; the original rock 'n' roll and love songs that fueled Beatlemania; the theatrical, psychedelic, world music, and orchestral elements which continually surprised audiences about the depths of the band's talents, and the guest musicians whose contributions remain unknown to many listeners. Adding to the song analyses are personal vignettes to transport the reader back in time to experience the excitement of hearing the Beatles for the first time. Through their music, lyrics, and playful antics on stage and screen as well as in real life, the Beatles encapsulated the ups and downs of 1960s America. Halpin uncovers how the Beatles' music continues to be relevant to today's audiences, revealing little known facts and drawing exciting conclusions about the band, their eventual breakup, and their undiminished fame.
(source: Nielsen Book Data)9781442271432 20171127
Music Library
Book
xx, 190 pages : illustrations ; 23 cm
  • Chapter 1 A Context for Expressive Conducting: Lessons from Drawing and Tai Chi Chapter 2 The Conductor's Body Chapter 3 Moving with Availability Chapter 4 Performance Theory and Technique: Acting and Conducting Chapter 5 The Body Is Your Instrument: Maximizing Expression and Moving Weight Chapter 6 The Performance Sequence Chapter 7 Coaching Notes Chapter 8 Availability Exercises Chapter 9 A Language for Expressive Conducting.
  • (source: Nielsen Book Data)9781138636644 20171127
Expressive Conducting: Movement and Performance Theory for Conductors applies the insight of movement and performance theory to the practice of conducting, offering a ground-breaking new way of learning to conduct. Where traditional conducting pedagogies often place emphasis on training parts of the body in isolation, Expressive Conducting teaches conductors to understand their gestures as part of an interconnected system that incorporates the whole body. Rather than simply memorizing gestures, this book enables student and professional conductors to develop a conducting technique that is centered around expressing the themes of the music. Drawing parallels to the worlds of acting and dance, this text treats the body as the conductor's instrument. Coaching notes derived from years of conducting experience offer readers approachable methods for eliminating communication barriers-both conscious and subconscious-to encourage optimal performance, highlighting breathing techniques, arm exercises, and the significance of weight distribution. Unlike other conducting studies, this text understands that conducting resonates throughout the entire body and is not conveyed by the hands or baton alone. With an exhaustive consideration of the conductor's body and movements, featuring over 50 original illustrations, Expressive Conducting presents strategies for improving one's conducting skills in rehearsal and performance. Jerald Schwiebert and Dustin Barr develop a practical language for expressive conducting, suitable for conducting students, instructors, and professionals alike.
(source: Nielsen Book Data)9781138636644 20171127
Music Library
Book
135 pages : illustrations, music ; 21 cm.
Music Library
Book
xiv, 210 pages : illustrations ; 24 cm.
  • List of Tables Acknowledgments Introduction 1 Setting the stage: the cultural and creative industries, entrepreneurialism, and the classical music profession 2 Documenting and explaining inequalities in the classical music profession 3 The silence that is not a rest: negotiating hierarchies of class, race, and gender 4 Entrepreneurialism at work: mapping the contours of entrepreneurial subjectivity 5 "Difficult, fickle, tumultuous" and yet "the best job in the world": analysing subjective experiences of precarious work 6 Structures of feeling in two creative cities: London and Berlin Conclusion: key contributions, directions for further research, and recommendations.
  • (source: Nielsen Book Data)9781138942561 20171201
What is it like to work as a classical musician today? How can we explain ongoing gender, racial, and class inequalities in the classical music profession? What happens when musicians become entrepreneurial and think of themselves as a product that needs to be sold and marketed? Gender, Subjectivity, and Cultural Work explores these and other questions by drawing on innovative, empirical research on the working lives of classical musicians in Germany and the UK. Indeed, Scharff examines a range of timely issues such as the gender, racial, and class inequalities that characterise the cultural and creative industries; the ways in which entrepreneurialism - as an ethos to work on and improve the self - is lived out; and the subjective experiences of precarious work in so-called `creative cities'. Thus, this book not only adds to our understanding of the working lives of artists and creatives, but also makes broader contributions by exploring how precarity, neoliberalism, and inequalities shape subjective experiences. Contributing to a range of contemporary debates around cultural work, Gender, Subjectivity, and Cultural Work will be of interest to scholars and students in the fields of Sociology, Gender and Cultural Studies.
(source: Nielsen Book Data)9781138942561 20171201
Music Library
Book
xviii, 270 pages : illustrations, music ; 25 cm
  • Introduction Amy Bauer and Marton Kerekfy Part I, Creative Personality and Aesthetics 1 Music in the Technological Era Gyorgy Ligeti with Hans Heinz Stuckenschmidt, translated and annotated by Louise Duchesneau 2 '...music is a bit like love - you do it but you don't talk about it' Louise Duchesneau 3 The Innate Melodist Richard Steinitz 4 Ligeti's Musical Style as Expression of Cultural Trauma Wolfgang Marx 5 Making It Home? The Natural Sciences as a Site of Belonging in Gyorgy Ligeti's Music Frederik Knop Part II, Influences and Backgrounds 6 Reflections on Ligeti's Jewish Identity Following the Discovery of New Documents from his Cluj Years Heidy Zimmermann 7 Ligeti and Romanian Folk Music: An Insight from the Paul Sacher Foundation Bianca Tiplea Temes 8 Ligeti and the Beginnings of Bartok Analysis in Hungary Anna Dalos 9 Bartok, Ligeti and the Innovative Middle Road Peter Edwards 10 From Row to Klang: Ligeti's Reception of Anton Webern's Music Ingrid Pustijanac Part III, Works 11 Genre as Emigre: The Return of the Repressed in Ligeti's Second Quartet Amy Bauer 12 Sketches Reflecting the Images of San Francisco Kyoko Okumura 13 Ironic Self-Portraits? Ligeti's Hungarian Rock and Passacaglia ungherese Marton Kerekfy 14 Tragedy and Irony: The Passacaglia of the Violin Concerto Volker Helbing.
  • (source: Nielsen Book Data)9781472473646 20180122
Since Gyorgy Ligeti's death in 2006, there has been a growing acknowledgement of how central he was to the late twentieth-century cultural landscape. This collection is the first book devoted to exploring the composer's life and music within the context of his East European roots, revealing his dual identities as both Hungarian national and cosmopolitan modernist. Contributors explore the artistic and socio-cultural contexts of Ligeti's early works, including composition and music theory; the influence of East European folk music; notions of home and identity; his ambivalent attitude to his Hungarian past and his references to his homeland in his later music. Many of the valuable insights offered are as a result of new research undertaken at the Paul Sacher Foundation, while also drawing on the knowledge of long-time associates such as the composer's assistant, Louise Duchesneau. The contributions as a whole reveal Ligeti's thoroughly cosmopolitan milieu and values, and illuminate why his music continues to inspire new generations of performers, composers and listeners.
(source: Nielsen Book Data)9781472473646 20180122
Music Library