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Coproduction in the Recording Studio: Perspectives from the Vocal Booth
by Rod DaviesCoproduction in the Recording Studio: Perspectives from the Vocal Booth details how recording studio environments affect performance in the vocal booth. Drawing on interviews with professional session singers, this book considers sociocultural and sociotechnical theory, the modern home studio space, as well as isolation and self-recording in light of the COVID-19 pandemic. This is cutting-edge reading for advanced undergraduates, scholars and professionals working in the disciplines of recording studio production, vocal performance, audio engineering and music technology.
Coproduction in the Recording Studio: Perspectives from the Vocal Booth
by Rod DaviesCoproduction in the Recording Studio: Perspectives from the Vocal Booth details how recording studio environments affect performance in the vocal booth. Drawing on interviews with professional session singers, this book considers sociocultural and sociotechnical theory, the modern home studio space, as well as isolation and self-recording in light of the COVID-19 pandemic. This is cutting-edge reading for advanced undergraduates, scholars and professionals working in the disciplines of recording studio production, vocal performance, audio engineering and music technology.
Cool Town: How Athens, Georgia, Launched Alternative Music and Changed American Culture (A Ferris and Ferris Book)
by Grace Elizabeth HaleIn the summer of 1978, the B-52's conquered the New York underground. A year later, the band's self-titled debut album burst onto the Billboard charts, capturing the imagination of fans and music critics worldwide. The fact that the group had formed in the sleepy southern college town of Athens, Georgia, only increased the fascination. Soon, more Athens bands followed the B-52's into the vanguard of the new American music that would come to be known as "alternative," including R.E.M., who catapulted over the course of the 1980s to the top of the musical mainstream. As acts like the B-52's, R.E.M., and Pylon drew the eyes of New York tastemakers southward, they discovered in Athens an unexpected mecca of music, experimental art, DIY spirit, and progressive politics--a creative underground as vibrant as any to be found in the country's major cities. In Athens in the eighties, if you were young and willing to live without much money, anything seemed possible. Cool Town reveals the passion, vitality, and enduring significance of a bohemian scene that became a model for others to follow. Grace Elizabeth Hale experienced the Athens scene as a student, small-business owner, and band member. Blending personal recollection with a historian's eye, she reconstructs the networks of bands, artists, and friends that drew on the things at hand to make a new art of the possible, transforming American culture along the way. In a story full of music and brimming with hope, Hale shows how an unlikely cast of characters in an unlikely place made a surprising and beautiful new world.
Cool Math for Hot Music: A First Introduction to Mathematics for Music Theorists (Computational Music Science)
by Guerino Mazzola Maria Mannone Yan PangThis textbook is a first introduction to mathematics for music theorists, covering basic topics such as sets and functions, universal properties, numbers and recursion, graphs, groups, rings, matrices and modules, continuity, calculus, and gestures. It approaches these abstract themes in a new way: Every concept or theorem is motivated and illustrated by examples from music theory (such as harmony, counterpoint, tuning), composition (e.g., classical combinatorics, dodecaphonic composition), and gestural performance. The book includes many illustrations, and exercises with solutions.
Cookin': Hard Bop and Soul Jazz 1954-65
by Kenny MathiesonFollowing on from Giant Steps, comes the second instalment in Kenny Mathieson's series of jazz histories. Cookin' examines the birth and development of two of the key jazz styles of the post-war era, hard bop and its related offshoot, soul jazz. Hard bop was the most exciting jazz style of its day, and remains at the core of the modern jazz mainstream even now. It drew on the twin poles of bebop and the blues for its foundation, spiced up with gospel, Latin and rhythm and blues influences. The book looks at the founding fathers of the form, Art Blakey and Horace Silver, and goes on to trace the music through its peak decade.
Conversations with McCartney
by Paul Du NoyerIn June 1989, Paul Du Noyer was contacted by Paul McCartney's office in London and asked to interview the star as they had met once before and enjoyed a good raport. In the years that followed, Paul Du Noyer continued to meet, interview and work for Paul McCartney on a regular basis, producing magazine articles, tour programmes, album liner notes, press materials and website editorial. It's likely that Du Noyer has spent more hours in formal, recorded conversation with McCartney than any other writer. Conversations with McCartney is the culmination of Du Noyer's long association with McCartney and his music. It draws from their interview sessions across 35 years, coupling McCartney's own, candid thoughts with his observations and analysis.
Conversations with Igor Stravinsky
by Robert CraftConversations with Igor Stravinsky is the first of the celebrated series of conversation books in which Stravinsky, prompted by Robert Craft, reviewed his long and remarkable life. The composer brings the Imperial Russia of his childhood vividly into focus, at the same time scanning what were at the time the brave new horizons of Boulez and Stockhausen with extraordinary acuity.Stravinsky answers searching questions about his musical development and recalls his association with Diaghilev and the Russian Ballet. There are sympathetic and extraordinarily illuminating reminiscences of such composers as Debussy and Ravel ('the only musicians who immediately understood Le Sacre du Printemps'), while mischievous squibs are directed at others, most notably perhaps against Richard Strauss, all of whose operas Stravinsky wished 'to admit ... to whichever purgatory punishes triumphant banality'.The conversations are by no means confined to musical subjects, ranging uninhibitedly across all the arts: Stravinsky gives unforgettable sketches of Ibsen, Rodin, Proust, Giacometti, Dylan Thomas and T S Eliot.'The conversations between Igor Stravinsky and Robert Craft are unique in musical history. The penetration of Craft's questions and the patience and detail of Stravinsky's answers combine to produce an intimate picture of a man who has sometimes puzzled, often delighted, and always intrigued ...' The Sunday Times
Conversations with Glenn Gould
by Jonathan CottOne of the most idiosyncratic and charismatic musicians of the twentieth century, pianist Glenn Gould (1932–82) slouched at the piano from a sawed-down wooden stool, interpreting Bach, Beethoven, and Mozart at hastened tempos with pristine clarity. A strange genius and true eccentric, Gould was renowned not only for his musical gifts but also for his erratic behavior: he often hummed aloud during concerts and appeared in unpressed tails, fingerless gloves, and fur coats. In 1964, at the height of his controversial career, he abandoned the stage completely to focus instead on recording and writing. Jonathan Cott, a prolific author and poet praised by Larry McMurtry as "the ideal interviewer," was one of the very few people to whom Gould ever granted an interview. Cott spoke with Gould in 1974 for Rolling Stone and published the transcripts in two long articles; after Gould's death, Cott gathered these interviews in Conversations with Glenn Gould, adding an introduction, a selection of photographs, a list of Gould's recorded repertoire, a filmography, and a listing of Gould's programs on radio and TV. A brilliant one-on-one in which Gould discusses his dislike of Mozart's piano sonatas, his partiality for composers such as Orlando Gibbons and Richard Strauss, and his admiration for the popular singer Petula Clark (and his dislike of the Beatles), among other topics, Conversations with Glenn Gould is considered by many, including the subject, to be the best interview Gould ever gave and one of his most remarkable performances.
Conversations in Jazz: The Ralph J. Gleason Interviews
by Ralph J. GleasonDuring his nearly forty years as a music journalist, Ralph J. Gleason recorded many in-depth interviews with some of the greatest jazz musicians of all time. These informal sessions, conducted mostly in Gleason’s Berkeley, California, home, have never been transcribed and published in full until now. This remarkable volume, a must-read for any jazz fan, serious musician, or musicologist, reveals fascinating, little-known details about these gifted artists, their lives, their personas, and, of course, their music. Bill Evans discusses his battle with severe depression, while John Coltrane talks about McCoy Tyner's integral role in shaping the sound of the Coltrane quartet, praising the pianist enthusiastically. Included also are interviews with Dizzy Gillespie, Sonny Rollins, Quincy Jones, Jon Hendricks, and the immortal Duke Ellington, plus seven more of the most notable names in twentieth-century jazz.
Contracts, Patronage and Mediation: The Articulation of Global and Local in the South African Recording Industry (Pop Music, Culture and Identity)
by Tuulikki PietiläThis book studies the long-term developments in the South African recording industry and adds to the existing literature an understanding of the prevalence of informal negotiations over rights, rewards and power in the recording industry. It argues that patronage features often infiltrate the contractual relationships in the industry.
Continuum Encyclopedia of Popular Music of the World Volume 8: Genres: North America (Encyclopedia of Popular Music of the World)
by John Shepherd David HornThe Bloomsbury Encyclopedia of Popular Music Volume 8 is one of six volumes within the 'Genre' strand of the series. This volume discusses the genres of North America in relation to their cultural, historical and geographic origins; technical musical characteristics; instrumentation and use of voice; lyrics and language; typical features of performance and presentation; historical development and paths and modes of dissemination; influence of technology, the music industry and political and economic circumstances; changing stylistic features; notable and influential performers; and relationships to other genres and sub-genres. This volume features over 100 in-depth essays on genres ranging from Adult Contemporary to Alternative Rock, from Barbershop to Bebop, and from Disco to Emo.
Contemporary Worship Music and Everyday Musical Lives (Congregational Music Studies Series)
by Mark PorterWhilst Contemporary Worship Music arose out of a desire to relate the music of the church to the music of everyday life, this function can quickly be called into question by the diversity of musical lives present in contemporary society. Mark Porter examines the relationship between individuals’ musical lives away from a Contemporary Worship Music environment and their diverse experiences of music within it, presenting important insights into the complex and sometimes contradictory relationships between congregants’ musical lives within and outside of religious worship. Through detailed ethnographic investigation Porter challenges common evangelical ideals of musical neutrality, suggesting the importance of considering musical tastes and preferences through an ethical lens. He employs cosmopolitanism as an interpretative framework for understanding the dynamics of diverse musical communities, positioning it as a stronger alternative to common assimilationist and multiculturalist models.
Contemporary Worship Music and Everyday Musical Lives (Congregational Music Studies Series)
by Mark PorterWhilst Contemporary Worship Music arose out of a desire to relate the music of the church to the music of everyday life, this function can quickly be called into question by the diversity of musical lives present in contemporary society. Mark Porter examines the relationship between individuals’ musical lives away from a Contemporary Worship Music environment and their diverse experiences of music within it, presenting important insights into the complex and sometimes contradictory relationships between congregants’ musical lives within and outside of religious worship. Through detailed ethnographic investigation Porter challenges common evangelical ideals of musical neutrality, suggesting the importance of considering musical tastes and preferences through an ethical lens. He employs cosmopolitanism as an interpretative framework for understanding the dynamics of diverse musical communities, positioning it as a stronger alternative to common assimilationist and multiculturalist models.
Contemporary Research in Music Learning Across the Lifespan: Music Education and Human Development (Routledge Studies in Music Education)
by Jennifer BugosThis book examines contemporary issues in music teaching and learning throughout the lifespan, illuminating an emerging nexus of trends shaping modern research in music education. In the past, most music learning opportunities and research were focused upon the pre-adult population. Yet, music education occurs throughout the lifespan, from birth until death, emerging not only through traditional formal ensembles and courses, but increasingly through informal settings as well. This book challenges previous assumptions in music education and offers theoretical perspectives that can guide contemporary research and practice. Exploring music teaching and learning practices through the lens of human development, sections highlight recent research on topics that shape music learning trajectories. Themes uniting the book include human development, assessment strategies, technological applications, professional practices, and cultural understanding. The volume deconstructs and reformulates performance ensembles to foster mutually rewarding collaborations across miles and generations. It develops new measures and strategies for assessment practices for professionals as well as frameworks for guiding students to employ effective strategies for self-assessment. Supplemental critical thinking questions focus the reader on research applications and provide insight into future research topics. This volume joining established experts and emerging scholars at the forefront of this multifaceted frontier is essential reading for educators, researchers, and scholars, who will make the promises of the 21st century a reality in music education. It will be of interest to a range of fields including music therapy, lifelong learning, adult learning, human development, community music, psychology of music, and research design.
Contemporary Research in Music Learning Across the Lifespan: Music Education and Human Development (Routledge Studies in Music Education)
by Jennifer A. BugosThis book examines contemporary issues in music teaching and learning throughout the lifespan, illuminating an emerging nexus of trends shaping modern research in music education. In the past, most music learning opportunities and research were focused upon the pre-adult population. Yet, music education occurs throughout the lifespan, from birth until death, emerging not only through traditional formal ensembles and courses, but increasingly through informal settings as well. This book challenges previous assumptions in music education and offers theoretical perspectives that can guide contemporary research and practice. Exploring music teaching and learning practices through the lens of human development, sections highlight recent research on topics that shape music learning trajectories. Themes uniting the book include human development, assessment strategies, technological applications, professional practices, and cultural understanding. The volume deconstructs and reformulates performance ensembles to foster mutually rewarding collaborations across miles and generations. It develops new measures and strategies for assessment practices for professionals as well as frameworks for guiding students to employ effective strategies for self-assessment. Supplemental critical thinking questions focus the reader on research applications and provide insight into future research topics. This volume joining established experts and emerging scholars at the forefront of this multifaceted frontier is essential reading for educators, researchers, and scholars, who will make the promises of the 21st century a reality in music education. It will be of interest to a range of fields including music therapy, lifelong learning, adult learning, human development, community music, psychology of music, and research design.
Contemporary Popular Music Studies: Proceedings of the International Association for the Study of Popular Music 2017 (Systematische Musikwissenschaft)
by Marija Dumnić Vilotijević Ivana MedićThis is the second volume in the series that documents the 19th edition of the biennial conference of the International Association for the Study of Popular Music. The volume contains contributions on the variety of musical genres from all over the world. Authors engage with the role of popular music in contemporary music education, as well as definitions and conceptualizations of the notion of ‘popular’ in different contexts. Other issues discussed in this volume include methodologies, the structure and interpretations of popular music scenes, genres and repertoires, approaches to education in this area, popular music studies outside the Anglophone world, as well as examinations of discursive and technological aspects of numerous popular music phenomena.
Contemporary Orchestration: A Practical Guide to Instruments, Ensembles, and Musicians
by R. J. MillerContemporary Orchestration: A Practical Guide to Instruments, Ensembles, and Musicians teaches students how to orchestrate for a wide variety of instruments, ensembles, and genres, while preparing them for various real-world professional settings ranging from the concert hall to the recording studio. Unlike most orchestration texts, it includes coverage of contemporary instruments and ensembles alongside traditional orchestra and chamber ensembles. Features Practical considerations: Practical suggestions for choosing a work to orchestrate, and what to avoid when writing for each instrument. Pedagogical features In the Profession: Professional courtesies, considerations and expectations. Building the Score: Step-by-step construction of an orchestration. Scoring Examples: Multiple scoring examples for each instrument. Exercises: Analyzing, problem solving, and creating orchestration solutions. Critical Thinking: Alternate approaches and solutions.
Contemporary Orchestration: A Practical Guide to Instruments, Ensembles, and Musicians
by R. J. MillerContemporary Orchestration: A Practical Guide to Instruments, Ensembles, and Musicians teaches students how to orchestrate for a wide variety of instruments, ensembles, and genres, while preparing them for various real-world professional settings ranging from the concert hall to the recording studio. Unlike most orchestration texts, it includes coverage of contemporary instruments and ensembles alongside traditional orchestra and chamber ensembles. Features Practical considerations: Practical suggestions for choosing a work to orchestrate, and what to avoid when writing for each instrument. Pedagogical features In the Profession: Professional courtesies, considerations and expectations. Building the Score: Step-by-step construction of an orchestration. Scoring Examples: Multiple scoring examples for each instrument. Exercises: Analyzing, problem solving, and creating orchestration solutions. Critical Thinking: Alternate approaches and solutions.
Contemporary Musical Virtuosities (Routledge Research in Music)
by Louise DevenishContemporary notions of musical virtuosity redevelop historic concepts and demonstrate that our present understanding of virtuosity in western art music has shifted from what seemed, for a time, to be a relatively clear and stable definition. In the field and the academy, lively debates around the definition and/or value of virtuosity have always elicited strong and varied ideas. In the twenty-first century, frictions have emerged between traditional definitions of virtuosity and contemporary practices that emphasise collaboration and blur roles between performers, composers, and improvisers. Contemporary Musical Virtuosities embraces the evolving processes, practitioners, and presentation models within twenty-first century art music. This edited collection explores recent insights into the experience and role of virtuosity in different contexts, via contributions from an intergenerational group of artists, academics, and artist-academics. Their writing highlights current themes in contemporary western art music and intersecting musical and performing arts genres such as dance, sound art, improvisation, jazz, trans-traditional collaborations, and Australian Indigenous music. It offers models for supporting and recognising a plurality of musical virtuosities typically excluded from traditional definitions and examines implications for musical practice today. Chapters take the form of academic essays, artist reflections, interviews, personal letters, and a manifesto, reflecting the range of approaches and contexts covered. The collection includes first writings on practices that have been present in the industry for some time not yet documented or examined in detail until now, and thus offers a vision for the future that prioritises inclusive and overlapping practices and processes in music.
Contemporary Musical Virtuosities (Routledge Research in Music)
by Louise Devenish Cat HopeContemporary notions of musical virtuosity redevelop historic concepts and demonstrate that our present understanding of virtuosity in western art music has shifted from what seemed, for a time, to be a relatively clear and stable definition. In the field and the academy, lively debates around the definition and/or value of virtuosity have always elicited strong and varied ideas. In the twenty-first century, frictions have emerged between traditional definitions of virtuosity and contemporary practices that emphasise collaboration and blur roles between performers, composers, and improvisers. Contemporary Musical Virtuosities embraces the evolving processes, practitioners, and presentation models within twenty-first century art music. This edited collection explores recent insights into the experience and role of virtuosity in different contexts, via contributions from an intergenerational group of artists, academics, and artist-academics. Their writing highlights current themes in contemporary western art music and intersecting musical and performing arts genres such as dance, sound art, improvisation, jazz, trans-traditional collaborations, and Australian Indigenous music. It offers models for supporting and recognising a plurality of musical virtuosities typically excluded from traditional definitions and examines implications for musical practice today. Chapters take the form of academic essays, artist reflections, interviews, personal letters, and a manifesto, reflecting the range of approaches and contexts covered. The collection includes first writings on practices that have been present in the industry for some time not yet documented or examined in detail until now, and thus offers a vision for the future that prioritises inclusive and overlapping practices and processes in music.
Contemporary Music and Spirituality
by Robert Sholl Sander Van MaasThe flourishing of religious or spiritually-inspired music in the late twentieth and early twenty-first centuries remains largely unexplored. The engagement and tensions between modernism and tradition, and institutionalized religion and spirituality are inherent issues for many composers who have sought to invoke spirituality and Otherness through contemporary music. Contemporary Music and Spirituality provides a detailed exploration of the recent and current state of contemporary spiritual music in its religious, musical, cultural and conceptual-philosophical aspects. At the heart of the book are issues that consider the role of secularization, the claims of modernity concerning the status of art, and subjective responses such as faith and experience. The contributors provide a new critical lens through which it is possible to see the music and thought of Cage, Ligeti, Messiaen, Stockhausen as spiritual music. The book surrounds these composers with studies of and by other composers directly associated with the idea of spiritual music (Harvey, Gubaidulina, MacMillan, Pärt, Pott, and Tavener), and others (Adams, Birtwistle, Ton de Leeuw, Ferneyhough, Ustvolskaya, and Vivier) who have created original engagements with the idea of spirituality. Contemporary Music and Spirituality is essential reading for humanities scholars and students working in the areas of musicology, music theory, theology, religious studies, philosophy of culture, and the history of twentieth-century culture.
Contemporary Music and Spirituality
by Robert Sholl Sander Van MaasThe flourishing of religious or spiritually-inspired music in the late twentieth and early twenty-first centuries remains largely unexplored. The engagement and tensions between modernism and tradition, and institutionalized religion and spirituality are inherent issues for many composers who have sought to invoke spirituality and Otherness through contemporary music. Contemporary Music and Spirituality provides a detailed exploration of the recent and current state of contemporary spiritual music in its religious, musical, cultural and conceptual-philosophical aspects. At the heart of the book are issues that consider the role of secularization, the claims of modernity concerning the status of art, and subjective responses such as faith and experience. The contributors provide a new critical lens through which it is possible to see the music and thought of Cage, Ligeti, Messiaen, Stockhausen as spiritual music. The book surrounds these composers with studies of and by other composers directly associated with the idea of spiritual music (Harvey, Gubaidulina, MacMillan, Pärt, Pott, and Tavener), and others (Adams, Birtwistle, Ton de Leeuw, Ferneyhough, Ustvolskaya, and Vivier) who have created original engagements with the idea of spirituality. Contemporary Music and Spirituality is essential reading for humanities scholars and students working in the areas of musicology, music theory, theology, religious studies, philosophy of culture, and the history of twentieth-century culture.
Contemporary Music: Theoretical and Philosophical Perspectives
by Irène DeliègeThis collection of essays and interviews addresses important theoretical, philosophical and creative issues in Western art music at the end of the twentieth- and the beginning of the twenty-first centuries. Edited by Max Paddison and Irène Deliège, the book offers a wide range of international perspectives from prominent musicologists, philosophers and composers, including Célestin Deliège, Pascal Decroupet, Richard Toop, Rudolf Frisius, Alastair Williams, Herman Sabbe, François Nicolas, Marc Jimenez, Anne Boissière, Max Paddison, Hugues Dufourt, Jonathan Harvey, and new interviews with Pierre Boulez, Brian Ferneyhough, Helmut Lachenmann, and Wolfgang Rihm. Part I is mainly theoretical in emphasis. Issues addressed include the historical rationalization of music and technology, new approaches to the theorization of atonal harmony in the wake of Spectralism, debates on the 'new complexity', the heterogeneity, pluralism and stylistic omnivorousness that characterizes music in our time, and the characterization of twentieth-century and contemporary music as a 'search for lost harmony'. The orientation of Part II is mainly philosophical, examining concepts of totality and inclusivity in new music, raising questions as to what might be expected from an autonomous contemporary musical logic, and considering the problem of the survival of the avant-garde in the context of postmodernist relativism. As well as analytic philosophy and cognitive psychology, critical theory features prominently, with theories of social mediation in music, new perspectives on the concept of musical material in Adorno's late aesthetic theory, and a call for 'an aesthetics of risk' in contemporary art as a means 'to reassert the essential role of criticism, of judgment, and of evaluation as necessary conditions to bring about a real public debate on the art of today'. Part III offers creative perspectives, with new essays and interviews from important contemporary composers who have mad
Contemporary Music: Theoretical and Philosophical Perspectives
by Irène DeliègeThis collection of essays and interviews addresses important theoretical, philosophical and creative issues in Western art music at the end of the twentieth- and the beginning of the twenty-first centuries. Edited by Max Paddison and Irène Deliège, the book offers a wide range of international perspectives from prominent musicologists, philosophers and composers, including Célestin Deliège, Pascal Decroupet, Richard Toop, Rudolf Frisius, Alastair Williams, Herman Sabbe, François Nicolas, Marc Jimenez, Anne Boissière, Max Paddison, Hugues Dufourt, Jonathan Harvey, and new interviews with Pierre Boulez, Brian Ferneyhough, Helmut Lachenmann, and Wolfgang Rihm. Part I is mainly theoretical in emphasis. Issues addressed include the historical rationalization of music and technology, new approaches to the theorization of atonal harmony in the wake of Spectralism, debates on the 'new complexity', the heterogeneity, pluralism and stylistic omnivorousness that characterizes music in our time, and the characterization of twentieth-century and contemporary music as a 'search for lost harmony'. The orientation of Part II is mainly philosophical, examining concepts of totality and inclusivity in new music, raising questions as to what might be expected from an autonomous contemporary musical logic, and considering the problem of the survival of the avant-garde in the context of postmodernist relativism. As well as analytic philosophy and cognitive psychology, critical theory features prominently, with theories of social mediation in music, new perspectives on the concept of musical material in Adorno's late aesthetic theory, and a call for 'an aesthetics of risk' in contemporary art as a means 'to reassert the essential role of criticism, of judgment, and of evaluation as necessary conditions to bring about a real public debate on the art of today'. Part III offers creative perspectives, with new essays and interviews from important contemporary composers who have mad
The Contemporary Literature-Music Relationship: Intermedia, Voice, Technology, Cross-Cultural Exchange (Routledge Interdisciplinary Perspectives on Literature)
by Hazel SmithThis book explores the relationship between words and music in contemporary texts, examining, in particular, the way that new technologies are changing the literature-music relationship. It brings an eclectic and novel range of interdisciplinary theories to the area of musico-literary studies, drawing from the fields of semiotics, disability studies, musicology, psychoanalysis, music psychology, emotion and affect theory, new media, cosmopolitanism, globalization, ethnicity and biraciality. Chapters range from critical analyses of the representation of music and the musical profession in contemporary novels to examination of the forms and cultural meanings of contemporary intermedia and multimedia works. The book argues that conjunctions between words and music create emergent structures and meanings that can facilitate culturally transgressive and boundary- interrogating effects. In particular, it conceptualises ways in which word-music relationships can facilitate cross-cultural exchange as musico-literary miscegenation, using interracial sexual relationships as a metaphor. Smith also inspects the dynamics of improvisation and composition, and the different ways they intersect with performance. Furthermore, the book explores the huge changes that computer-based real-time algorithmic text and music generation are making to the literature-music nexus. This volume provides fascinating insight into the relationship between literature and music, and will be of interest to those fields as well as New Media and Performance Studies.