Music

Black Music Matters: Jazz and the Transformation of Music Studies is one of the first books to promote the reform of music studies with a centralized presence of jazz and black music to ground American musicians in a core facet of their true cultural heritage. Ed Sarath applies an emergent consciousness-based worldview called Integral Theory to music studies while drawing upon overarching conversations on diversity and race and a rich body of literature on the seminal place of black music in American culture. Combining a visionary perspective with an activist tone, Sarath installs jazz and black music in as a foundation for a new paradigm of twenty-first-century musical training that will yield an unprecedented skill set for transcultural navigation among musicians. Sarath analyzes prevalent patterns in music studies change discourse, including an in-depth critique of multiculturalism, and proposes new curricular and organizational systems along with a new model of music inquiry called Integral Musicology. This jazz/black music paradigm further develops into a revolutionary catalyst for development of creativity and consciousness in education and society at large. Sarath's work engages all those who share an interest in black-white race dynamics and its musical ramifications, spirituality and consciousness, and the promotion of creativity throughout all forms of intellectual and personal expression.

Compassionate Music Teaching provides a framework for music teaching in the 21st century by outlining qualities, skills, and approaches to meet the needs of a unique and increasingly diverse generation of students. The text focuses on how six qualities of compassion (trust, empathy, patience, inclusion, community, and authentic connection) have made an impact in human lives, and how these qualities might relate to the practices of caring and committed music teachers. This book bridges the worlds of research and practice, discussing cutting-edge topics while also offering practical strategies that can be used immediately in music studios and classrooms. Each chapter is addressed from multiple perspectives, including: research in music, education, psychology, sociology, and related fields; insights from various students and teachers across the United States; and an in-depth study of five music teachers who represent a broad range of genres, student ages, and pedagogical approaches. The book is dedicated to exploring those conditions that help students not only to learn, but also to grow, thrive, and freely express--and become compassionate musicians, teachers, performers, and people as well.

When asked to describe what music means to them, most people talk about its power to express or elicit emotions. As a melody can produce a tear, tingle the spine, or energize athletes, music has a deep impact on how we experience and encounter the world. Because of the elusiveness of thesemusical emotions, however, little has been written about how music creates emotions and how musical emotion has changed its meaning for listeners across the last millennium.In this sweeping landmark study, author Michael Spitzer provides the first history of musical emotion in the Western world, from Gregorian chant to Beyonce. Combining intellectual history, music studies, philosophy, and cognitive psychology, A History of Emotion in Western Music introduces currentapproaches to the study of emotion and formulates an original theory of how musical emotion works. Diverging from psychological approaches that center listeners' self-reports or artificial experiments, Spitzer argues that musical emotions can be uncovered in the techniques and materials of composersand performers. Together with its extensive chronicle of the historical evolution of musical style and emotion, this book offers a rich union of theory and history.

This is the first-ever historical study across all musical genres in any American metropolis. Detroit in the 1940s-60s was not just "the capital of the twentieth century" for industry and the war effort, but also for the quantity and extremely high quality of its musicians, from jazz toclassical to ethnic. The author, a Detroiter from 1943, begins with a reflection of his early life with his family and others, then weaves through the music traffic of all the sectors of a dynamic and volatile city. Looking first at the crucial role of the public schools in fostering talent, MotorCity Music surveys the neighborhoods of older European immigrants and of the later huge waves of black and white southerners who migrated to Detroit to serve the auto and defense industries. Jazz stars, polka band leaders, Jewish violinists, and figures like Lily Tomlin emerge in the spotlight.Shaping institutions, from the Ford Motor Company and the United Auto Workers through radio stations and Motown, all deployed music to bring together a city rent by relentless segregation, policing, and spasms of violence. The voices of Detroit's poets, writers, and artists round out thechorus.

"A dauntingly ambitious, obsessively researched" (Los Angeles Times) global history of music that reveals how songs have shifted societies and sparked revolutions.   Histories of music overwhelmingly suppress stories of the outsiders and rebels who created musical revolutions and instead celebrate the mainstream assimilators who borrowed innovations, diluted their impact, and disguised their sources. In Music: A Subversive History, Ted Gioia reclaims the story of music for the riffraff, insurgents, and provocateurs.   Gioia tells a four-thousand-year history of music as a global source of power, change, and upheaval. He shows how outcasts, immigrants, slaves, and others at the margins of society have repeatedly served as trailblazers of musical expression, reinventing our most cherished songs from ancient times all the way to the jazz, reggae, and hip-hop sounds of the current day.   Music: A Subversive History is essential reading for anyone interested in the meaning of music, from Sappho to the Sex Pistols to Spotify.

(Vocal Collection). 46 songs. Contents: Bewitched (Pal Joey) * Bill (Show Boat) * By the Sea (Sweeney Todd) * Can't Help Lovin' Dat Man (Show Boat) * Children Will Listen (Into the Woods) * Climb Ev'ry Mountain (The Sound of Music) * Come Home (Allegro) * Falling in Love with Love * (The Boys from Syracuse) * Hello, Young Lovers (The King and I) * How Are Things in Glocca Morra (Finian's Rainbow) * I Could Have Danced All Night (My Fair Lady) * I Feel Pretty (West Side Story) * I Have Dreamed (The King and I) * I Read (Passion) * If I Loved You (Carousel) * Is It Really Me? (110 in the Shade) * Losing My Mind (Follies) * Love, Look Away (Flower Drum Song) * Loving You * (Passion) * Make Believe (Show Boat) * Moonfall (The Mystery of Edwin Drood) * My Ship (Lady in the Dark) * Not a Day Goes By * (Merrily We Roll Along) * Old Maid (110 in the Shade) * Send in the Clowns (A Little Night Music) * Show Me (My Fair Lady) * Smoke Gets in Your Eyes (Roberta) * So in Love (Kiss Me, Kate) * Something Wonderful (The King and I) * Somewhere (West Side Story) * The Song Is You (Music in the Air) * The Sound of Music (The Sound of Music) * Stay Well (Lost in the Stars) * The Sweetest Sounds (No Strings) * Take Care of This House (1600 Pennsylvania Avenue) * To Keep My Love Alive (A Connecticut Yankee) * Trouble Man (Lost in the Stars) * What Would You Do? (Cabaret) * Who Am I? (Peter Pan) * Why Was I Born? (Sweet Adeline) * Will You? (Grey Gardens) * With a Song in My Heart (Spring Is Here) * Without You (My Fair Lady) * The Worst Pies in London (Sweeney Todd) * You Don't Know * This Man (Parade) * You'll Never Walk Alone (Carousel).

The works of Leos Janácek, including Jenufa and several of his other operas, have been widely performed in recent years. But they have rarely been investigated closely from a theoretical perspective, and their musical language remains only partially understood. Zdenek Skoumal here offers a chronological exploration of Janácek's compositions that focuses on musical structure, identifying elements and processes that give the music coherence, character, and interest. Skoumal demonstrates how the music combines and blends traditional tonal elements, folk-influenced features, and techniques that were forward-looking at the time. In particular, the music is shown to employ highly sophisticated and continually transforming motivic and rhythmic components. The book's numerous musical analyses are motivically centered and employ various analytical approaches, including ones that involve reduction, structural levels, basic set theory, and rhythmic theory. Discussions of Janácek's works with a libretto or other type of text consider relationships between word and music, revealing their connection to deeper structural issues.other type of text consider relationships between word and music, revealing their connection to deeper structural issues.other type of text consider relationships between word and music, revealing their connection to deeper structural issues.other type of text consider relationships between word and music, revealing their connection to deeper structural issues.

Edited by early music experts Hugh Keyte and Andrew Parrott, this anthology of Christmas carols is the most comprehensive collection ever made, spanning seven centuries of caroling in Britain, continental Europe, and North America. Containing music and text of 201 carols, many in more than one setting, the book is organized in two sections: composed carols, ranging from medieval Gregorian chants to modern compositions, and folk carols, including not only traditional Anglo-American songs but Irish, Welsh, German, Czech, Polish, French, Basque, Catalan, Sicilian, and West Indian songs as well. Each carol is set in four-part harmony, with lyrics in both the original language and English. Accompanying each song are detailed scholarly notes on the history of the carol and on performance of the setting presented. The introduction to the volume offers a general history of carols and caroling, and appendices provide scholarly essays on such topics as fifteenth-century pronunciation, English country and United States primitive traditions, and the revival of the English folk carol. The Oxford Book of Carols, published in 1928, is still one of Oxford's best-loved books among scholars, church choristers, and the vast number of people who enjoy singing carols. This volume is not intended to replace this classic but to supplement it. Reflecting significant developments in musicology over the past sixty years, it embodies a radical reappraisal of the repertory and a fresh approach to it. The wealth of information it contains will make it essential for musicologists and other scholars, while the beauty of the carols themselves will enchant general readers and amateur songsters alike.

Puccini's non-operatic songs, Arie da camera e da chiesa for voice and piano, have never before been collected--many until now have never been published. They cover the entire span of the composer's life: the earliest was written when Puccini was in his teens, the latest when the composer was in his sixties. Working from musical manuscripts, letters, documents, and other sources, Michael Kaye shows Puccini--whose music is the mainstay of every opera house in the world--in a new light. The words and music of fifteen songs, including little-known music from the operas Edgar and La Rondine, are provided. More than a dozen fascinating--some rare--photographs give an extra dimension to the book. About the Author Michael Kaye received his M.M. in opera from the New England Conservatory. He has served on the artistic staffs of opera companies in Boston, Chicago, Cologne, San Francisco and New York.