- Table View
- List View
Historical Performance and New Music: Aesthetics and Practices
by Rebecca Cypess, Estelí Gomez, and Rachael LansangThe worlds of new music and historically informed performance might seem quite distant from one another. Yet, upon closer consideration, clear points of convergence emerge. Not only do many contemporary performers move easily between these two worlds, but they often do so using a shared ethos of flexibility, improvisation, curiosity, and collaboration—collaboration with composers past and present, with other performers, and with audiences. Bringing together expert scholars and performers considering a wide range of issues and case studies, Historical Performance and New Music—the first book of its kind—addresses the synergies in aesthetics and practices in historical performance and new music. The essays treat matters including technologies and media such as laptops, printing presses, and graphic notation; new music written for period instruments from natural horns to the clavichord; personalities such as the pioneering singer Cathy Berberian; the musically “omnivorous” ensembles A Far Cry and Roomful of Teeth; and composers Luciano Berio, David Lang, Molly Herron, Caroline Shaw, and many others. Historical Performance and New Music presents pathbreaking ideas in an accessible style that speaks to performers, composers, scholars, and music lovers alike. Richly documented and diverse in its methods and subject matter, this book will open new conversations about contemporary musical life.
Historical Performance and New Music: Aesthetics and Practices
The worlds of new music and historically informed performance might seem quite distant from one another. Yet, upon closer consideration, clear points of convergence emerge. Not only do many contemporary performers move easily between these two worlds, but they often do so using a shared ethos of flexibility, improvisation, curiosity, and collaboration—collaboration with composers past and present, with other performers, and with audiences. Bringing together expert scholars and performers considering a wide range of issues and case studies, Historical Performance and New Music—the first book of its kind—addresses the synergies in aesthetics and practices in historical performance and new music. The essays treat matters including technologies and media such as laptops, printing presses, and graphic notation; new music written for period instruments from natural horns to the clavichord; personalities such as the pioneering singer Cathy Berberian; the musically “omnivorous” ensembles A Far Cry and Roomful of Teeth; and composers Luciano Berio, David Lang, Molly Herron, Caroline Shaw, and many others. Historical Performance and New Music presents pathbreaking ideas in an accessible style that speaks to performers, composers, scholars, and music lovers alike. Richly documented and diverse in its methods and subject matter, this book will open new conversations about contemporary musical life.
History as Fantasy in Music, Sound, Image, and Media (Music and Visual Culture)
by James Cook Alexander Kolassa Alexander Robinson Adam WhittakerExploring how music is used to portray the past in a variety of media, this book probes the relationship between history and fantasy in the imagination of the musical past. The volume brings together essays from multidisciplinary perspectives, addressing the use of music to convey a sense of the past in a wide range of multimedia contexts, including television, documentaries, opera, musical theatre, contemporary and historical film, videogames, and virtual reality. With a focus on early music and medievalism, the contributors theorise the role of music and sound in constructing ideas of the past. In three interrelated sections, the chapters problematise notions of historical authenticity on the stage and screen; theorise the future of musical histories in immersive and virtual media; and explore sound’s role in more fantastical appropriations of history in television and videogames. Together, they poseprovocative questions regarding our perceptions of ‘early’ music and the sensory experience of distant history. Offering new ways to understand the past at the crossroads of musical and visual culture, this collection is relevant to researchers across music, media, and historical and cultural studies.
History as Fantasy in Music, Sound, Image, and Media (Music and Visual Culture)
by James Cook, Alexander Kolassa, Alexander Robinson, and Adam WhittakerExploring how music is used to portray the past in a variety of media, this book probes the relationship between history and fantasy in the imagination of the musical past. The volume brings together essays from multidisciplinary perspectives, addressing the use of music to convey a sense of the past in a wide range of multimedia contexts, including television, documentaries, opera, musical theatre, contemporary and historical film, videogames, and virtual reality. With a focus on early music and medievalism, the contributors theorise the role of music and sound in constructing ideas of the past. In three interrelated sections, the chapters problematise notions of historical authenticity on the stage and screen; theorise the future of musical histories in immersive and virtual media; and explore sound’s role in more fantastical appropriations of history in television and videogames. Together, they poseprovocative questions regarding our perceptions of ‘early’ music and the sensory experience of distant history. Offering new ways to understand the past at the crossroads of musical and visual culture, this collection is relevant to researchers across music, media, and historical and cultural studies.
Hugo Wolf: The Vocal Music
by Susan YouensA groundbreaking look at one of the great song composers of the late Romantic periodIn the virtual cottage industry of works on fin de siècle Vienna, Hugo Wolf (1860–1903) has been somewhat neglected, perhaps because he was the master of a small genre—the late Romantic lied—and never truly made his mark in the larger forms that command greater public attention. But in the realm of song, he is among the greatest inheritors of Schubert and Schumann, one who was both a traditionalist and a modernist. When the Viennese critic Eduard Hanslick disapprovingly dubbed Wolf &“the Richard Wagner of the lied,&” he was paying oblique homage to Wolf&’s genius as a song composer in the most modern manner.In this book, Susan Youens examines five aspects of Wolf&’s compositional art, each exemplifying a different synthesis of traditionalism and modernity and spanning his entire, tragically brief creative life, from his first efforts to his lapse into insanity in 1897. She discusses Wolf&’s youthful imitations of Schumann, his genius for comic songs of a kind unlike any of his predecessors, his part in the ballad revival of the late nineteenth century, Wolf in relation to his contemporaries, and his pursuit of operatic fame. Youens looks as closely at the poetic texts as she does the music and includes numerous previously unpublished sketches and fragments, examples from songs now long out of print and difficult to obtain, and citations from Wolf&’s vivid letters and other sources of the period.
In the Jingle Jangle Jungle: Keeping Time with the Brian Jonestown Massacre
by Joel GionThe Brian Jonestown Massacre are one of the great contemporary cult American rock and roll bands. At the peak of their anarchic reign in the San Francisco underground of the mid '90s their psychedelic output was almost as prodigious and impressive as their narcotic intake. Immortalised in one of the most unforgettable rock and roll documentaries of all time, DIG! alongside their friends/rivals/nemeses, The Dandy Warhol's, in their early years when the US were obsessed with grunge, the BJM felt like a '60s anachronism. But with albums like Their Satanic Majesties Second Request and Thank God for Mental Illness, and incendiary, often chaotic, live shows, they burnished their legend as true believers and custodians of the original west coast flame; a privilege and responsibility which continues to this day when the band have a bigger and more dedicated audience than ever.Joel Gion's memoir tells the story of the first ten years of the band from the Duke Seat. A righteous account of the hazards and pleasures of life on and off the road, In the Jingle Jangle Jungle takes use behind the scenes of the supposed behind the scenes film that cemented the band's legend. Funny as hell, shot through with the innocence and wonder of a 'percussionist' whose true role is that of the band's 'spirit animal', In the Jingle Jangle Jungle is destined to take its place alongside cult classics in the pantheon of rock and roll literature like Playing the Bass with Three Left Hands, Head On, and 45 by Bill Drummond. It will also feature a foreword by Anton Newcombe, fellow member and founder of The Brian Jonestown Massacre.
Inclusive Music Histories: CMS Emerging Fields in Music (CMS Emerging Fields in Music)
by Ayana O. SmithInclusive Music Histories: Leading Change through Research and Pedagogy models effective practices for researchers and instructors striving either to reform music history curricula at large or update individual topics within their classes to be more inclusive. Confronting racial and other imbalances of Western music history, the author develops four core principles that enable a shift in thinking to create a truly intersectional music history narrative and provides case studies that can be directly applied in the classroom. The book addresses inclusivity issues in the discipline of musicology by outlining imbalances encoded into the canonic repertory, pedagogy, and historiography of the field. This book offers comprehensive teaching tools that instructors can use at all stages of course design, from syllabus writing and lecture planning to discussion techniques, with assignments for each of the subject matter case studies. Inclusive Music Histories enables instructors to go beyond token representation to a more nuanced music history pedagogy.
Inclusive Music Histories: CMS Emerging Fields in Music (CMS Emerging Fields in Music)
by Ayana O. SmithInclusive Music Histories: Leading Change through Research and Pedagogy models effective practices for researchers and instructors striving either to reform music history curricula at large or update individual topics within their classes to be more inclusive. Confronting racial and other imbalances of Western music history, the author develops four core principles that enable a shift in thinking to create a truly intersectional music history narrative and provides case studies that can be directly applied in the classroom. The book addresses inclusivity issues in the discipline of musicology by outlining imbalances encoded into the canonic repertory, pedagogy, and historiography of the field. This book offers comprehensive teaching tools that instructors can use at all stages of course design, from syllabus writing and lecture planning to discussion techniques, with assignments for each of the subject matter case studies. Inclusive Music Histories enables instructors to go beyond token representation to a more nuanced music history pedagogy.
Innovation in Music: Cultures and Contexts (ISSN)
Innovation in Music: Cultures and Contexts is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering creative production practices and national/international perspectives, this volume offers truly global outlooks on ever-evolving practices.Including chapters on Dolby Atmos, the history of distortion, creativity in the pandemic, and remote music collaboration, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.
Innovation in Music: Cultures and Contexts (ISSN)
by Jan-Olof Gullö Russ Hepworth-Sawyer Justin Paterson Rob Toulson Mark MarringtonInnovation in Music: Cultures and Contexts is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering creative production practices and national/international perspectives, this volume offers truly global outlooks on ever-evolving practices.Including chapters on Dolby Atmos, the history of distortion, creativity in the pandemic, and remote music collaboration, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.
Innovation in Music: Technology and Creativity (ISSN)
Innovation in Music: Technology and Creativity is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering composition and performance, and technology and innovation, this volume offers truly international perspectives on ever-evolving practices.Including chapters on audience interaction, dynamic music methods, AI, and live electronic performances, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.
Innovation in Music: Technology and Creativity (ISSN)
by Jan-Olof Gullö Russ Hepworth-Sawyer Justin Paterson Rob Toulson Mark MarringtonInnovation in Music: Technology and Creativity is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering composition and performance, and technology and innovation, this volume offers truly international perspectives on ever-evolving practices.Including chapters on audience interaction, dynamic music methods, AI, and live electronic performances, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.
Interspecies Communication: Sound and Music beyond Humanity
by Gavin SteingoA surprising study reveals a plethora of attempts to communicate with non-humans in the modern era. In Interspecies Communication, music scholar Gavin Steingo examines significant cases of attempted communication beyond the human—cases in which the dualistic relationship of human to non-human is dramatically challenged. From singing whales to Sun Ra to searching for alien life, Steingo charts the many ways we have attempted to think about, and indeed to reach, beings that are very unlike ourselves. Steingo focuses on the second half of the twentieth century, when scientists developed new ways of listening to oceans and cosmic space—two realms previously inaccessible to the senses and to empirical investigation. As quintessential frontiers of the postwar period, the outer space of the cosmos and the inner space of oceans were conceptualized as parallel realities, laid bare by newly technologized “ears.” Deeply engaging, Interspecies Communication explores our attempts to cross the border between the human and non-human, to connect with non-humans in the depths of the oceans, the far reaches of the universe, or right under our own noses.
The Isley Brothers' 3+3 (33 1/3)
by Darrell M. McNeillThe Isley Brothers' 3+3, dissects The Isleys' 50-year-old undisputed masterwork, an album that firmly established their music dynasty on a global scale, as well as heralding the boldest run of genre-defiant albums of their 67-year career. The 1973 watershed was their first multiplatinum release and is significant as a rare, crossover record by a Black act that struck a chord with urban, rock, and pop consumers, despite the schisms between audiences due to bias-driven media and industry marketing.The book looks at the album from all angles: from The Isleys' early career to their influence on rock and rollers both Black and White, from the twists and turns of having national hits without national recognition, on to their decision to form T-Neck Records and the group's challenges navigating a music industry that racially codified music and hampered Black artists from universal acclaim and compensations. Finally, a summation of the decades follows The Isleys' run and its ups and downs, with a fast-forward to where the group is now after 67 years.
It’s My Party: Tat Ming Pair and the Postcolonial Politics of Popular Music in Hong Kong (Contemporary East Asian Visual Cultures, Societies and Politics)
by Jeroen de Kloet Yiu Fai Chow Leonie SchmidtThis book is unique in focusing on just one band from one city – but the story of Tat Ming Pair, in so many ways, is the story of Hong Kong's recent decades, from the Handover to the Umbrella Movement to 2019's standoff. A comprehensive, theoretically informed study of the sonic history and present of Hong Kong through the prism of Tat Ming Pair, this book will be of interest to cultural studies scholars, scholars of Hong Kong, and those who study the arts in East Asia.This is an open access book.
Jelly Roll Blues: Censored Songs and Hidden Histories
by Elijah WaldA bestselling music historian follows Jelly Roll Morton on a journey through the hidden worlds and forbidden songs of early blues and jazz. In Jelly Roll Blues: Censored Songs and Hidden Histories, Elijah Wald takes readers on a journey into the hidden and censored world of early blues and jazz, guided by the legendary New Orleans pianist Jelly Roll Morton. Morton became nationally famous as a composer and bandleader in the 1920s, but got his start twenty years earlier, entertaining customers in the city&’s famous bordellos and singing rough blues in Gulf Coast honky-tonks. He recorded an oral history of that time in 1938, but the most distinctive songs were hidden away for over fifty years, because the language and themes were as wild and raunchy as anything in gangsta rap. Those songs inspired Wald to explore how much other history had been locked away and censored, and this book is the result of that quest. Full of previously unpublished lyrics and stories, it paints a new and surprising picture of the dawn of American popular music, when jazz and blues were still the private, after-hours music of the Black "sporting world." It gives new insight into familiar figures like Buddy Bolden and Louis Armstrong, and introduces forgotten characters like Ready Money, the New Orleans sex worker and pickpocket who ended up owning one of the largest Black hotels on the West Coast. Revelatory and fascinating, these songs and stories provide an alternate view of Black culture at the turn of the twentieth century, when a new generation was shaping lives their parents could not have imagined and art that transformed popular culture around the world—the birth of a joyous, angry, desperate, loving, and ferociously funny tradition that resurfaced in hip-hop and continues to inspire young artists in a new millennium.
Jiuta Sōkyoku Lyrics and Explanations: Songs of the Floating World (ISSN)
Jiuta Sōkyoku Lyrics and Explanations is a compendium of seventy-three representative songs from the well-known genre of traditional Japanese Edo-period sankyoku ensemble music.Including extensive annotations along with commentaries and notes on their musical and performative aspects, the collection begins with an overview which traces the history of the jiuta sōkyoku genre and the various socio-political influences at work in its formation. The translations and analyses are followed by a substantive glossary and bibliography, allowing for a deeper understanding of both the literary and musical aspects of jiuta sōkyoku compositions.Jiuta Sōkyoku Lyrics and Explanations is a comprehensive anthology that will be of great interest to researchers, including ethnomusicologists, Japanese studies scholars and poetry lovers who are fascinated with the literary and musical impact of the Edo period.
Jiuta Sōkyoku Lyrics and Explanations: Songs of the Floating World (ISSN)
by Christopher Yohmei Blasdel Gunnar Jinmei LinderJiuta Sōkyoku Lyrics and Explanations is a compendium of seventy-three representative songs from the well-known genre of traditional Japanese Edo-period sankyoku ensemble music.Including extensive annotations along with commentaries and notes on their musical and performative aspects, the collection begins with an overview which traces the history of the jiuta sōkyoku genre and the various socio-political influences at work in its formation. The translations and analyses are followed by a substantive glossary and bibliography, allowing for a deeper understanding of both the literary and musical aspects of jiuta sōkyoku compositions.Jiuta Sōkyoku Lyrics and Explanations is a comprehensive anthology that will be of great interest to researchers, including ethnomusicologists, Japanese studies scholars and poetry lovers who are fascinated with the literary and musical impact of the Edo period.
John Zorn’s File Card Works: Hypertextual Intermediality in Composition and Analysis (ISSN)
by Maurice WindleburnThis book is the first study of John Zorn’s ‘file card’ works, with special focus made on the pieces Godard (1985), Spillane (1986), Interzone (2010), and Liber Novus (2010). It explains the unique creative process behind these compositions, contextualizing them in relation to the history of file cards, the ‘open work’ concept, cinematic listening, and uncreative aesthetics. Semiotic, hermeneutic, and ekphrastic analyses draw hypertextual links between the four file card compositions and the worlds of their respective dedicatees: author Mickey Spillane, filmmaker Jean-Luc Godard, novelist William S. Burroughs and painter Brion Gysin, and psychiatrist C. G. Jung.This book will appeal not only to those interested in Zorn’s music, but also to scholars of music semiotics and hermeneutics, intermedia studies, and avant-garde music.
John Zorn’s File Card Works: Hypertextual Intermediality in Composition and Analysis (ISSN)
by Maurice WindleburnThis book is the first study of John Zorn’s ‘file card’ works, with special focus made on the pieces Godard (1985), Spillane (1986), Interzone (2010), and Liber Novus (2010). It explains the unique creative process behind these compositions, contextualizing them in relation to the history of file cards, the ‘open work’ concept, cinematic listening, and uncreative aesthetics. Semiotic, hermeneutic, and ekphrastic analyses draw hypertextual links between the four file card compositions and the worlds of their respective dedicatees: author Mickey Spillane, filmmaker Jean-Luc Godard, novelist William S. Burroughs and painter Brion Gysin, and psychiatrist C. G. Jung.This book will appeal not only to those interested in Zorn’s music, but also to scholars of music semiotics and hermeneutics, intermedia studies, and avant-garde music.
k.d. lang's Ingénue (33 1/3)
by Joanna McNaney SteinCanadian performer k.d. lang broke new ground in the 1980s by blending the genres of punk and country, dubbed “cowpunk,” with her band, the Reclines. Despite Grammy-award-winning recordings and frequent North American TV spots, mainstream country radio excluded lang from airplay due to her unconventional gender presentation and perceived sexuality. Not until lang's 1992 pop album Ingénue, the release of the single “Constant Craving,” and her subsequent coming out in The Advocate did lang earn critical acclaim worldwide. The book addresses lang's rise to fame after switching genres, the successful reinvention of her sound and persona, and how she found herself immersed in the whirlwind of MTV and the "lesbian chic" aesthetic of 1990s pop culture. As an LGBTQ author, Joanna McNaney Stein discusses her adolescence and sexual development by weaving in short narrative prose pieces with her analysis of lang and Ingénue. Also included are interviews with lang's musical collaborators: Ingénue co-writer Ben Mink, drummer Fred Eltringham, pianist Daniel Clarke, and singer-songwriter Laura Veirs.
Korean Pansori as Voice Theatre: History, Theory, Practice (Forms of Drama)
by Chan E. ParkThis book introduces readers to the historical, performative, and cultural context of pansori, a traditional Korean oral story-singing art. Written by a scholar-practitioner of the form, this study is structured in three parts and begins by introducing readers to the technical, aesthetic, and theoretical components of pansori, as well as the synthesis of vocal and percussive elements that stage the narrative. It moves on to reflect on the historical contexts of pansori, alongside Korea's transformation from Joseon monarchy to modern statehood. It argues that with colonial annexation came modernist influences that Korean dramatists and audiences used to create new genres of performance, using the common thread of pansori. The book's third part explores the interplay of preservation and innovation, beginning in the post-war period and continuing with developments in the 20th and 21st centuries that coincide with Korea's imprint on cultural globalization. Along with Korea's growth as a world economic center, a growing enthusiasm for Korean culture around the world has increased the transmission and visibility of pansori. This study argues that tradition and innovation are not as divergent as they are sometimes imagined to be and that tradition is the force that enables innovation. Drawing on Chan E. Park's ethnographic work and performance practice, this book interweaves expert knowledge of both the textual and performative aspects of pansori, rendering legible this dramatic tradition.
Krautrock (Genre: A 33 1/3 Series)
by Marshall GuKrautrock is not a music genre. Krautrock is a way of life. Its sonic diversity and global reach belie the common culture from where it emerged. This is a band-by-band history. In May 1945, the Allies defeated Nazi Germany, putting an end to the European front of World War II and the Third Reich. In the immediate aftermath, German youth were tasked to create their own culture. Krautrock is this unlikely success story, as hundreds of bands-including Kraftwerk and Can-seemed to sprout overnight in the early 1970s, forging a unique and experimental sound that was different than American or British rock. The major innovation of krautrock is not only its motorik beat, the steady click-click of Can's Jaki Liebezeit or monolithic stomp-stomp of Neu!'s Klaus Dinger, but also how the musicians relate to each other. In krautrock, no musician is given more focus than any other, and listening to these bands is to witness interplay common in jazz music. Thus, krautrock represents German politics reflected in music: a dictatorship replaced by democracy. Krautrock explores the history and methodology of the genre, charting its influences and innovations, its more mainstream acts (like Faust, Kraftwerk, and Can) as well as the less universally known (including Harmonia, Popol Vuh, Embryo, and Ash Ra Tempel), and how the genre developed in post-war Germany and what it means to today's listeners.
Ladybird Class Let's Play Music: Read It Yourself - Level 1 Early Reader (Read It Yourself)
by LadybirdJoin Ladybird Class on another imaginative learning adventure! The class are learning all about musical instruments, and soon find themselves watching an amazing orchestra. But when disaster happens, can Ali Lion step in and save the day?Let's Play Music is from Early Reader Level 1 and is perfect for children aged from 4+ who are taking their first steps beyond phonics.Each book has been carefully checked by educational and subject consultants and includes comprehension puzzles, book band information, and tips for helping children with their reading.With five levels to take children from first phonics to fluent reading and a wide range of different stories and topics for every interest, Read It Yourself helps children build their confidence and begin reading for pleasure.
Land, Faith, and Voice: Christian Music in the Pacific Northwest
by Alexander RosenblattThis book summarizes a decade of research on its topic, while each specific perspective either formed in advance, or arose in the process of ethnography and its analysis. The book explores various aspects of Christian music in British Columbia, Washington State, and Oregon, but primarily its historical facets and local palette. The scope of the main topics covers aspects such as historical and local melodies in relevant hymnbooks, musical practices in the Cathedrals and other churches within the designated area, and the creative profile of modern North American composers (including those who have worked in the Pacific Northwest), who made significant contributions to the church music practiced in the area. Other background and supporting topics are a reference on the history and culture of the Canadian and U.S. parts of the region, the study of Native Christian art, its philosophy and examples, and historical stages and the current landscape of Christianity in British Columbia, Washington State, and Oregon.The book bears the features of a monograph and a handbook at the same time. Among the few other books dealing with specific topics that make up the content of this book, none of them gives an all-around picture of the regional history, society, culture, art, religion, and its musical expression as a holistic phenomenon.