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Musical Topics and Musical Performance (Routledge Research in Music)
by Julian HellabyThe principal purpose of topics in musicology has been to identify meaning-bearing units within a musical composition that would have been understood by contemporary audiences and therefore also by later receivers, albeit in a different context and with a need for historically aware listening. Since Leonard Ratner (1980) introduced the idea of topics, his relatively simple ideas have been expanded and developed by a number of distinguished authors. Topic theory has now become a well-established branch of musicology, often embracing semiotics, but its relationship to performance has received less attention. Musical Topics and Musical Performance thus focuses on the interface of theory and practice, and investigates how an appreciation of topical presence in a work may prompt interpretative thoughts for a potential performer as well as how performers have responded to such a presence in practice. The chapters focus on music from the nineteenth, twentieth and twenty-first centuries with case studies drawn from composers as diverse as Beethoven, Scriabin and Péter Eötvös. Using both scores and recordings, the book presents a variety of original and innovative perspectives on the subject from a range of distinguished authors, and addresses a neglected area of musicology and musical performance.
The Musical Traditions of Northern Ireland and its Diaspora: Community and Conflict (Ashgate Popular And Folk Music Ser.)
by David CooperFor at least two centuries, and arguably much longer, Ireland has exerted an important influence on the development of the traditional, popular and art musics of other regions, and in particular those of Britain and the United States. During the past decade or so, the traditional musics of the so-called Celtic regions have become a focus of international interest. The phenomenal success of shows such as Riverdance (which appeared in 1995, spawned from a 1994 Eurovision Song Contest interval act) brought Irish music and dance to a global audience and played a part in the further commoditization of Irish culture, including traditional music. However, there has been until now, relatively little serious musicological study of the traditional music of Northern Ireland. Northern Ireland remains a divided community in which traditional culture, in all its manifestations, is widely understood as a marker of religious affiliation and ethnic identity. Since the outbreak of the most recent 'troubles' around 1968, the borders between the communities have often been marked by music. For example, many in the Catholic, nationalist community, regard the music of Orange flute bands and Lambeg drums as a source of intimidation. Equally, many in the Protestant community have distanced themselves from Irish music as coming from a different ethnic tradition, and some have rejected tunes, styles and even instruments because of their association with the Catholic community and the Irish Republic. Of course, during the same period many other Protestants and Catholics have continued to perform in an apolitical context and often together, what in earlier times would simply have been regarded as folk or country music. With the increasing espousal of a discrete Ulster Scots tradition since the signing of the Belfast (or 'Good Friday') Agreement in 1998, the characteristics of the traditional music performed in Northern Ireland, and the place of Protestant musicians within popular Irish cult
Musical Visitors to Britain (Woburn Education Series)
by Peter GordonBritain has attracted many musical visitors to its shores. A varied and often eccentric collection of individuals, some were invited by royalty with musical tastes, some were refugees from religious or political oppression, some were spies, and others came to escape debt or even charges of murder. This book paints a broad picture of the changing nature of musical life in Britain over the centuries, through the eyes and ears of foreign musicians. After considering three of the eighteenth century’s greatest musical figures, the authors consider the rise of the celebrity composer in the nineteenth century, and go on to consider the influence of new forms of transport which allowed travel more freely from the Continent and the USA. Musical Visitors to Britain also charts the new opportunities presented by the opening of public halls, the growth of music festivals, and the regular influx of composers in the twentieth and twenty-first centuries, ending with the impact of new musical forms such as jazz. As much a social as a musical history of Britain, this book will be of interest to anyone studying or working in these fields, as well as to general readers who want to discover more about our musical heritage.
Musical Vitalities: Ventures in a Biotic Aesthetics of Music (New Material Histories of Music)
by Holly WatkinsDoes it make sense to refer to bird song—a complex vocalization, full of repetitive and transformative patterns that are carefully calculated to woo a mate—as art? What about a pack of wolves howling in unison or the cacophony made by an entire rain forest? Redefining music as “the art of possibly animate things,” Musical Vitalities charts a new path for music studies that blends musicological methods with perspectives drawn from the life sciences. In opposition to humanist approaches that insist on a separation between culture and nature—approaches that appear increasingly untenable in an era defined by human-generated climate change—Musical Vitalities treats music as one example of the cultural practices and biotic arts of the animal kingdom rather than as a phenomenon categorically distinct from nonhuman forms of sonic expression. The book challenges the human exceptionalism that has allowed musicologists to overlook music’s structural resemblances to the songs of nonhuman species, the intricacies of music’s physiological impact on listeners, and the many analogues between music’s formal processes and those of the dynamic natural world. Through close readings of Austro-German music and aesthetic writings that suggest wide-ranging analogies between music and nature, Musical Vitalities seeks to both rekindle the critical potential of nineteenth-century music and rejoin the humans at the center of the humanities with the nonhumans whose evolutionary endowments and planetary fates they share.
Musical Voices of Early Modern Women: Many-Headed Melodies (Women and Gender in the Early Modern World)
by Thomasin LamayRecent scholarship has offered a veritable landslide of studies about early modern women, illuminating them as writers, thinkers, midwives, mothers, in convents, at home, and as rulers. Musical Voices of Early Modern Women adds to the mix of early modern studies a volume that correlates women's musical endeavors to their lives, addressing early modern women's musical activities across a broad spectrum of cultural events and settings. The volume takes as its premise the notion that while women may have been squeezed to participate in music through narrower doors than their male peers, they nevertheless did so with enthusiasm, diligence, and success. They were there in many ways, but as women's lives were fundamentally different and more private than men's were, their strategies, tools, and appearances were sometimes also different and thus often unstudied in an historical discipline that primarily evaluated men's productivity. Given that, many of these stories will not necessarily embrace a standard musical repertoire, even as they seek to expand canonical borders. The contributors to this collection explore the possibility of a larger musical culture which included women as well as men, by examining early modern women in "many-headed ways" through the lens of musical production. They look at how women composed, assuming that compositional gender strategies may have been used differently when applied through her vision; how women were composed, or represented and interpreted through music in a larger cultural context, and how her presence in that dialog situated her in social space. Contributors also trace how women found music as a means for communicating, for establishing intellectual power, for generating musical tastes, and for enhancing the quality of their lives. Some women performed publicly, and thus some articles examine how this impacted on their lives and families. Other contributors inquire about the economics of music and women, and how in different situations some women may have been financially empowered or even in control of their own money-making. This collection offers a glimpse at women from home, stage, work, and convent, from many classes and from culturally diverse countries - including France, Spain, Italy, England, Austria, Russia, and Mexico - and imagines a musical history centered in the realities of those lives.
Musical Vulnerability: Receptivity, Susceptibility, and Care in the Music Classroom (Routledge Studies in Music Education)
by Elizabeth H. MacGregorSince the early twenty- first century, music education across the world has been shaped by neoliberal discourse extolling the benefits of music upon academic achievement, health and wellbeing, and social development. However, such benefits are far from universal; on the contrary, music- making often reveals our shortcomings and dependencies. This highlights an urgent need for music education to be reframed by an understanding of ‘musical vulnerability’: our inherent and situational openness to being affected by the semantic and somatic properties of music- making.Drawing on existing vulnerability studies, this book evaluates how musicmaking can foster both positive receptivity and negative susceptibility, depending on its delineation of self- identity, social identity, and space, and its embodiment through aural receptivity, mimetic participation, and affective transmission. Through phenomenological, ethnographic research with teachers and pupils, it exposes how values espoused in the music classroom require the personal and interpersonal negotiation of conflicting musical expectations, identities, and abilities. It makes recommendations for music education policymakers, teachers, and researchers in diverse global contexts, suggesting the importance of developing ‘pedagogies of vulnerability’ in order to foster caring classroom music- making praxes that acknowledge music’s capacity both to heal and to harm.
The Musical Work of Nadia Boulanger
by Jeanice BrooksNadia Boulanger - composer, critic, impresario and the most famous composition teacher of the twentieth century UO was also a performer of international repute. Her concerts and recordings with her vocal ensemble introduced audiences on both sides of the Atlantic to unfamiliar historical works and new compositions. This book considers how gender shaped the possibilities that marked Boulanger's performing career, tracing her meteoric rise as a conductor in the 1930s to origins in the classroom and the salon. Brooks investigates Boulanger's promotion of structurally motivated performance styles, showing how her ideas on performance of historical repertory and new music relate to her teaching of music analysis and music history. The book explores the way in which Boulanger's musical practice relied upon her understanding of the historically transcendent masterwork, in which musical form and meaning are ideally joined, and show how her ideas relate to broader currents in French aesthetics and culture. "
The Musical World of Charles Avison: Melodic Charm and the Powers of Harmony
by Simon D.I. FlemingThis book explores the works and influence of the eighteenth-century British composer Charles Avison. Although he spent most of his life in the northern town of Newcastle upon Tyne, Avison went on to have a marked impact on the musical life of Britain during the second half of the eighteenth century. His concertos become part of the national concert repertory, while his critical treatise, An Essay on Musical Expression, shaped debates about musical aesthetics. This book provides the first sustained examination of Avison’s musical works and compositional techniques, and it traces how his music not only drew on influences from European composers but also reworked them and in turn, influenced others. Considering Avison’s musical compositions, the circumstances around their composition and dissemination, and their place in music history, the author confronts preconceptions about the quality of Avison’s music, reveals new dimensions of his work as a composer, and demonstrates the enduring popularity and impact of his music. The author also draws on Avison’s writings to consider how closely he adheres to his own musical aesthetics. Reassessing Avison’s contribution to British music history, this study makes the case for understanding him as an important figure in the development and spread of musical styles across eighteenth-century England.
Musicality in Theatre: Music as Model, Method and Metaphor in Theatre-Making (Ashgate Interdisciplinary Studies in Opera)
by David RoesnerAs the complicated relationship between music and theatre has evolved and changed in the modern and postmodern periods, music has continued to be immensely influential in key developments of theatrical practices. In this study of musicality in the theatre, David Roesner offers a revised view of the nature of the relationship. The new perspective results from two shifts in focus: on the one hand, Roesner concentrates in particular on theatre-making - that is the creation processes of theatre - and on the other, he traces a notion of ‘musicality’ in the historical and contemporary discourses as driver of theatrical innovation and aesthetic dispositif, focusing on musical qualities, metaphors and principles derived from a wide range of genres. Roesner looks in particular at the ways in which those who attempted to experiment with, advance or even revolutionize theatre often sought to use and integrate a sense of musicality in training and directing processes and in performances. His study reveals both the continuous changes in the understanding of music as model, method and metaphor for the theatre and how different notions of music had a vital impact on theatrical innovation in the past 150 years. Musicality thus becomes a complementary concept to theatricality, helping to highlight what is germane to an art form as well as to explain its traction in other art forms and areas of life. The theoretical scope of the book is developed from a wide range of case studies, some of which are re-readings of the classics of theatre history (Appia, Meyerhold, Artaud, Beckett), while others introduce or rediscover less-discussed practitioners such as Joe Chaikin, Thomas Bernhard, Elfriede Jelinek, Michael Thalheimer and Karin Beier.
The Musicality of Narrative Film
by Danijela Kulezic-WilsonFilm is often compared to music, explained by the use of musical terms and even conceived and structured using music as a model. The Musicality of Narrative Film is the first book to offer an in-depth examination of the film/music analogy through comparative analysis of both arts' common denominators: time, rhythm and movement. Drawing on a number of examples from contemporary art-house and mainstream cinema, Kulezic-Wilson argues that film's musical potential can be realized through various cinematic devices, with or without music. The book's final section contains detailed case studies of Darren Aronofsky's p, Jim Jarmusch's Dead Man and Joe Wright's Anna Karenina, which demonstrate how various factors contribute to achieving the effect of musicality in a large-scale form and how contrasting approaches to film time, rhythm and movement can create very different examples of film musicality.
Musically Sublime: Indeterminacy, Infinity, Irresolvability
by Kiene Brillenburg WurthMusically Sublime rewrites musically the history and philosophy of the sublime. Music enables us to reconsider the traditional course of sublime feeling on a track from pain to pleasure. Resisting the notion that there is a single format for sublime feeling, Wurth shows how, from the mid eighteenth century onward, sublime feeling is, instead, constantly rearticulated in a complex interaction with musicality. Wurth takes as her point of departure Immanuel Kant's Critique of Judgment and Jean-François Lyotard's aesthetic writings of the 1980s and 1990s. Kant framed the sublime narratively as an epic of self-transcendence. By contrast, Lyotard sought to substitute open immanence for Kantian transcendence, yet he failed to deconstruct the Kantian epic. The book performs this deconstruction by juxtaposing eighteenth- and nineteenth-century conceptions of the infinite, Sehnsucht, the divided self, and unconscious drives with contemporary readings of instrumental music. Critically assessing Edmund Burke, James Usher, E.T.A. Hoffmann, Novalis, Friedrich Hölderlin, Arthur Schopenhauer, Richard Wagner, and Friedrich Nietzsche, this book re-presents the sublime as a feeling that defers resolution and hangs suspended between pain and pleasure. Musically Sublime rewrites the mathematical sublime as différance, while it redresses the dynamical sublime as trauma: unending, undetermined, unresolved.Whereas most musicological studies in this area have focused on traces of the Kantian sublime in Handel, Haydn, and Beethoven, this book calls on the nineteenth-century theorist Arthur Seidl to analyze the sublime of, rather than in, music. It does so by invoking Seidl's concept of formwidrigkeit ("form-contrariness") in juxtaposition with Romantic piano music, (post)modernist musical minimalisms, and Lyotard's postmodern sublime. It presents a sublime of matter, rather than form-performative rather than representational. In doing so, Musically Sublime shows that the binary distinction Lyotard posits between the postmodern and romantic sublime is finally untenable.
The Musicals of Cole Porter: Broadway, Hollywood, Television
by Bernard F. DickCole Porter (1891–1964) remains one of America’s most popular composer-songwriters, known for the many urbane, witty, romantic songs he wrote for stage musicals and Hollywood films. Porter was unique among his contemporaries for writing both the music and lyrics for his compositions. To this day, several of his numbers—“Night and Day,” “I’ve Got You Under My Skin,” “You’re the Top,” and “I Get a Kick Out of You,” to name a few—endure as standards. In The Musicals of Cole Porter: Broadway, Hollywood, Television, Bernard F. Dick presents a critical study of Porter’s Broadway and movie musicals, and his one foray into live television, Aladdin—covering the period from his first failure, See America First (1916), to the moderately successful Silk Stockings (1955), which ended his Broadway career. Taking a chronological approach, interspersed with chapters on Porter’s “list songs” that owe much to such operas as Mozart’s Don Giovanni and Rossini’s The Barber of Seville; his love songs, often bittersweet and bleakly poignant; and, above all, his love of figurative language, Dick discusses in detail the various literary sources and cultural reference points that inspired the lyrics to Porter’s numbers. The first volume of its kind exclusively dedicated to exploring the extensive body of work by this influential twentieth-century songwriter, The Musicals of Cole Porter is a compelling resource for readers interested in the craft of a great composer-lyricist.
Musician and Teacher: An Orientation to Music Education
by Patricia Shehan Campbell Steven M. Demorest Steven J. MorrisonDesigned for the first course in music education, Musician & Teacher surveys the theoretical, philosophical, historical, social, and psychological foundations of teaching music and pays tribute to the local and global realms of music teaching and learning. At the same time, the book examines the developmental issues inherent in teaching music to children and adolescents along with the practicalities of motivating students and managing a classroom, providing the concrete application beginning educators need to successfully teach music to children in grades K-12.
The Musician as Entrepreneur, 1700-1914: Managers, Charlatans, and Idealists
by William WeberTo be successful, a musician often has to be an entrepreneur: someone who starts a performing venue, develops patrons, and promotes the project aggressively. Accomplishing this requires musicians to acquire social and business skills and to be highly opportunistic in what they do. In The Musician as Entrepreneur, 1700–1914, international scholars investigate cases of musical entrepreneurship between around 1700 and 1914 in Britain, France, Germany, and the United States. By uncovering the ways in which musicians such as Telemann, Beethoven, Paganini, and Liszt conducted their daily business, the authors reveal how musicians reshaped the frameworks of musical culture and, in the process, the nature of the music itself.
The Musician as Entrepreneur, 1700–1914: Managers, Charlatans, and Idealists
by William Weber“Marries scholarly discipline with intriguing reading . . . The book will satisfy the thirst of historians, musicians and perhaps even an economist or two.” —American Music TeacherTo be successful, a musician often has to be an entrepreneur: someone who starts a performing venue, develops patrons, and promotes the project aggressively. Accomplishing this requires musicians to acquire social and business skills and to be highly opportunistic in what they do. In The Musician as Entrepreneur, 1700–1914, international scholars investigate cases of musical entrepreneurship between around 1700 and 1914 in Britain, France, Germany, and the United States. By uncovering the ways in which musicians such as Telemann, Beethoven, Paganini, and Liszt conducted their daily business, the authors reveal how musicians reshaped the frameworks of musical culture and, in the process, the nature of the music itself.“Weber is an excellent music historian and the book will please all readers interested in musical sociology.” —Choice
The Musician as Philosopher: New York’s Vernacular Avant-Garde, 1958–1978
by Michael GallopeAn insightful look at how avant-garde musicians of the postwar period in New York explored the philosophical dimensions of music’s ineffability. The Musician as Philosopher explores the philosophical thought of avant-garde musicians in postwar New York: David Tudor, Ornette Coleman, the Velvet Underground, Alice Coltrane, Patti Smith, and Richard Hell. It contends that these musicians—all of whom are understudied and none of whom are traditionally taken to be composers—not only challenged the rules by which music is written and practiced but also confounded and reconfigured gendered and racialized expectations for what critics took to be legitimate forms of musical sound. From a broad historical perspective, their arresting music electrified a widely recognized social tendency of the 1960s: a simultaneous affirmation and crisis of the modern self.
Musician from the Darkness
by Claude ClementAn outsider in a primitive hunting society learns about the power of music as both an agent of destruction and consolation.
A Musician Looks At The Psalms: 365 Daily Meditations
by Don Wyrtzen Charles SwindollA Musician Looks at the Psalms is like “a modern-day psalter, written by one who has grappled with the hard realities of life in the workplace, at home, and in the secret sanctuary of his own heart. Like the psalmists, he does not offer pat answers to complex problems. Rather, he strips away the superficialities he encounters in daily living and probes all one hundred and fifty psalms for the light they shed on his spiritual pilgrimage.” Foreword by Charles Swindoll
The Musician Says
by Benedetta LobalboThe Musician Says is an all-access backstage pass to the world of singers, songwriters, composers, and instrumentalists--all those who have a relationship with the Muse and have experienced the sacrifices, satisfactions, and frustrations it brings. You'll hear from an eclectic group that spans centuries and genres, from Mozart to Mick Jagger, Louis Armstrong to Jay Z, Dolly Parton to Lady Gaga, and many more. Paired like unlikely guests at a backstage party, this unruly crew riffs about the blessings and curses of the musician's life. This collection of intriguing and provocative quotations will remind anyone who has dreamed of playing Carnegie Hall (or maybe just mastering three chords) that the creative process bridges time and place, and that music is indeed a universal language.
Musician-Teacher Collaborations: Altering the Chord
by Catharina Christophersen Ailbhe KennyMusician-Teacher Collaborations: Altering the Chord explores the dynamics between musicians and teachers within educational settings, illustrating how new musical worlds are discovered and accessed through music-in-education initiatives. An international array of scholars from ten countries present leading debates and issues—both theoretical and empirical—in order to identify and expand upon key questions: How are visiting musicians perceived by various stakeholders? What opportunities and challenges do musicians bring to educational spaces? Why are such initiatives often seen as "saving" children, music, and education? The text is organized into three parts: Critical Insights presents new theoretical frameworks and concepts, providing alternative perspectives on musician-teacher collaboration. Crossing Boundaries addresses the challenges faced by visiting musicians and teaching artists in educational contexts while discussing the contributions of such music-in-education initiatives. Working Towards Partnership tackles some dominant narratives and perspectives in the field through a series of empirically-based chapters discussing musician-teacher collaboration as a field of tension. In twenty chapters, Musician-Teacher Collaborations offers critical insights into the pedagogical role music plays within educational frameworks. The geographical diversity of its contributors ensures varied and context-specific arguments while also speaking to the larger issues at play. When musicians and teachers collaborate, one is in the space of the other and vice versa. Musician-Teacher Collaborations analyzes the complex ways in which these spaces are inevitably altered.
Musicians and their Audiences: Performance, Speech and Mediation
by Ioannis Tsioulakis Elina Hytönen-NgHow do musicians play and talk to audiences? Why do audiences listen and what happens when they talk back? How do new (and old) technologies affect this interplay? This book presents a long overdue examination of the turbulent relationship between musicians and audiences. Focusing on a range of areas as diverse as Ireland, Greece, India, Malta, the US, and China, the contributors bring musicological, sociological, psychological, and anthropological approaches to the interaction between performers, fans, and the industry that mediates them. The four parts of the book each address a different stage of the relationship between musicians and audiences, showing its processual nature: from conceptualisation to performance, and through mediation to off-stage discourses. The musician/audience conceptual division is shown, throughout the book, to be as problematic as it is persistent.
The Musician's Business and Legal Guide
by Mark HalloranWritten specifically for musicians by legal and business experts in the music industry, this text covers nearly all of the confusing business and legal situations musicians find themselves in on the way to and through a professional career. It focuses on issues as they are actually practised with clause-by-clause commentaries on almost all the major music industry contracts.
The Musician's Business and Legal Guide, Fifth Edition
by Mark HalloranThe Musician’s Business and Legal Guide provides vital information to help demystify the music business and the complex body of law that shapes it. This book answers such questions as how to protect name and copyright; what is and is not legal about sampling; what are the legal issues surrounding digital downloads and streaming; what are the jobs of managers, talent agents and publishers; what are common contractual relationship between independent and major labels. The new edition includes chapters not covered in depth by other books: social media law, TV talent shows, YouTube, and international copyright. As in previous editions, the book features clause-by-clause contract analyses for 360 record deals, music publishing, management, and producer agreements.
The Musician's Career Guide: Turning Your Talent into Sustained Success
by Ulysses Owens Jr Arlen GargaglianoAn Engaging and Accessible Guide to Achieving Sustained Access in the Music Industry As a musician, how can you blend art and survival and still keep loving the business? The Musician&’s Career Guide, written from the perspective of someone who has engaged in the daily struggle that all artists encounter, provides clear strategic support and advice in a knowledgeable, reader-friendly voice.From preparing for an audition to business planning to protecting one&’s mental and emotional well-being, The Musician&’s Career Guide marries practical tips with in-depth resources, anecdotes and stories to learn from, and comments for consideration and self-reflection. This book is a tool musicians can use to develop a realistic roadmap for success in the careers they desire. Part textbook, part self-directed learning tool, and full mentor, this information-packed text speaks with the voice of experience in a way that is realistic and attainable. The authors address topics including the following fundamental areas: Career development Touring Roles within the music industry Recording deals and industry PR and marketing for artists Keys to community engagement The mental side of being a musicianThe path and commitment to mastery as professional musician The Musician's Career Guide offers a foundation for both new and experienced musicians who yearn to clarify and achieve their individual goals of personal success and fulfillment through their craft. It's essential reading for any musician.
The Musician's Daughter
by Susanne DunlapAmid the glamour of Prince Nicholas Esterhazy's court in 18th-century Vienna, murder is afoot. Or so 15-year-old Theresa Maria thinks after her musician father turns up dead on Christmas Eve. Her father's mentor, the acclaimed composer Franz Joseph Haydn, offers her insight into her father's secret life.