John Rahn's prolific activities as a composer-theorist-teacher, inventor of computer sound-synthesis software, editor of Perspectives of New Music during the 1980s and 90s, and author of an exemplary text on atonal theory are conspicuously in the foreground of the academic music-intellectual world.
The Oxford Handbook of Music and Medievalism provides a snapshot of the diverse ways in which medievalism--the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages--powerfully transforms many of the varied musical traditions of the last two centuries.
The complex notion of "e;rasa,"e; as understood by Javanese musicians, refers to a combination of various qualities, including: taste, feeling, affect, mood, sense, inner meaning, a faculty of knowing intuitively, and deep understanding.
In these writings, available here in English for the first time, the distinguished Japanese composer Toru Takemitsu reflects on his contemporaries, including John Cage, Olivier Messiaen, and Merce Cunningham; on nature, which has profoundly influenced his composition; on film and painting; on relationships between East and West; on traditional Japanese music; and on his own compositions.
The chapters collected in this volume shed light on the areas of interaction between film studies and heavy metal research, exploring how the audio-visual medium of film relates to, builds on and shapes metal culture.
Framing timely and pressing questions concerning music and cultural rights, this collection illustrates the ways in which music--as a cultural practice, a commercial product, and an aesthetic form--has become enmeshed in debates about human rights, international law, and struggles for social justice.
Helie Salomon's Scientia artis musice (1274), is a practical manual devoted to basic concepts, psalmody, vocal pedagogy, the musical hand in singing, clefs as indicators of the tone (mode) to which a piece belongs, and practical instruction in the singing of four-voice parallel organum.
In The Sound of Nonsense, Richard Elliott highlights the importance of sound in understanding the 'nonsense' of writers such as Lewis Carroll, Edward Lear, James Joyce and Mervyn Peake, before connecting this noisy writing to works which engage more directly with sound, including sound poetry, experimental music and pop.
Music cultures today in rural and urban Mongolia and Inner Mongolia emerge from centuries-old pastoralist practices that were reshaped by political movements in the twentieth century.
The Sacred Harp choral singing tradition originated in the American South in the mid-nineteenth century, spread widely across the country, and continues to thrive today.
The Sounds of the Silents in Britain explores the sonic dimension of film exhibition in Britain from the emergence of cinema to the introduction of synchronized sound.
Gathering perspectives of musical talent from the psychological, musical, and educational fields, Kindling the Spark is the only single sourcebook that defines musical talent and provides practical strategies for identifying and nurturing it.
This book provides a unique overview of the development of justice-related beliefs in different socialization contexts, and also of the role this plays in protecting mental health and promoting career development for adolescents and young adults.
Sinister Resonance begins with the premise that sound is a haunting, a ghost, a presence whose location is ambiguous and whose existence is transitory.
"Musik allein genügt" ist ein Plädoyer für ein vollkommenes Sicheinlassen auf Musik: Es genügt nicht, ihre mutmaßlichen Inhalte ästhetisch zur Kenntnis zu nehmen oder zu sezieren.
Clarence Bernard Henry's book is a culmination of several years of field research on sacred and secular influences of ase, the West African Yoruba concept that spread to Brazil and throughout the African Diaspora.
This book is for experienced luthiers and guitar designers in the industry, novice builders wishing to improve their designs, and guitar owners interested in knowing more about their instruments.
Male-centered theology, a dearth of men in the pews, and an overrepresentation of queer males in music ministry: these elements coexist within the spaces of historically black Protestant churches, creating an atmosphere where simultaneous heteropatriarchy and "e;real"e; masculinity anxieties, archetypes of the "e;alpha-male preacher"e;, the "e;effeminate choir director"e; and homo-antagonism, are all in play.
