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Theory of music & musicology

See below for a selection of the latest books from Theory of music & musicology category. Presented with a red border are the Theory of music & musicology books that have been lovingly read and reviewed by the experts at Lovereading. With expert reading recommendations made by people with a passion for books and some unique features Lovereading will help you find great Theory of music & musicology books and those from many more genres to read that will keep you inspired and entertained. And it's all free!

Harmony and Normalization

Harmony and Normalization

Author: Timothy P. Storhoff Format: Hardback Release Date: 30/11/2020

Harmony and Normalization: US-Cuban Musical Diplomacy explores the channels of musical exchange between Cuba and the United States during the eight-year presidency of Barack Obama, who eased the musical embargo of the island and restored relations with Cuba. Musical exchanges during this period act as a lens through which to view not only US-Cuban musical relations but also the larger political, economic, and cultural implications of musical dialogue between these two nations. Policy shifts in the wake of Raul Castro assuming the Cuban presidency and the election of President Obama allowed performers to traverse the Florida Straits more easily than in the recent past and encouraged them to act as musical ambassadors. Their performances served as a testing ground for political change that anticipated normalized relations. While government actors debated these changes, music forged connections between individuals on both sides of the Florida Straits. In this first book on the subject since Obama's presidency, musicologist Timothy P. Storhoff describes how, after specific policy changes, musicians were some of the first to take advantage of new opportunities for travel, push the boundaries of new regulations, and expose both the possibilities and limitations of licensing musical exchange. Through the analysis of both official and unofficial musical diplomacy efforts, including the Havana Jazz Festival, the National Symphony Orchestra of Cuba's first US tour, the Minnesota Orchestra's trip to Havana, and the author's own experiences in Cuba, this ethnography demonstrates how performances reflect aspirations for stronger transnational ties and a common desire to restore the once-thriving US-Cuban musical relationship.

Harmony and Normalization

Harmony and Normalization

Author: Timothy P. Storhoff Format: Paperback / softback Release Date: 30/11/2020

Harmony and Normalization: US-Cuban Musical Diplomacy explores the channels of musical exchange between Cuba and the United States during the eight-year presidency of Barack Obama, who eased the musical embargo of the island and restored relations with Cuba. Musical exchanges during this period act as a lens through which to view not only US-Cuban musical relations but also the larger political, economic, and cultural implications of musical dialogue between these two nations. Policy shifts in the wake of Raul Castro assuming the Cuban presidency and the election of President Obama allowed performers to traverse the Florida Straits more easily than in the recent past and encouraged them to act as musical ambassadors. Their performances served as a testing ground for political change that anticipated normalized relations. While government actors debated these changes, music forged connections between individuals on both sides of the Florida Straits. In this first book on the subject since Obama's presidency, musicologist Timothy P. Storhoff describes how, after specific policy changes, musicians were some of the first to take advantage of new opportunities for travel, push the boundaries of new regulations, and expose both the possibilities and limitations of licensing musical exchange. Through the analysis of both official and unofficial musical diplomacy efforts, including the Havana Jazz Festival, the National Symphony Orchestra of Cuba's first US tour, the Minnesota Orchestra's trip to Havana, and the author's own experiences in Cuba, this ethnography demonstrates how performances reflect aspirations for stronger transnational ties and a common desire to restore the once-thriving US-Cuban musical relationship.

Ubiquitous Music Ecologies

Ubiquitous Music Ecologies

Author: Victor Lazzarini Format: Hardback Release Date: 27/11/2020

Ubiquitous music is an interdisciplinary area of research that lies at the intersection of music and computer science. Initially evolving from the related concept of ubiquitous computing, today ubiquitous music offers a paradigm for understanding how the everyday presence of computers has led to highly diverse music practices. As we move from desktop computers to mobile and internet-based multi-platform systems, new ways to participate in creative musical activities have radically changed the cultural and social landscape of music composition and performance. This volume explores how these new systems interact and how they may transform our musical experiences. Emerging out of the work of the Ubiquitous Music Group, an international research network established in 2007, this volume provides a snapshot of the ecologically grounded perspectives on ubiquitous music that share the concept of ecosystem as a central theme. Covering theory, software and hardware design, and applications in educational and artistic settings, each chapter features in-depth descriptions of exploratory and cutting-edge creative practices that expand our understanding of music making by means of digital and analogue technologies.

Hexachords in Late-Renaissance Music

Hexachords in Late-Renaissance Music

Author: Lionel Pike Format: Paperback / softback Release Date: 23/11/2020

First published in 1998, this broad survey includes a large number of musical illustrations and provides an indispensable guide for both students and teachers. Hexachords and solmization syllables formed the foundations of musical language during the sixteenth century. Yet, owing to changes over time in music education and style, there no longer exists widespread general knowledge of hexachords. Without this awareness it is impossible to appreciate fully the music of the most important composers of the Renaissance such as Palestrina, Lasso and Monteverdi. This book is the first attempt to fill such a gap in our understanding of hexachords and how they were employed in late-Renaissance music. Lionel Pike's research covers the period from Willaert to Dowland (c. 1530-1600) and examines the ways in which the uses of hexachords developed in the hands of different composers. The book concludes with an investigation of English examples of hexachords in vocal and instrumental music.

Text, Music, and Liturgy in the Hispanic Rite

Text, Music, and Liturgy in the Hispanic Rite

The Hispanic rite, a medieval non-Roman Western liturgy, was practiced across the Iberian Peninsula for over half a millennium and functioned as the most distinct marker of Christian identity in this region. As Christians typically began every day throughout the liturgical year by singing a vespertinus, this chant genre in particular provides a unique window into the cultural and religious life of medieval Iberia. But while the Hispanic rite has the largest corpus of extant manuscripts of all non-Roman liturgies in the West, which testifies to the importance placed on their transmission through political and cultural upheavals, its chants use a notational system that lacks clear specification of pitch and has kept them barred from in-depth study. Text, Liturgy and Music in the Hispanic Rite is the first detailed analysis of the interactions between textual, liturgical, and musical variables across the entire extant repertoire of the chant genre most central to the Hispanic rite, the vespertinus. By approaching the vespertini through a holistic methodology that integrates melody and text, author Raquel Rojo Carrillo identifies the genre's norms and traces the different shapes it adopts across the liturgical year and on different occasions. In this way, the book offers an unprecedented insight into the liturgical edifice of the Hispanic rite and the daily experience of Christians in medieval Iberia.

Timbre

Timbre

Timbre is among the most important and the most elusive aspects of music. Visceral and immediate in its sonic properties, yet also considered sublime and ineffable, timbre finds itself caught up in metaphors: tone color , wet acoustics, or in Schoenberg's words, the illusory stuff of our dreams. This multi-disciplinary approach to timbre assesses the acoustic, corporeal, performative, and aesthetic dimensions of tone color in Western music practice and philosophy. It develops a new theorization of timbre and its crucial role in the epistemology of musical materialism through a vital materialist aesthetics in which conventional binaries and dualisms are superseded by a vibrant continuum. As the aesthetic and epistemological questions foregrounded by timbre are not restricted to isolated periods in music history or individual genres, but have pervaded Western musical aesthetics since early Modernity, the book discusses musical examples taken from both classical and popular music. These range, in classical music, from the Middle Ages through the Baroque, the belcanto opera and electronic music to saturated music; and, in popular music, from indie through soul and ballad to dark industrial.

Sonic Intimacy

Sonic Intimacy

Author: Malcolm (University of Sussex, UK) James Format: Paperback / softback Release Date: 12/11/2020

Sonic Intimacy addresses and establishes the new concept of sonic intimacy as a key term through which sound, human, and technological relations can be assessed and understood in relation to capitalism: what is sonic intimacy, how it is changing, and what is at stake in its transformation? Analyzing sonic intimacy through key case studies of three alternative music technologies of the black Atlantic (sound systems, pirate radio, and YouTube), James addresses in particular the aural transmission of care (intimacies), the internal (intimate) affects of sound and the collective affect of sound (intimacy) and its relation to (intimate) times and spaces. Sonic Intimacy thus explores what is at stake in the development of sonic intimacy for human relations and alternative black and anti-capitalist public politics. This discussion on the transformation of sonic intimacy starts with the sound system. The sound system highlights the affective and political implications of in-time: collective and bass mediated intimacies. Pirate radio permits an exploration of the initial privatization of this intimacy, as bass is scooped out and dialogues established between bedrooms, and over radio infrastructure. An analysis of the YouTube music video then provides insight into sonic intimacy's further fragmentation as alternative sound waves are commodified, speakers shrunk, distances increased and human relations made out-of-sync. More importantly, however, these case studies also provide the book with latitude for exploring how old intimacies have been retraced and where new intimacies have arisen: the aimless fervour generated through the pirate radio; the immediacy, uncertainty, deferral, multiplication, repetition and mobility of the YouTube music video. Ultimately, Sonic Intimacy outlines the importance of sonic intimacy as an area of study, argues that changes in sonic intimacy are contingent with the shrinking possibilities of alternative public culture, and tentatively identifies potential new sonic intimacies that may provide a resource for the struggle against, and demand beyond, neoliberal capitalism.

Sonic Intimacy

Sonic Intimacy

Author: Malcolm (University of Sussex, UK) James Format: Hardback Release Date: 12/11/2020

Sonic Intimacy addresses and establishes the new concept of sonic intimacy as a key term through which sound, human, and technological relations can be assessed and understood in relation to capitalism: what is sonic intimacy, how it is changing, and what is at stake in its transformation? Analyzing sonic intimacy through key case studies of three alternative music technologies of the black Atlantic (sound systems, pirate radio, and YouTube), James addresses in particular the aural transmission of care (intimacies), the internal (intimate) affects of sound and the collective affect of sound (intimacy) and its relation to (intimate) times and spaces. Sonic Intimacy thus explores what is at stake in the development of sonic intimacy for human relations and alternative black and anti-capitalist public politics. This discussion on the transformation of sonic intimacy starts with the sound system. The sound system highlights the affective and political implications of in-time: collective and bass mediated intimacies. Pirate radio permits an exploration of the initial privatization of this intimacy, as bass is scooped out and dialogues established between bedrooms, and over radio infrastructure. An analysis of the YouTube music video then provides insight into sonic intimacy's further fragmentation as alternative sound waves are commodified, speakers shrunk, distances increased and human relations made out-of-sync. More importantly, however, these case studies also provide the book with latitude for exploring how old intimacies have been retraced and where new intimacies have arisen: the aimless fervour generated through the pirate radio; the immediacy, uncertainty, deferral, multiplication, repetition and mobility of the YouTube music video. Ultimately, Sonic Intimacy outlines the importance of sonic intimacy as an area of study, argues that changes in sonic intimacy are contingent with the shrinking possibilities of alternative public culture, and tentatively identifies potential new sonic intimacies that may provide a resource for the struggle against, and demand beyond, neoliberal capitalism.

The Musical Discourse of Servitude

The Musical Discourse of Servitude

Examining, for the first time, the compositions of Johann Joseph Fux in relation to his contemporaries Bach and Handel, The Musical Discourse of Servitude presents a new theory of the late baroque musical imagination. Author Harry White contrasts musical servility and freedom in his analysis, with Fux tied to the prevailing servitude of the day's musical imagination, particularly the hegemonic flowering of North Italian partimento method across Europe. In contrast, both Bach and Handel represented an autonomy of musical discourse, with Bach exhausting generic models in the mass and Handel inventing a new genre in the oratorio. A potent critique of Lydia Goehr's seminal The Imaginary Museum of Musical Works, The Musical Discourse of Servitude draws on Goehr's formulation of the work-concept as an imaginary construct which, according to Goehr, is an invention of nineteenth-century reception history. White locates this concept as a defining agent of automony in Bach's late works, and contextualized the work-concept itself by exploring rival concepts of political, religious, and musical authority which define the European musical imagination in the first half of the eighteenth century. A major revisionist statement about the musical imagination in Western art music, The Musical Discourse of Servitude will be of interest to scholars of the Baroque, particularly of Bach and Handel.

Inside Computer Music

Inside Computer Music

Inside Computer Music is an investigation of how new technological developments have influenced the creative possibilities of composers of computer music in the last 50 years. This book combines detailed research into the development of computer music techniques with nine case studies that analyze key works in the musical and technical development of computer music. The book's companion website offers demonstration videos of the techniques used and downloadable software. There, readers can view interviews and test emulations of the software used by the composers for themselves. The software also presents musical analyses of each of the nine case studies to enable readers to engage with the musical structure aurally and interactively.

Inside Computer Music

Inside Computer Music

Inside Computer Music is an investigation of how new technological developments have influenced the creative possibilities of composers of computer music in the last 50 years. This book combines detailed research into the development of computer music techniques with nine case studies that analyze key works in the musical and technical development of computer music. The book's companion website offers demonstration videos of the techniques used and downloadable software. There, readers can view interviews and test emulations of the software used by the composers for themselves. The software also presents musical analyses of each of the nine case studies to enable readers to engage with the musical structure aurally and interactively.

Music Theory for Self-Taught Musicians

Music Theory for Self-Taught Musicians

Author: Will Metz Format: Paperback / softback Release Date: 01/11/2020

It is well known that many musicians, from amateurs to famous professionals, are largely and sometimes exclusively self-taught. Most of the time, these musicians tend to put music theory aside, but there comes a time when many become curious about this science and understand its utility and potential. Unfortunately, they often get discouraged and think it's too late to learn theory, that they needed to start early, and of course, know how to read. Fortunately, this turns out to be completely untrue. Most self-taught musicians will also turn to books and realize many are written for specialists and those who can already read music. They talk about scales and how to write chords on a staff, but if you are not sure what a note is and it takes you twenty minutes to figure out where a C is, it just adds to the frustration. Yet I promise that a late start in learning theory has no impact on the quality of musician you can become and your future ability to understand it. It is not too late! I have also felt this frustration, which is why I wrote this book. It was originally written for my former self, who not too long ago was desperate to learn theory in a way that would finally be clear, coherent, and understandable, while not having to read notes. This is the book I wish I had back then! I know there are many people who share this feeling, and my main goal is to provide help and clarity. This book is based on simple, day-to-day common sense, and if you know your alphabet and can count to seven, I promise you will understand theory. You may actually find it surprisingly easy, and I can guarantee it will considerably improve your playing and appreciation for music.