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Music as Mao's Weapon: Remembering the Cultural Revolution
by Lei X. OuyangChina's Cultural Revolution (1966-1976) produced propaganda music that still stirs unease and, at times, evokes nostalgia. Lei X. Ouyang uses selections from revolutionary songbooks to untangle the complex interactions between memory, trauma, and generational imprinting among those who survived the period of extremes. Interviews combine with ethnographic fieldwork and surveys to explore both the Cultural Revolution's effect on those who lived through it as children and contemporary remembrance of the music created to serve the Maoist regime. As Ouyang shows, the weaponization of music served an ideological revolution but also revolutionized the senses. She examines essential questions raised by this phenomenon, including: What did the revolutionization look, sound, and feel like? What does it take for individuals and groups to engage with such music? And what is the impact of such an experience over time? Perceptive and provocative, Music as Mao's Weapon is an insightful look at the exploitation and manipulation of the arts under authoritarianism.
Music as Medicine: The History of Music Therapy Since Antiquity
by Peregrine HordenMusic, whether performed or heard, has been seen as therapeutic in the history of many cultures. How have its therapeutic properties been conceptualized and explained? Which cultures have used music therapy? What were their aims and techniques, and how much continuity is there between ancient, medieval and modern practice? These are the questions addressed by the essays in this volume. They focus on the place of music therapy in European intellectual, medical and musical traditions, from their classical roots to the development of the music therapy profession since the Second World War. Chapters covering the Judaic, Islamic, Indian and South-East Asian traditions add global, comparative perspectives. Music as Medicine is the first book to establish the whole shape of the history of music therapy in a systematic and scholarly way. It addresses the problem of defining what music therapy has meant in different cultures and periods, and sets the agenda for future research in the subject. It will appeal to a diverse readership of historians, musicologists, anthropologists, and practitioners.
Music as Philosophy: Adorno and Beethoven's Late Style (Musical Meaning and Interpretation)
by Michael SpitzerBeethoven's late style is the language of his ninth symphony, the Missa Solemnis, the last piano sonatas and string quartets, the Diabelli Variations, the Bagatelles, as well as five piano sonatas, five string quartets, and several smaller piano works. Historically, these works are seen as forging a bridge between the Classical and Romantic traditions: in terms of their musical structure, they continue to be regarded as revolutionary.Spitzer's book examines these late works in light of the musical and philosophical writings of the German intellectual Theodor Adorno, and in so doing, attempts to reconcile the conflicting approaches of musical semiotics and critical theory. He draws from various approaches to musical, linguistic, and aesthetic meaning, relating Adorno to such writers as Derrida, Benjamin, and Habermas, as well as contemporary music theorists. Through analyses of Beethoven's use of specific musical techniques (including neo-Baroque fugues and counterpoint), Spitzer suggests that the composer's last works offer a philosophical and musical critique of the Enlightenment, and in doing so created the musical language of premodernism.
Music as Social Life: The Politics of Participation
by Thomas TurinoThomas Turino explores why music and dance are so often at the center of our most profound personal and social experiences and how the special properties of music and dance that make them fundamental resources for connecting with our own lives, our communities, and the environment.
Music as Thought: Listening to the Symphony in the Age of Beethoven
by Mark Evan BondsBefore the nineteenth century, instrumental music was considered inferior to vocal music. Kant described wordless music as "more pleasure than culture," and Rousseau dismissed it for its inability to convey concepts. But by the early 1800s, a dramatic shift was under way. Purely instrumental music was now being hailed as a means to knowledge and embraced precisely because of its independence from the limits of language. What had once been perceived as entertainment was heard increasingly as a vehicle of thought. Listening had become a way of knowing. Music as Thought traces the roots of this fundamental shift in attitudes toward listening in the late eighteenth and early nineteenth centuries. Focusing on responses to the symphony in the age of Beethoven, Mark Evan Bonds draws on contemporary accounts and a range of sources--philosophical, literary, political, and musical--to reveal how this music was experienced by those who heard it first. Music as Thought is a fascinating reinterpretation of the causes and effects of a revolution in listening.
Music as a Science of Mankind in Eighteenth-Century Britain
by Maria Semi translated by KeatesMusic as a Science of Mankind offers a philosophical and historical perspective on the intellectual representation of music in British eighteenth-century culture. From the field of natural philosophy, involving the science of sounds and acoustics, to the realm of imagination, involving resounding music and art, the branches of modern culture that were involved in the intellectual tradition of the science of music proved to be variously appealing to men of letters. Among these, a particularly rich field of investigation was the British philosophy of the mind and of human understanding, developed between the seventeenth and eighteenth centuries, which looked at music and found in its realm a way of understanding human experience. Focussing on the world of sensation - trying to describe how the human mind could develop ideas and emotions by its means - philosophers and physicians often took their cases from art's products, be it music (sounds), painting (colours) or poetry (words as signs of sound conveying a meaning), thus looking at art from a particular point of view: that of the perceiving mind. The relationship between music and the philosophies of mind is presented here as a significant part of the construction of a Science of Man: a huge and impressive 'project' involving both the study of man's nature, to which - in David Hume's words - 'all sciences have a relation', and the creation of an ideal of what Man should be. Maria Semi sheds light on how these reflections moved towards a Science of Music: a complex and articulated vision of the discipline that was later to be known as 'musicology'; or Musikwissenschaft.
Music as a Way of Knowing
by Nick PageNick Page loves to make and share music with his students, and it's likely that you will too by the time you've finished his passionate, thought-provoking book. You will also have developed a new understanding of and appreciation for the role music can play in supporting learners. A music educator and song leader who has devoted his professional life to helping people of all ages realize that they are "capable of great miracles through the simple, yet powerful, act of singing," Nick is particularly devoted to multicultural music and works diligently to promote music of diverse cultures. Rich with ideas on how to use music in the classroom, Music as a Way of Knowing will appeal especially to classroom teachers who are not musicians, but who enjoy and learn from music and want to use it with their students. Indeed, Nick reveals the truth of the Zimbabwean adage: "If you can talk, you can sing. If you can walk, you can dance. " Nick provides simple instructions for writing songs, using music to support learning across the curriculum, teaching singing effectively, and finding good songs. He assures you that with time, all students can sing well. The good news is that once you've read this book, you'll have the confidence to trust yourself-and your students-to sing and learn well through the joy and power of music.
Music at World's End: Three Exiled Musicians from Nazi Germany and Austria and Their Contribution to Music in Iceland
by Árni Heimir IngólfssonIn Iceland in the 1930s, classical music was only beginning to be seriously practiced, at the same time when musicians of Jewish heritage were fleeing Nazi Germany and Austria. Despite the country’s strict immigration policy, three outstanding young musicians were allowed to settle there: Robert Abraham, Heinz Edelstein, and Victor Urbancic. Their influence on Iceland’s music scene as conductors, instrumentalists, teachers, and scholars proved invaluable. In Music at World's End, the first in-depth study of the lives and careers of these three musicians, musicologist Árni Ingólfsson examines their formative years in Germany and Austria, their dramatic escapes from the Nazi regime, and their triumphs and frustrating setbacks in their new homeland, a country in which Jews were virtually unknown. This fascinating case study is a valuable addition to studies of musical exile during World War II and beyond.
Music at the Intersection of Brazilian Culture: An Introduction to Music, Race, and Food
by Elisa Macedo Dekaney Joshua A. DekaneyMusic at the Intersection of Brazilian Culture takes an interdisciplinary approach by utilizing several aspects of Brazilian music, race, and food as a window to understanding Brazilian culture, with music at the core. Through a holistic understanding of the Brazilian experience – exploring issues of race, colonization, sustainable development, and the contributions of the three distinct ethnic groups in the making of Brazil – the authors create a narrative based on their own recollection of memories, traditions, customs, sounds, and landscapes that they experienced in Brazil. Each engaging section begins with an overview of the topic that places it in historical context, and then focuses on each subtopic with a thorough presentation of the content as well as suggested activities that can be implemented in the classroom. The chapters conclude with a list of useful references, resources, and audio recording examples, which are available on Spotify, to present readers with a musical landscape of the folktales. These can be found online via the Routledge catalogue page for this book. This book is an essential resource for students and teachers of music and cultural studies, as it unpicks complex issues to help readers better understand and appreciate Brazilian culture.
Music at the Limits: Three Decades Of Essays And Articles On Music
by Edward SaidMusic at the Limits is the first book to bring together three decades of Edward W. Said's essays and articles on music. Addressing the work of a variety of composers, musicians, and performers, Said carefully draws out music's social, political, and cultural contexts and, as a classically trained pianist, provides rich and often surprising assessments of classical music and opera.Music at the Limits offers both a fresh perspective on canonical pieces and a celebration of neglected works by contemporary composers. Said faults the Metropolitan Opera in New York for being too conservative and laments the way in which opera superstars like Pavarotti have "reduced opera performance to a minimum of intelligence and a maximum of overproduced noise." He also reflects on the censorship of Wagner in Israel; the worrisome trend of proliferating music festivals; an opera based on the life of Malcolm X; the relationship between music and feminism; the pianist Glenn Gould; and the works of Mozart, Bach, Richard Strauss, and others. Said wrote his incisive critiques as both an insider and an authority. He saw music as a reflection of his ideas on literature and history and paid close attention to its composition and creative possibilities. Eloquent and surprising, Music at the Limits preserves an important dimension of Said's brilliant intellectual work and cements his reputation as one of the most influential and groundbreaking scholars of the twentieth century.
Music at the Maison royale de Saint-Louis at Saint-Cyr
by Deborah KauffmanThe history of music at the Maison royale de Saint-Louis at Saint-Cyr — the famous convent school founded by Madame de Maintenon and established by Louis XIV in 1686 as a royal foundation — is both rich and intriguing; its large repertory of music was composed expressly for young female voices by important composers working within significant contemporary musical genres: liturgical chant, sacred motets, theatrical music, and cantiques spirituels. While these genres reflect contemporary styles and trends, at the same time the works themselves were made to conform to the sensibilities and abilities of their intended performers. Even as Jean-Baptiste Moreau's music for Jean Racine’s biblical tragedies Esther and Athalie shows a number of similarities to contemporary tragédies lyriques, it departs from that more public genre in its brevity, generally simpler solo writing, and the integral use of the chorus. The musical style of the choral numbers closely parallels that of other choral music in the repertory at Saint-Cyr. The liturgical chant sung in the church was composed by Guillaume-Gabriel Nivers, and is an example of plain-chant musical, a type of new ecclesiastical composition written during the seventeenth and eighteenth centuries, primarily for female religious communities in France. The large repertory of petits motets (short sacred Latin pieces for solo voice), mostly composed by Nivers and Louis-Nicolas Clérambault, are simpler and more restrained than works by their contemporaries. A close study of the motets reveals much about changes to musical style and performance practices at Saint-Cyr during the eighteenth century. The cantique spirituel, a song with a spiritual text in the vernacular French language, played a significant role in both the education and recreation of the girls at Saint-Cyr. Cantiques composed for the girls vary widely in terms of their style and difficulty, ranging from simple strophic melodies to more sophisticated works in the style of contemporary airs. In all cases, the stylistic features of the music for Saint-Cyr reflect a careful consideration of the needs and capabilities of the young singers of the school, as well as an awareness of the rigorous requirements of Madame de Maintenon, who kept a close watch over the propriety of all things relating to the piety, behavior, and image of her charges.
Music behind the Iron Curtain: Weinberg and his Polish Contemporaries (Music in Context)
by Daniel ElphickMieczysław Weinberg left his family behind and fled his native Poland in September 1939. He reached the Soviet Union, where he become one of the most celebrated composers. He counted Shostakovich among his close friends and produced a prolific output of works. Yet he remained mindful of the nation that he had left. This book examines how Weinberg's works written in Soviet Russia compare with those of his Polish contemporaries; how one composer split from his national tradition and how he created a style that embraced the music of a new homeland, while those composers in his native land surged ahead in a more experimental vein. The points of contact between them are enlightening for both sides. This study provides an overview of Weinberg's music through his string quartets, analysing them alongside Polish composers. Composers featured include Bacewicz, Meyer, Lutosławski, Panufnik, Penderecki, Górecki, and a younger generation, including Szymański and Knapik.
Music by Pedro de Cristo (Music Archive Publications #Vol. 1)
by Owen ReesFirst Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.
Music by Subscription: Composers and their Networks in the British Music-Publishing Trade, 1676–1820 (Routledge Research in Music)
by Simon D. I. Fleming Martin PerkinsThis book breaks new ground in the social and cultural history of eighteenth-century music in Britain through the study of a hitherto neglected resource, the lists of subscribers that were attached to a wide variety of publications, including musical works. These lists shed considerable light on the nature of those who subscribed to music, including their social status, place of employment, residence, and musical interests. Through broad analysis of subscription data, the contributors reveal insights into social and economic changes during the period, and the types of music favoured by groups like music clubs, the aristocracy, the clergy, and by men and women. With chapters on female composers and listeners, music and the slave economy, musical patronage, the print trade, and nationality, this book provides innovative perspectives that enhance our understanding of music’s social spheres, the emergence of music publishing, and the potential of digital musicology research.
Music for Elementary Classroom Teachers
by Patricia Shehan Campbell Carol Scott-Kassner Kirk KassnerLearn how to use the power of music to enhance other subjects. Written for both elementary education majors and K-6 classroom teachers, the text is rooted in cognitive research on children’s development. <p><p>The book offers myriad instructional plans that weave songs, dances, and carefully constructed listening experiences into subjects ranging from language arts and social studies to mathematics, science, and the arts. It also provides opportunities for engaging children in expressive-creative practices.
Music for Sight Singing
by Nancy Rogers Robert OttmanFor courses in sight singing and music theory. The most celebrated, engaging, and musical sight-singing text on the market A freshly updated edition of the classic musical textbook, Music for Sight Singing, 10th Edition, is structured around organized melodies, drawn from the literature of composed music and a wide range of the world’s folk music. Real music exercises allow readers to practice sight singing and develop their “mind’s ear,” the ability to imagine how music sounds without first playing it on an instrument. The new edition includes even more melodies and several new topics; improved introductions to minor keys, pre-dominant leaps, and chromaticism; and increased use of bass and C clefs ― while retaining the simple-to-complex arrangement that lays the foundation for success.
Music for Silenced Voices: Shostakovich and His Fifteen Quartets
by Wendy LesserMost previous books about Dmitri Shostakovich have focused on either his symphonies and operas, or his relationship to the regime under which he lived, or both, since these large-scale works were the ones that attracted the interest and sometimes the condemnation of the Soviet authorities. Music for Silenced Voiceslooks at Shostakovich through the back door, as it were, of his fifteen quartets, the works which his widow characterized as a "diary, the story of his soul. " The silences and the voices were of many kinds, including the political silencing of adventurous writers, artists, and musicians during the Stalin era; the lost voices of Shostakovich's operas (a form he abandoned just before turning to string quartets); and the death-silenced voices of his close friends, to whom he dedicated many of these chamber works. Wendy Lesser has constructed a fascinating narrative in which the fifteen quartets, considered one at a time in chronological order, lead the reader through the personal, political, and professional events that shaped Shostakovich's singular, emblematic twentieth-century life. Weaving together interviews with the composer's friends, family, and colleagues, as well as conversations with present-day musicians who have played the quartets, Lesser sheds new light on the man and the musician. One of the very few books about Shostakovich that is aimed at a general rather than an academic audience,Music for Silenced Voicesis a pleasure to read; at the same time, it is rigorously faithful to the known facts in this notoriously complicated life. It will fill readers with the desire to hear the quartets, which are among the most compelling and emotionally powerful monuments of the past century's music.
Music for Tigers
by Michelle Kadarusman“Middle-school student Louisa wants to spend the summer practicing violin for a place in the youth symphony, but is instead sent to the Tasmanian rain forest camp of her Australian relatives. There she learns that her family secretly protects the last of the supposedly extinct Tasmanian tigers. When an encroaching mining operation threatens the hidden sanctuary, Louisa realizes her music can help” - Provided by publisher.
Music for a City Music for the World
by Larry RotheIn Music for a City, Music for the World, Larry Rothe shares how the San Francisco Bay Area's love of music, rooted in the Gold Rush, gave birth to a Grammy-winning and internationally acclaimed orchestra. Released in time for the San Francisco Symphony's celebration of its 100th anniversary, this definitive history replete with hundreds of archival photos and images gives readers a behind-the-scenes glimpse into one of the world's foremost orchestras and, in so doing, illuminates the cultural life of a city.
Music for the IB MYP 4&5: MYP by Concept
by Samuel WrightA concept-driven and assessment -focused approach to Music teaching and learning.- Approaches each chapter with statements of inquiry framed by key and related concepts, set in a global context.- Supports every aspect of assessment using tasks designed by an experienced MYP educator.- Differentiates and extends learning with research projects and interdisciplinary opportunities.- Applies global contexts in meaningful ways to offer an MYP Music programme with an internationally-minded perspective.Also available Student eTextbook 9781510475533Whiteboard eTextbook 9781510475540Teacher's Pack 9781510478145
Music for the IB MYP 4&5: MYP by Concept
by Samuel WrightA concept-driven and assessment -focused approach to Music teaching and learning.- Approaches each chapter with statements of inquiry framed by key and related concepts, set in a global context.- Supports every aspect of assessment using tasks designed by an experienced MYP educator.- Differentiates and extends learning with research projects and interdisciplinary opportunities.- Applies global contexts in meaningful ways to offer an MYP Music programme with an internationally-minded perspective.Also available Student eTextbook 9781510475533Whiteboard eTextbook 9781510475540Teacher's Pack 9781510478145
Music for the Millions: The Kimball Piano and Organ Story
by Van Allen BradleyIn Music for the Millions, author Van Allen Bradley tells the story of a firm which, at the time of this book’s original publication in 1962, had endured for 100 years.But the Kimball Piano and Organ Company accomplished more than simply surviving a century—it played a dominant role in the development of the industry of which it was a part.The company started as a piano dealership in Chicago in 1857 as W.W. Kimball and Company by William Wallace Kimball (1828-1904). In 1864, Kimball moved from its earliest location in the corner of a jewelry store to sales rooms in the Crosby Opera House. The Great Chicago Fire destroyed all of Kimball’s commercial assets in 1871, but he continued selling from his home, and rebuilt his dealership business.In 1877, W.W. Kimball began assembling its own reed organs, and after three years the company began offering organs made entirely in-house. In 1882, the Kimball company was incorporated, and an expansive factory was built to produce reed organs; soon, the factory was producing 15,000 organs a year—the world’s largest organ maker.In 1887, Kimball began building a five-story factory for making its own pianos, and the next year produced 500 instruments of indifferent quality. By 1893 at the World’s Columbian Exposition, at which Kimball received the “Worlds Columbian Exposition Award,” Kimball was known for high quality, efficiency in manufacture, and aggressive sales practices, using 35-40 traveling salesmen to cover cities and remote areas.In 1959, the W.W. Kimball Company was purchased from the last remaining Kimball family heir by Mr. Arnold F. Habig and became a wholly owned subsidiary of The Jasper Corporation. Piano production was relocated to the small, southern Indiana town of West Baden, Indiana, where the company was rejuvenated and once again began to grow—10 years after the purchase, Kimball was once again the world’s largest piano company.
Music from Aleppo during the Syrian War: Displacement and Memory in Hello Psychaleppo's Electro-Tarab (Elements in Music and the City)
by Clara WenzAleppo is regarded as one of the historical centres of an urban Arab art music tradition known as 'tarab'. During the war that followed Syria's 2011 political uprisings, vast parts of the city were destroyed. This Element explores how 'tarab' lives on in new contexts. It does so through a focus on the work of Hello Psychaleppo, one of Aleppo's displaced musicians and the pioneer of 'electro-tarab', an eclectic style of urban electronic dance music that is conceived as a homage to Aleppo's musical legacy. Whether local religious chants, Palestinian poetry, or the image of a yellow man, electro-tarab includes an inventory of audio, visual and literary samples. These samples help conceptualise the role music has played during the Syrian war; they offer insights into Aleppo's musical and diasporic afterlife; and they illuminate some of the socio-aesthetic parameters that characterise contemporary Arab electronic music.
Music from a Landfill (Fountas & Pinnell Classroom, Guided Reading Grade 3)
by Laura JohnsonNIMAC-sourced textbook
Music from the Earliest Notations to the Sixteenth Century: The Oxford History of Western Music
by Richard TaruskinThe universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks- the themes, styles, and currents that give shape and direction to a significant period in the history of Western music. <p><p>This first volume in Richard Taruskin's majestic history, Music from the Earliest Notations to the Sixteenth Century , sweeps across centuries of musical innovation to shed light on the early forces that shaped the development of the Western classical tradition. Beginning with the invention of musical notation more than a thousand years ago, Taruskin addresses topics such as the legend of Saint Gregory and Gregorian chant, Augustine's and Boethius's thoughts on music, the liturgical dramas of Hildegard of Bingen, the growth of the music printing business, the literary revolution and the English madrigal, the influence of the Reformation and the Counter-Reformation, and the operas of Monteverdi. Laced with brilliant observations, memorable musical analysis, and a panoramic sense of the interactions between history, culture, politics, art, literature, religion, and music, this book will be essential reading for anyone who wishes to understand this rich and diverse period.