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Music in the British Provinces, 1690-1914
by Peter HolmanThe period covered by this volume, roughly from Purcell to Elgar, has traditionally been seen as a dark age in British musical history. Much has been done recently to revise this view, though research still tends to focus on London as the commercial and cultural hub of the British Isles. It is becoming increasingly clear, however, that by the mid-eighteenth century musical activity outside London was highly distinctive in terms of its reach, the way it was organized, and its size, richness, and quality. There was an extraordinary amount of musical activity of all sorts, in provincial theatres and halls, in the amateur orchestras and choirs that developed in most towns of any size, in taverns, and convivial clubs, in parish churches and dissenting chapels, and, of course, in the home. This is the first book to concentrate specifically on musical life in the provinces, bringing together new archival research and offering a fresh perspective on British music of the period. The essays brought together here testify to the vital role played by music in provincial culture, not only in socializing and networking, but in regional economies and rivalries, demographics and class dynamics, religion and identity, education and recreation, and community and the formation of tradition. Most important, perhaps, as our focus shifts from London to the regions, new light is shed on neglected figures and forgotten repertoires, all of them worthy of reconsideration.
Music in the Classical World: Genre, Culture, and History
by Bertil Van BoerMusic in the Classical World: Genre, Culture, and History provides a broad sociocultural and historical perspective of the music of the Classical Period as it relates to the world in which it was created. It establishes a background on the time span—1725 to 1815—offering a context for the music made during one of the more vibrant periods of achievement in history. Outlining how music interacted with society, politics, and the arts of that time, this kaleidescopic approach presents an overview of how the various genres expanded during the period, not just in the major musical centers but around the globe. Contemporaneous treatises and commentary documenting these changes are integrated into the narrative. Features include the following: A complete course with musical scores on the companion website, plus links to recordings—and no need to purchase a separate anthology The development of style and genres within a broader historical framework Extensive musical examples from a wide range of composers, considered in context of the genre A thorough collection of illustrations, iconography, and art relevant to the music of the age Source documents translated by the author Valuable student learning aids throughout, including a timeline, a register of people and dates, sidebars of political importance, and a selected reading list arranged by chapter and topic A companion website featuring scores of all music discussed in the text, recordings of most musical examples, and tips for listening Music in the Classical World: Genre, Culture, and History tells the story of classical music through eighteenth-century eyes, exposing readers to the wealth of music and musical styles of the time and providing a glimpse into that vibrant and active world of the Classical Period.
Music in the Collective Experience in Sixteenth-Century Milan
by Christine Suzanne GetzRenaissance music, like its sister arts, was most often experienced collectively. While it was possible to read Renaissance polyphony silently from a music manuscript or print, improvise alone, or perform as a soloist, the very practical nature of Renaissance music defied individualism. The reading and improvisation of polyphony was most frequently achieved through close co-operation, and this mutual endeavour extended beyond the musicians to include the society to which it is addressed. In sixteenth-century Milan, music, an art traditionally associated with the court and cathedral, came to be appropriated by the old nobility and the new aristocracy alike as a means of demonstrating social primacy and newly acquired wealth. As class mobility assumed greater significance in Milan and the size of the city expanded beyond its Medieval borders, music-making became ever more closely associated with public life. With its novel structures and diverse urban spaces, sixteenth-century Milan offered an unlimited variety of public performance arenas. The city's political and ecclesiastical authorities staged grand processions, church services, entertainments, and entries aimed at the propagation of both church and state. Yet the private citizen utilized such displays as well, creating his own miniature spectacle in a visual and an aural imitation of the ecclesiastical and political panoply of the age. Using archival documents, music prints, manuscripts and contemporary writing, Getz examines the musical culture of sixteenth-century Milan via its life within the city's most influential social institutions to show how fifteenth-century courtly traditions were adapted to the public arena. The book considers the relationship of the primary cappella musicale, including those of the Duomo, the court of Milan, Santa Maria della Scala, and Santa Maria presso San Celso, to the sixteenth-century institutions that housed them. In addition, the book investigates the musician's role as an actor and a functionary in the political, religious, and social spectacles produced by the Milanese church, state, and aristocracy within the city's diverse urban spaces. Furthermore, it establishes a context for the numerous motets, madrigals, and lute intabulations composed and printed in sixteenth-century Milan by examining their function within the urban milieu in which they were first performed. Finally, it musically documents Milan's transformation from a ducal state dominated by provincial traditions into a mercantile centre of international acclaim. Such an important study in Italian Renaissance music will therefore appeal to anyone interested in the culture of Renaissance Italy.
Music in the Flesh: An Early Modern Musical Physiology (New Material Histories of Music)
by Bettina VarwigA corporeal history of music-making in early modern Europe. Music in the Flesh reimagines the lived experiences of music-making subjects—composers, performers, listeners—in the long seventeenth century. There are countless historical testimonies of the powerful effects of music upon the early modern body; it is described as moving, ravishing, painful, dangerous, curative, and miraculous while affecting “the circulation of the humors, the purification of the blood, the dilation of the vessels and pores.” How were these early modern European bodies constituted that music generated such potent bodily-spiritual effects? Bettina Varwig argues that early modern music-making practices challenge our modern understanding of human nature as a mind-body dichotomy. Instead, they persistently affirm a more integrated anthropology, in which body, soul, and spirit remain inextricably entangled. Moving with ease across repertories and regions, sacred and vernacular musics, and domestic and public settings, Varwig sketches a “musical physiology” that is as historically illuminating as it is relevant for present-day performance. This book makes a significant contribution not just to the history of music, but also to the history of the body, the senses, and the emotions, revealing music as a unique access point for reimagining early modern modes of being-in-the-world.
Music in the Hispanic Caribbean: Experiencing Music, Expressing Culture (Global Music Series)
by Robin MooreThe Spanish-speaking islands of Cuba, Puerto Rico, and the Dominican Republic make up a relatively small region, but their musical and cultural traditions have had a dramatic, sweeping impact on the world. This brief volume provides the reader with an introduction to the music of Cuba, Puerto Rico, and the Dominican Republic, as well as to various common themes and tendencies that have informed music making in those countries. The text provides a vibrant introduction to diverse musical styles including salsa, merengue, reggaeton, plena, Latin jazz, and the bolero. A comparative approach of writing about the three countries together helps us to think of the Hispanic Caribbean as an interconnected whole. A compelling, comprehensive review, Music in the Hispanic Caribbean is ideal for introductory undergraduate courses in world music or ethnomusicology and for upper-level courses on Caribbean and Latin American music and/or culture.
Music in the Horror Film: Listening to Fear
by Neil LernerMusic in Horror Film is a collection of essays that examine the effects of music and its ability to provoke or intensify fear in this particular genre of film. Frightening images and ideas can be made even more intense when accompanied with frightening musical sounds, and music in horror film frequently makes its audience feel threatened and uncomfortable through its sudden stinger chords and other shock effects. The essays in this collection address the presence of music in horror films and their potency within them. With contributions from scholars across the disciplines of music and film studies, these essays delve into blockbusters like The Exorcist, The Shining, and The Sixth Sense together with lesser known but still important films like Carnival of Souls and The Last House on the Left. By leading us with the ear to hear these films in new ways, these essays allow us to see horror films with fresh eyes.
Music in the Human Experience: An Introduction to Music Psychology
by Donald A. HodgesMusic in the Human Experience: An Introduction to Music Psychology, Second Edition is geared toward music students yet incorporates other disciplines to provide an explanation for why and how we make sense of music and respond to it—cognitively, physically, and emotionally. All human societies in every corner of the globe engage in music. Taken collectively, these musical experiences are widely varied and hugely complex affairs. How did human beings come to be musical creatures? How and why do our bodies respond to music? Why do people have emotional responses to music? Music in the Human Experience seeks to understand and explain these phenomena at the core of what it means to be a human being. New to this edition: Expanded references and examples of non-Western musical styles Updated literature on philosophical and spiritual issues Brief sections on tuning systems and the acoustics of musical instruments A section on creativity and improvisation in the discussion of musical performance New studies in musical genetics Greatly increased usage of explanatory figures
Music in the Human Experience: An Introduction to Music Psychology
by Donald A. Hodges Gary E. McPhersonMusic in the Human Experience: An Introduction to Music Psychology, Third Edition, explores the ways in which we make sense of music and how we respond to it—cognitively, physically, and emotionally. Written by musicians, for musicians, while incorporating findings from biology, anthropology, sociology, physics, philosophy, and education, the text presents musical experiences as widely varied and hugely complex affairs. How did human beings come to be musical creatures? Why do people have emotional responses to music? In Music in the Human Experience, the authors seek to understand and explain these musical phenomena that lie at the core of what it means to be human.New to the Third Edition: New co-author, Gary E. McPherson Fresh discussions on in-demand topics: social justice in music, fitness for musicians, constructivism, and more Increased recognition of non-Western music and musical experiences A digital overhaul of the accompanying multimedia tutorials, now available via www.musicinthehumanexperience.com Refined and updated content throughout
Music in the London Theatre from Purcell to Handel
by Colin Timms Bruce WoodThis book is concerned with a hundred years of musical drama in England. It charts the development of the genre from the theatre works of Henry Purcell (and his contemporaries) to the dramatic oratorios of George Frideric Handel (and his). En route it investigates the objections to all-sung drama in English that were articulated in the decades around 1700, various proposed solutions, the importation of Italian opera, and the creation of the dramatic oratorio - English drama, all-sung but not staged. Most of the constituent essays take an in-depth look at a particular aspect of the process, while others draw attention to dramatic qualities in non-dramatic works that also were performed in the theatre. The journey from Purcell to Handel illustrates the vigour and vitality of English theatrical and musical traditions, and Handel's dramatic oratorios and other settings of English words answer questions posed before he was born.
Music in the Making of Modern Japan: Essays on Reception, Transformation and Cultural Flows (Pop Music, Culture and Identity)
by Henry Johnson Kei Hibino Barnaby RalphThis volume explores the notion of “affective media” within and across different arts in Japan, with a primary focus on music, whether as standalone product or connected to other genres such as theatre and photography. The volume explores the Japanese reception of this “affective media”, its transformation and subsequent cultural flow. Moving from a discussion of early encounters with the West through Jesuits and others, the contributors primarily consider the role of music in the nineteenth, twentieth, and twenty-first centuries. With ten original chapters, the volume covers a wealth of themes, from education, koto music, guitar making, avant-garde recorder works, musicals and rock photography, to interviews with contemporary performers in jazz, modern rock and J-pop. Innovative and fascinating, the book provides rich new insights and material to all those interested in Japanese musical culture.
Music in the Marketplace: A social economics approach
by Samuel CameronMuch recent economic work on the music industry has been focused on the impact of technology on demand, with predictions being made of digital copyright infringement leading to the demise of the industry. In fact, there have always been profound cyclical swings in music media sales owing to the fact that music always has been, and continues to be, a discretionary purchase. This entertaining and accessible book offers an analysis of the production and consumption of music from a social economics approach. Locating music within the economic analysis of social behaviour, this books guides the reader through issues relating to production, supply, consumption and trends, wider considerations such as the international trade in music, and in particular through divisions of age, race and gender. Providing an engaging overview of this fascinating topic, this book will be of interest and relevance to students and scholars of cultural economics, management, musicology, cultural studies and those with an interest in the music industry more generally.
Music in the Post-9/11 World
by Jonathan Ritter J. Martin DaughtryMusic in the Post-9/11 World addresses the varied and complex roles music has played in the wake of September 11, 2001. Interdisciplinary in approach, international in scope, and critical in orientation, the twelve essays in this groundbreaking volume examine a diverse array of musical responses to the terrorist attacks of that day, and reflect upon the altered social, economic, and political environment of "post-9/11" music production and consumption. Individual essays are devoted to the mass-mediated works of popular musicians such as Bruce Springsteen and Darryl Worley, as well as to lesser-known musical responses by artists in countries including Afghanistan, Egypt, Mexico, Morocco, Peru, and Senegal. Contributors also discuss a range of themes including the role played by Western classical music in rites of mourning and commemoration, "invisible" musical practices such as the creation of television news music, and implicit censorship in the mainstream media. Taken as a whole, this collection presents powerful evidence of the central role music has played in expressing, shaping, and contesting worldwide public attitudes toward the defining event of the early twenty-first century.
Music in the Present Tense: Rossini’s Italian Operas in Their Time (Opera Lab: Explorations in History, Technology, and Performance)
by Emanuele SeniciIn the early 1800s, Rossini’s operas permeated Italy, from the opera house to myriad arrangements heard in public and private. But after Rossini stopped composing, a sharp decline in popularity drove most of his works out of the repertory. In the past half century, they have made a spectacular return to operatic stages worldwide, but this recent fame has not been accompanied by a comparable critical reevaluation. Emanuele Senici’s new book provides a fresh look at the motives behind the Rossinian furore and its aftermath by examining the composer’s works in the historical context in which they were conceived, performed, seen, heard, and discussed. Situating the operas firmly within the social practices, cultural formations, ideological currents, and political events of early nineteenth-century Italy, Senici reveals Rossini’s dramaturgy as a radically new and specifically Italian reaction to the epoch-making changes witnessed in Europe at the time. The first book-length study of Rossini’s Italian operas to appear in English, Music in the Present Tense exposes new ways to explore nineteenth-century music and addresses crucial issues in the history of modernity, such as trauma, repetition, and the healing power of theatricality.
Music in the Role-Playing Game: Heroes & Harmonies
by William Gibbons Steven RealeMusic in the Role-Playing Game: Heroes & Harmonies offers the first scholarly approach focusing on music in the broad class of video games known as role-playing games, or RPGs. Known for their narrative sophistication and long playtimes, RPGs have long been celebrated by players for the quality of their cinematic musical scores, which have taken on a life of their own, drawing large audiences to live orchestral performances. The chapters in this volume address the role of music in popular RPGs such as Final Fantasy and World of Warcraft, delving into how music interacts with the gaming environment to shape players’ perceptions and engagement. The contributors apply a range of methodologies to the study of music in this genre, exploring topics such as genre conventions around music, differences between music in Japanese and Western role-playing games, cultural representation, nostalgia, and how music can shape deeply personal game experiences. Music in the Role-Playing Game expands the growing field of studies of music in video games, detailing the considerable role that music plays in this modern storytelling medium, and breaking new ground in considering the role of genre. Combining deep analysis with accessible personal accounts of authors’ experiences as players, it will be of interest to students and scholars of music, gaming, and media studies.
Music in the Shadows: Noir Musical Films
by Sheri Chinen BiesenSome musical films use film noir style and jazz to reveal the dark side of fame and the American Dream.Smoke. Shadows. Moody strains of jazz. Welcome to the world of "noir musical" films, where tormented antiheroes and hard-boiled musicians battle obsession and struggle with their music and ill-fated love triangles. Sultry divas dance and sing the blues in shrouded nightclubs. Romantic intrigue clashes with backstage careers. In her pioneering study, Music in the Shadows, film noir expert Sheri Chinen Biesen explores musical films that use film noir style and bluesy strains of jazz to inhabit a disturbing underworld and reveal the dark side of fame and the American Dream. While noir musical films like A Star Is Born include musical performances, their bleak tone and expressionistic aesthetic more closely resemble the visual style of film noir. Their narratives unfold behind a stark noir lens: distorted, erratic angles and imbalanced hand-held shots allow the audience to experience a tortured, disillusioned perspective.While many musicals glamorize the quest for the spotlight in Hollywood's star factory, brooding noir musical films such as Blues in the Night, Gilda, The Red Shoes, West Side Story, and Round Midnight stretch the boundaries of film noir and the musical as film genres collide. Deep shadows, dim lighting, and visual composition evoke moodiness, cynicism, pessimism, and subjective psychological points of view.As in her earlier study of film noir, Blackout: World War II and the Origins of Film Noir, Biesen draws on extensive primary research in studio archives to situate her examination within a historical, industrial, and cultural context.
Music in the USA: A Documentary Companion
by Judith Tick Paul E. BeaudoinMusic in the USA: A Documentary Companion charts a path through American music and musical life using as guides the words of composers, performers, writers and the rest of us ordinary folks who sing, dance, and listen. The anthology of primary sources contains about 160 selections from 1540 to 2000. Sometimes the sources are classics in the literature around American music, for example, the Preface to the Bay Psalm Book, excerpts from Slave Songs of the United States, and Charles Ives extolling Emerson. But many other selections offer uncommon sources, including a satirical story about a Yankee music teacher; various columns from 19th-century German American newspapers; the memoirs of a 19th-century diva; Lottie Joplin remembering her husband Scott; a little-known reflection of Copland about Stravinsky; an interview with Muddy Waters from the Chicago Defender; a letter from Woody Guthrie on the "spunkfire" attitude of a folk song; a press release from the Country Music Association; and the Congressional testimony around "Napster. " "Sidebar" entries occasionally bring a topic or an idea into the present, acknowledging the extent to which revivals of many kinds of music play a role in American contemporary culture. This book focuses on the connections between theory and practice to enrich our understanding of the diversity of American musical experiences. Designed especially to accompany college courses which survey American music as a whole, the book is also relevant to courses in American history and American Studies.
Music in the Western World
by Richard Taruskin Piero WeissThis classic anthology assembles over 200 source readings, bringing to life the history of music through letters, reviews, biographical sketches, memoirs, and other documents. Writings by composers, critics, and educators touch on virtually every aspect of Western music from ancient Greece to the present day.
Music in the Western: Notes From the Frontier
by Kathryn KalinakMusic in the Western: Notes from the Frontier presents essays from both film studies scholars and musicologists on core issues in western film scores: their history, their generic conventions, their operation as part of a narrative system, their functioning within individual filmic texts and their ideological import, especially in terms of the western’s construction of gender, sexuality, race and ethnicity. The Hollywood western is marked as uniquely American by its geographic setting, prototypical male protagonist and core American values. Music in the Western examines these conventions and the scores that have shaped them. But the western also had a resounding international impact, from Europe to Asia, and this volume distinguishes itself by its careful consideration of music in non-Hollywood westerns, such as Ravenous and The Good, the Bad, and the Ugly and in the “easterns” which influenced them, such as Yojimbo. Other films discussed include Wagon Master, High Noon, Calamity Jane, The Big Country, The Unforgiven, Dead Man, Wild Bill, There Will Be Blood and No Country for Old Men. Contributors Ross CareCorey K. CreekmurYuna de LannoyK. J. DonnellyCaryl FlinnClaudia GorbmanKathryn KalinakCharles LeinbergerMatthew McDonaldPeter StanfieldMariana WhitmerBen Winters The Routledge Music and Screen Media Series offers edited collections of original essays on music in particular genres of cinema, television, video games and new media. These edited essay collections are written for an interdisciplinary audience of students and scholars of music and film and media studies.
Music in the Words: Musical Form and Counterpoint in the Twentieth-Century Novel
by Alan ShockleyThere is a strong tradition of literary analyses of the musical artwork. Simply put, all musicology - any writing about music - is an attempt at making analogies between what happens within the world of sound and language itself. This study considers this analogy from the opposite perspective: authors attempting to structure words using musical forms and techniques. It's a viewpoint much more rarely explored, and none of the extant studies of novelists' musical techniques have been done by musicians. Can a novel follow the form of a symphony and still succeed as a novel? Can musical counterpoint be mimicked by words on a page? Alan Shockley begins looking for answers by examining music's appeal for novelists, and then explores two brief works, a prose fugue by Douglas Hofstadter, and a short story by Anthony Burgess modeled after a Mozart symphony. Analyses of three large, emblematic attempts at musical writing follow. The much debated 'Sirens' episode of James Joyce's Ulysses, which the author famously likened to a fugue, Burgess' largely ignored Napoleon Symphony: A Novel in Four Movements, patterned on Beethoven's Eroica, and Joyce's Finnegans Wake, which Shockley examines as an attempt at composing a fully musicalized language. After these three larger analyses, Shockley discusses two quite recent brief novels, William Gaddis' novella Agap gape and David Markson's This is not a novel, proposing that each of these confounding texts coheres elegantly when viewed as a musically-structured work. From the perspective of a composer, Shockley offers the reader fresh tools for approaching these dense and often daunting texts.
Music in the World: Selected Essays
by Timothy D. TaylorIn music studies, Timothy D. Taylor is known for his insightful essays on music, globalization, and capitalism. Music in the World is a collection of some of Taylor’s most recent writings—essays concerned with questions about music in capitalist cultures, covering a historical span that begins in the late nineteenth and early twentieth centuries and continues to the present. These essays look at shifts in the production, dissemination, advertising, and consumption of music from the industrial capitalism of the nineteenth century to the globalized neoliberal capitalism of the past few decades. In addition to chapters on music, capitalism, and globalization, Music in the World includes previously unpublished essays on the continuing utility of the concept of culture in the study of music, a historicization of treatments of affect, and an essay on value and music. Taken together, Taylor’s essays chart the changes in different kinds of music in twentieth- and twenty-first-century music and culture from a variety of theoretical perspectives.
Music is History
by QuestloveMusic Is History combines Questlove’s deep musical expertise with his curiosity about history, examining America over the past fifty years. <p><p> Focusing on the years 1971 to the present, Questlove finds the hidden connections in the American tapes- try, whether investigating how the blaxploitation era reshaped Black identity or considering the way disco took an assembly-line approach to Black genius. And these critical inquiries are complemented by his own memories as a music fan, and the way his appetite for pop culture taught him about America. <p><p> A history of the last half-century and an intimate conversation with one of music’s most influential and original voices, Music Is History is a singular look at contemporary America.
Music is Power: Popular Songs, Social Justice, and the Will to Change
by Brad SchreiberPopular music has long been a powerful force for social change. Protest songs have served as anthems regarding war, racism, sexism, ecological destruction and so many other crucial issues. Music Is Power takes us on a guided tour through the past 100 years of politically-conscious music, from Pete Seeger and Woody Guthrie to Green Day and NWA. Covering a wide variety of genres, including reggae, country, metal, psychedelia, rap, punk, folk and soul, Brad Schreiber demonstrates how musicians can take a variety of approaches— angry rallying cries, mournful elegies to the victims of injustice, or even humorous mockeries of authority—to fight for a fairer world. While shining a spotlight on Phil Ochs, Gil Scott-Heron, The Dead Kennedys and other seminal, politicized artists, he also gives readers a new appreciation of classic acts such as Lesley Gore, James Brown, and Black Sabbath, who overcame limitations in their industry to create politically potent music Music Is Power tells fascinating stories about the origins and the impact of dozens of world-changing songs, while revealing political context and the personal challenges of legendary artists from Bob Dylan to Bob Marley.
Music of Anthony Braxton (Contributions To The Study Of Music And Dance Ser. #No. 43)
by HeffleyFirst Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.
Music of Azerbaijan: From Mugham to Opera (Ethnomusicology Multimedia)
by Aida HuseynovaThis book traces the development of Azerbaijani art music from its origins in the Eastern, modal, improvisational tradition known as mugham through its fusion with Western classical, jazz, and world art music. Aida Huseynova places the fascinating and little-known history of music in Azerbaijan against the vivid backdrop of cultural life under Soviet influence, which paradoxically both encouraged and repressed the evolution of national musics and post-Soviet independence. Inspired by their neighbors to the East and West, Azerbaijani musicians enjoyed a period of remarkable creativity, composing and performing the first opera and the first ballet in the Muslim East, establishing the region's first Opera and Ballet Theater and Conservatory of Music, and discovering ways to merge the modal lyricism of mugham with the rhythmic dynamics of jazz. Drawing on previously unstudied archives, letters, and documents as well as her experience as an Azerbaijani musician and educator, Huseynova shows how Azerbaijani musical development was not a product of Soviet cultural policies but rather grew from and reflected deep and complex cultural processes.
Music of Exile: The Untold Story of the Composers who Fled Hitler
by Michael HaasWhat happens to a composer when persecution and exile means their true music no longer has an audience? In the 1930s, composers and musicians began to flee Hitler&’s Germany to make new lives across the globe. The process of exile was complex: although some of their works were celebrated, these composers had lost their familiar cultures and were forced to navigate xenophobia as well as entirely different creative terrain. Others, far less fortunate, were in a kind of internal exile—composing under a ruthless dictatorship or in concentration camps and ghettos. Michael Haas sensitively records the experiences of this musical diaspora. Torn between cultures and traditions, these composers produced music that synthesized old and new worlds, some becoming core portions of today&’s repertoire, some relegated to the desk drawer. Encompassing the musicians interned as enemy aliens in the United Kingdom, the brilliant Hollywood compositions of Erich Wolfgang Korngold, and the Brecht-inspired theater music of Kurt Weill, Haas shows how these musicians shaped the twentieth-century soundscape—and offers a moving record of the incalculable effects of war on culture.