Andrew Hicks considers the recent confirmation of gravitational waves and their sonic translation in connection with a long history of musical metaphors that engage with the cosmos. He considers, in particular, twelfth-century philosophy, Platonism, and the "music of the spheres."
A festschrift for Joseph Dyer, this book is a compilation of studies by various scholars that examine Rome's influence in the Medieval period. Each essay looks at Roman sources, liturgy, or practice either directly or indirectly. Contributors include Charles M. Atkinson, Rebecca A. Baltzer, James Borders, Susan Boynton, Catherine Carver, Daniel J. DiCenso, David Ganz, Barbara Haggh-Huglo, David Hiley, Emma Hornby, Thomas Forrest Kelly, William Mahrt, Charles B. McClendon, Luisa Nardini, Edward Nowacki , Christopher Page, Susan Rankin, John F. Romano, and Mary E. Wolinski.
Margot Fassler documents the history of the Augustinians of St. Victor, Paris, and their use of the art of memory to build sonic models of the church. She demonstrates the centrality of sequences to the medieval Christian liturgy and culture and situates this repertory within the intellectual and spiritual ideals of the Augustinian canons regular, particularly those at the Abbey of St. Victor.
See the individual instrument guides for featured instrument technique books:
Written from a percussionist's perspective, this book provides advice to composers on how to write for percussion instruments, including general considerations (instrument choice, set-up, sound production), notations, types of beaters, tone colour uses, and different kinds of percussion instruments. The manual also includes extensive appendices with examples of set-ups, scores, and various charts, tables, and diagrams.
This book responds to a lack of educational resources available on composing for the screen. Andy Hill provides insights into this type of composition, focusing on music as a meaningful and emotional language.
A detailed look at the fundamental skills of electroacoustic composition, this book takes the reader through the basics of recording, music concrete composition, music production with MIDI instruments, softsynths, and digital audio workstations. The book also looks at more high-powered computer composition languages (e.g., Csound, ChucK, and Max/MSP) and the challenges of live performance.
Harrison introduces new analytical methods for contemporary tonal music, starting with compositions from the first quarter of the twentieth century. Published by Oxford University Press, it is "a book for composers seeking ideas and effects, music theorists interested in its innovations, and all those who practice the analysis of composition in all its modern and traditional variations."
Swinkin proposes a model for understanding musical works that considers both analysis-based and performance-based modes of interpretation. He argues that music analysis is performative in itself, particularly Schenkerian analysis, and that performances are integral to one's understanding of a work. Swinkin describes his theory and applies it to works by Chopin, Beethoven, and Schumann.
A critique of current analytical and theoretical approaches to the Western classical tradition, Lochhead considers the limitations of these methods in relation to postmodern music, or music written after the development of these methods. The book offers new tools for the analysis of this repertoire and analyses four pieces in detail: Kaija Saariaho’s Lonh (1996), Sofia Gubaidulina’s Second String Quartet (1987), Stacy Garrop’s String Quartet no.2, Demons and Angels (2004-05), and Anna Clyne’s "Choke" (2004).
How is music implicated in the politics of belonging? Fusing recent European philosophy with music theory, Waltham-Smith examines instrumental music by Haydn, Mozart, and Beethoven to reveal connections between listening and constructions of community. It testifies to Classical music's enduring political significance in an age of neoliberal exclusion.
Examining the relationships between opera and politics from the Renaissance to the nineteenth century, this book looks at how politics have influenced opera and how operas have conveyed political ideas. Mitchell Cohen considers music by various composers, including Lully, Rameau, and Mozart.
Re-examining opera in Siena during the Baroque era, Colleen Reardon considers its connections to festive culture and the Chigi family. The book includes various transcriptions and translations of hitherto unexplored archival sources (e.g., letters, financial documents, librettos) and little-studied scores from the Chigi collection at the Vatican.
Examining the scenery, costumes, and staging of operas chronologically from 1637 until 1976, this book provides a comprehensive history of the behind-the-scenes world of opera production with the help of nearly 200 illustrations. Baker links these aspects of operatic production to actual performances and performers and the social context of the operatic productions.
A multi-authored work that combines contributions from various disciplines (including ethnomusicology, musicology, psychology, cognitive science), this book focuses on three themes: Experience, Meaning, and Performance. It looks at music from the perspective of the performer and the listener, and considers interactions between and within these groups of individuals.
Veteran music director and instructor Joseph Church explores his job as a theatre music director and offers advice for practicing and aspiring directors. He pays specific attention to the music itself and the process of analyzing, learning, and practicing a score.
The first book dedicated specifically to lute, guitar, and vihuela performance, this book combines writings from various specialists on the interpretation of music for these instruments from the fifteenth to the nineteenth centuries. Intended for performers, teachers, and scholars, it covers a wide range of instruments, including the Italian lute, archlute, theorbo, French baroque lute, vihuela, baroque guitar, and classical guitar.
Ledbetter examines Bach's works for solo, unaccompanied instruments, including those for violin (BWV 1001-1006), cello (BWV 1007-1012), lute (BWV 995-1000, 1006a), and transverse flute (BWV 1013). He considers issues of style and composition and options for interpretation and performance.
Anne Karppinen considers singer-songwriter Joni Mitchell within the context of sexual difference and the gendered discourses of rock music, considering Mitchell's representation of men and women in her lyrics and the influence of cultural context on her writing. Karpinnen uses methods from critical discourse analysis to examine recordings of songs from Mitchell's first nine studio albums and their reviews in Anglo-American rock magazines.
This book tells the story of Marley's "Redemption Song," which quotes a speech delivered by Marcus Garvey in Sydney, Nova Scotia in 1937: "We are going to emancipate ourselves from mental slavery." Tattrie looks at Marley's connection to Garvey and the roots of Rastafarianism.
by Stephen Petrus; Ronald D. Cohen
Publication Date: 2015
Petrus and Cohen explores the role of New York city in the American folk music revival of the 1950s and 1960s. They look at the contributions of record company producers and executives, club owners, concert promoters, festival organizers, musicologists, agents and managers, editors and writers, musicians, and audiences. The book includes several illustrations from an accompanying exhibition at the Museum of the City of New York in 2015.
An encyclopedia of music technology with 600 illustrated main entries and 200 subsidiary ones, Cary's book was the first comprehensive look at the technology of music. It includes entries on traditional and electronic instruments, microphone placement, psycho acoustics, and much more, and is a useful reference for anyone interested in this field.
Taken from 10 years of Electronic Musician, Remix, and EQ magazines' archives, this book describes the recording and songwriting techniques of 50 albums from 1967 to 2011, including Fleetwood Mac's Rumours, Aerosmith's Toys in the Attic, and the Who's Quadrophenia, and more recent works by Danger Mouse, Foo Fighters, and Phoenix.