Kevin Winkler
- Published in print:
- 2018
- Published Online:
- March 2018
- ISBN:
- 9780199336791
- eISBN:
- 9780190841478
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199336791.001.0001
- Subject:
- Music, Dance, Performing Practice/Studies
Bob Fosse’s work continues to be the most recognizable of the great choreographers of Broadway’s post–World War II golden age. This book offers deep analysis of Fosse’s development as a ...
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Bob Fosse’s work continues to be the most recognizable of the great choreographers of Broadway’s post–World War II golden age. This book offers deep analysis of Fosse’s development as a choreographer, including the various dance influences he absorbed as a young performer. It examines key Fosse dances and contextualizes them across his career. It looks at how he influenced changes in the musical theater, particularly as a director, and how early mentors George Abbott and Jerome Robbins shaped his theatrical outlook. It compares his work to that of peers like Robbins, Gower Champion, Michael Bennett, and others. The book also examines his choreography for film and looks at how his film experiences influenced his stage work. It also considers the impact of his three marriages—all to dancers—on his career. Finally, the book investigates how Fosse’s evolution as both artist and individual mirrored the social and political climate of his era and allowed him to comfortably ride a wave of cultural changes.Less
Bob Fosse’s work continues to be the most recognizable of the great choreographers of Broadway’s post–World War II golden age. This book offers deep analysis of Fosse’s development as a choreographer, including the various dance influences he absorbed as a young performer. It examines key Fosse dances and contextualizes them across his career. It looks at how he influenced changes in the musical theater, particularly as a director, and how early mentors George Abbott and Jerome Robbins shaped his theatrical outlook. It compares his work to that of peers like Robbins, Gower Champion, Michael Bennett, and others. The book also examines his choreography for film and looks at how his film experiences influenced his stage work. It also considers the impact of his three marriages—all to dancers—on his career. Finally, the book investigates how Fosse’s evolution as both artist and individual mirrored the social and political climate of his era and allowed him to comfortably ride a wave of cultural changes.
Adam Patrick Bell
- Published in print:
- 2018
- Published Online:
- March 2018
- ISBN:
- 9780190296605
- eISBN:
- 9780190296643
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190296605.001.0001
- Subject:
- Music, History, American
Dawn of the DAW tells the story of how the dividing line between the traditional roles of musicians and recording studio personnel (producers, recording engineers, mixing engineers, technicians, ...
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Dawn of the DAW tells the story of how the dividing line between the traditional roles of musicians and recording studio personnel (producers, recording engineers, mixing engineers, technicians, etc.) has eroded throughout the latter half of the twentieth century to the present. Whereas those equally adept in music and technology such as Les Paul were exceptions to their eras, the millennial music-maker is ensconced in a world in which the symbiosis of music and technology is commonplace. As audio production skills such as recording, editing, and mixing are increasingly co-opted by musicians teaching themselves in their do-it-yourself (DIY) recording studios, conventions of how music production is taught and practiced are remixed to reflect this reality. Divided into three parts, part I first examines DIY recording practices within the context of recording history from the late nineteenth century to the present. Second, part I discusses the concept of the studio as musical instrument, and the evolving role of the producer. Part II details current practices of DIY recording—how recording technologies are incorporated into music-making, and also how they are learned by DIY studio users in the musically-chic borough of Brooklyn. Part III examines the broader trends heard throughout the stories presented in part II, summarizing the different models of learning and approaches to music-making. Dawn of the DAW concludes by discussing the ramifications of these new directions for music educators.Less
Dawn of the DAW tells the story of how the dividing line between the traditional roles of musicians and recording studio personnel (producers, recording engineers, mixing engineers, technicians, etc.) has eroded throughout the latter half of the twentieth century to the present. Whereas those equally adept in music and technology such as Les Paul were exceptions to their eras, the millennial music-maker is ensconced in a world in which the symbiosis of music and technology is commonplace. As audio production skills such as recording, editing, and mixing are increasingly co-opted by musicians teaching themselves in their do-it-yourself (DIY) recording studios, conventions of how music production is taught and practiced are remixed to reflect this reality. Divided into three parts, part I first examines DIY recording practices within the context of recording history from the late nineteenth century to the present. Second, part I discusses the concept of the studio as musical instrument, and the evolving role of the producer. Part II details current practices of DIY recording—how recording technologies are incorporated into music-making, and also how they are learned by DIY studio users in the musically-chic borough of Brooklyn. Part III examines the broader trends heard throughout the stories presented in part II, summarizing the different models of learning and approaches to music-making. Dawn of the DAW concludes by discussing the ramifications of these new directions for music educators.
Marianne Wheeldon
- Published in print:
- 2017
- Published Online:
- March 2018
- ISBN:
- 9780190631222
- eISBN:
- 9780190631253
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190631222.001.0001
- Subject:
- Music, History, Western
This book examines the vicissitudes of Debussy’s posthumous reception in the 1920s and early 1930s and analyzes the confluence of factors that helped to overturn the initial backlash against his ...
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This book examines the vicissitudes of Debussy’s posthumous reception in the 1920s and early 1930s and analyzes the confluence of factors that helped to overturn the initial backlash against his musical aesthetic. In tracing this overarching narrative, this study enters into dialogue with research in the sociology of reputation and commemoration, examining the collective nature of the processes of artistic consecration. Key in this regard is identifying the networks of influence that had to come together and act in several spheres—textual, performative, material—to safeguard the composer’s legacy. Today, Debussy’s position as a central figure in twentieth-century concert music is secure: this book examines how and why this seemingly inevitable state of affairs came about. Although this study focuses on one particular instance of reputation building, its scope is also broader in that it addresses the more general processes by which reputations are constructed, contested, and consolidated. And by analyzing the forces that came to bear on the formation of Debussy's legacy, this book contributes to a greater understanding of the interwar period—the cultural politics, debates, and issues that confronted musicians in 1920s and 1930s Paris.Less
This book examines the vicissitudes of Debussy’s posthumous reception in the 1920s and early 1930s and analyzes the confluence of factors that helped to overturn the initial backlash against his musical aesthetic. In tracing this overarching narrative, this study enters into dialogue with research in the sociology of reputation and commemoration, examining the collective nature of the processes of artistic consecration. Key in this regard is identifying the networks of influence that had to come together and act in several spheres—textual, performative, material—to safeguard the composer’s legacy. Today, Debussy’s position as a central figure in twentieth-century concert music is secure: this book examines how and why this seemingly inevitable state of affairs came about. Although this study focuses on one particular instance of reputation building, its scope is also broader in that it addresses the more general processes by which reputations are constructed, contested, and consolidated. And by analyzing the forces that came to bear on the formation of Debussy's legacy, this book contributes to a greater understanding of the interwar period—the cultural politics, debates, and issues that confronted musicians in 1920s and 1930s Paris.
Peter Miksza and Kenneth Elpus
- Published in print:
- 2018
- Published Online:
- March 2018
- ISBN:
- 9780199391905
- eISBN:
- 9780199391943
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199391905.001.0001
- Subject:
- Music, Theory, Analysis, Composition, Performing Practice/Studies
This book is an introduction to quantitative research design and data analysis presented in the context of music education scholarship. The book aims for readers to come away with a familiarity of ...
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This book is an introduction to quantitative research design and data analysis presented in the context of music education scholarship. The book aims for readers to come away with a familiarity of prototypical research design possibilities as well as a fundamental understanding of data analysis techniques necessary for carrying out scientific inquiry. The book includes examples that demonstrate how the methodological and statistical concepts presented throughout can be applied to pertinent issues in music education. For the majority of Part I, the strategy is to present traditional design categories side by side with explanations of general analytical approaches for dealing with data yielded from each respective design type. Part II consists of chapters devoted to methodological and analytical approaches that have become common in related fields (e.g., psychology, sociology, general education research, educational policy) but are as yet not frequently exploited by music education researchers. Ultimately, this work is motivated by a desire to help scholars acquire the means to actualize their research curiosities and to contribute to the advancement of rigor in music education research throughout the profession at large.Less
This book is an introduction to quantitative research design and data analysis presented in the context of music education scholarship. The book aims for readers to come away with a familiarity of prototypical research design possibilities as well as a fundamental understanding of data analysis techniques necessary for carrying out scientific inquiry. The book includes examples that demonstrate how the methodological and statistical concepts presented throughout can be applied to pertinent issues in music education. For the majority of Part I, the strategy is to present traditional design categories side by side with explanations of general analytical approaches for dealing with data yielded from each respective design type. Part II consists of chapters devoted to methodological and analytical approaches that have become common in related fields (e.g., psychology, sociology, general education research, educational policy) but are as yet not frequently exploited by music education researchers. Ultimately, this work is motivated by a desire to help scholars acquire the means to actualize their research curiosities and to contribute to the advancement of rigor in music education research throughout the profession at large.
Jonathan Weinel
- Published in print:
- 2018
- Published Online:
- March 2018
- ISBN:
- 9780190671181
- eISBN:
- 9780190671228
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190671181.001.0001
- Subject:
- Music, Popular
Inner Sound explores how altered states of consciousness have shaped the design of electronic music and audio-visual media. The book begins by discussing consciousness, and how this may change during ...
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Inner Sound explores how altered states of consciousness have shaped the design of electronic music and audio-visual media. The book begins by discussing consciousness, and how this may change during states such as dreaming, psychedelic experience, meditation, and trance. Next, a variety of shamanic traditions are reviewed, in order to explore how indigenous societies have reflected visionary experiences through visual art and music. This provides the necessary background from which to consider how analogue and digital audio technologies enable specific capabilities for representing or inducing altered states of consciousness in psychedelic rock, electronic dance music, and electroacoustic music. Developing the discussion to consider sound in the context of audio-visual media, the role of altered states of consciousness in films, visual music, VJ performances, interactive video games, and virtual reality applications is also discussed. Through the analysis of these examples, the author uncovers common mechanisms, and ultimately proposes a conceptual model for ‘Altered States of Consciousness Simulations’. This theoretical model describes how sound can be used to simulate various subjective states of consciousness from a first-person perspective, in an interactive context. Throughout the book, the ethical issues regarding altered states of consciousness in electronic music and audio-visual media are also explored, ultimately allowing the reader to consider not only the design of Altered States of Consciousness Simulations, but also the implications of their use for digital society. In this way, Inner Sound explores the limits of technology for representing and manipulating consciousness, at the frontiers of electronic music and art.Less
Inner Sound explores how altered states of consciousness have shaped the design of electronic music and audio-visual media. The book begins by discussing consciousness, and how this may change during states such as dreaming, psychedelic experience, meditation, and trance. Next, a variety of shamanic traditions are reviewed, in order to explore how indigenous societies have reflected visionary experiences through visual art and music. This provides the necessary background from which to consider how analogue and digital audio technologies enable specific capabilities for representing or inducing altered states of consciousness in psychedelic rock, electronic dance music, and electroacoustic music. Developing the discussion to consider sound in the context of audio-visual media, the role of altered states of consciousness in films, visual music, VJ performances, interactive video games, and virtual reality applications is also discussed. Through the analysis of these examples, the author uncovers common mechanisms, and ultimately proposes a conceptual model for ‘Altered States of Consciousness Simulations’. This theoretical model describes how sound can be used to simulate various subjective states of consciousness from a first-person perspective, in an interactive context. Throughout the book, the ethical issues regarding altered states of consciousness in electronic music and audio-visual media are also explored, ultimately allowing the reader to consider not only the design of Altered States of Consciousness Simulations, but also the implications of their use for digital society. In this way, Inner Sound explores the limits of technology for representing and manipulating consciousness, at the frontiers of electronic music and art.
Daniel R. Melamed
- Published in print:
- 2018
- Published Online:
- April 2018
- ISBN:
- 9780190881054
- eISBN:
- 9780190882570
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190881054.001.0001
- Subject:
- Music, Theory, Analysis, Composition
Modern audiences can learn to listen to Johann Sebastian Bach’s Mass in B Minor BWV 232 and Christmas Oratorio BWV 248 in ways that reflect eighteenth-century sensibilities and that recognize our ...
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Modern audiences can learn to listen to Johann Sebastian Bach’s Mass in B Minor BWV 232 and Christmas Oratorio BWV 248 in ways that reflect eighteenth-century sensibilities and that recognize our place in the tradition of the works’ performance and interpretation. The sacred music of Bach’s time recognized both old and new styles. In the Mass in B Minor, Bach contrasts, combines, and reconciles them to make a musical point. Listeners can also learn to hear musical types and musical topics that were significant in the eighteenth century, including sleep arias, love duets, and secular choral arias, and how Bach put these types to use. A sensitivity to musical style also offers ways to listen to and think about music created by parody—the reuse of music with new words—like almost all of the Mass in B Minor and most of the Christmas Oratorio. Parody, though interesting, is almost never audible and is of little consequence compared with what listening tells us about a piece. Modern performances are stamped with audible consequences of our place in the twenty-first century. The ideological choices we make in performing the Mass and the Oratorio, the present-day way of performing the Christmas work in relation to the calendar, and the legacy of reception and interpretation have all affected the way his music is understood and heard today.Less
Modern audiences can learn to listen to Johann Sebastian Bach’s Mass in B Minor BWV 232 and Christmas Oratorio BWV 248 in ways that reflect eighteenth-century sensibilities and that recognize our place in the tradition of the works’ performance and interpretation. The sacred music of Bach’s time recognized both old and new styles. In the Mass in B Minor, Bach contrasts, combines, and reconciles them to make a musical point. Listeners can also learn to hear musical types and musical topics that were significant in the eighteenth century, including sleep arias, love duets, and secular choral arias, and how Bach put these types to use. A sensitivity to musical style also offers ways to listen to and think about music created by parody—the reuse of music with new words—like almost all of the Mass in B Minor and most of the Christmas Oratorio. Parody, though interesting, is almost never audible and is of little consequence compared with what listening tells us about a piece. Modern performances are stamped with audible consequences of our place in the twenty-first century. The ideological choices we make in performing the Mass and the Oratorio, the present-day way of performing the Christmas work in relation to the calendar, and the legacy of reception and interpretation have all affected the way his music is understood and heard today.
Nicholas Cook
- Published in print:
- 2018
- Published Online:
- March 2018
- ISBN:
- 9780199347803
- eISBN:
- 9780199347834
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199347803.001.0001
- Subject:
- Music, Psychology of Music
Until recently, ideas of creativity in music revolved around composers in garrets and the lone genius. But the last decade has witnessed a sea change: musical creativity is now overwhelmingly thought ...
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Until recently, ideas of creativity in music revolved around composers in garrets and the lone genius. But the last decade has witnessed a sea change: musical creativity is now overwhelmingly thought of in terms of collaboration and real-time performance. Music as Creative Practice is a first attempt to synthesize both perspectives. It begins by developing the idea that creativity arises out of social interaction—of which making music together is perhaps the clearest possible illustration—and then shows how the same thinking can be applied to the ostensively solitary practices of composition. The book also emphasizes the contextual dimensions of musical creativity, ranging from the prodigy phenomenon, long-term collaborative relationships within and beyond the family, and creative learning to the copyright system that is supposed to incentivize creativity but is widely seen as inhibiting it.Music as Creative Practice encompasses the classical tradition, jazz and popular music, and music emerges as an arena in which changing concepts of creativity—from the old myths about genius to present-day sociocultural theory—can be traced with particular clarity. The perspective of creativity tells us much about music, but the reverse is also true, and this fifth and last instalment of the Studies in Musical Performance as Creative Practice series offers an approach to musical creativity that is attuned to the practices of both music and everyday life.Less
Until recently, ideas of creativity in music revolved around composers in garrets and the lone genius. But the last decade has witnessed a sea change: musical creativity is now overwhelmingly thought of in terms of collaboration and real-time performance. Music as Creative Practice is a first attempt to synthesize both perspectives. It begins by developing the idea that creativity arises out of social interaction—of which making music together is perhaps the clearest possible illustration—and then shows how the same thinking can be applied to the ostensively solitary practices of composition. The book also emphasizes the contextual dimensions of musical creativity, ranging from the prodigy phenomenon, long-term collaborative relationships within and beyond the family, and creative learning to the copyright system that is supposed to incentivize creativity but is widely seen as inhibiting it.Music as Creative Practice encompasses the classical tradition, jazz and popular music, and music emerges as an arena in which changing concepts of creativity—from the old myths about genius to present-day sociocultural theory—can be traced with particular clarity. The perspective of creativity tells us much about music, but the reverse is also true, and this fifth and last instalment of the Studies in Musical Performance as Creative Practice series offers an approach to musical creativity that is attuned to the practices of both music and everyday life.
Lonán Ó Briain
- Published in print:
- 2018
- Published Online:
- March 2018
- ISBN:
- 9780190626969
- eISBN:
- 9780190869366
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190626969.001.0001
- Subject:
- Music, Ethnomusicology, World Music
Musical Minorities is the first English-language monograph on the performing arts of an ethnic minority in Vietnam. Living primarily in the northern mountains, many of the one million Hmong in ...
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Musical Minorities is the first English-language monograph on the performing arts of an ethnic minority in Vietnam. Living primarily in the northern mountains, many of the one million Hmong in Vietnam have strategically maintained their cultural distance from foreign invaders and encroaching state agencies for almost two centuries. They use cultural heritage as a means of maintaining a resilient community identity, malleable to their everyday needs and to negotiations among themselves and with others in the vicinity. Case studies of revolutionary songs, countercultural rock, traditional vocal and instrumental styles, tourist shows, animist and Christian rituals, and light pop from the diaspora illustrate the diversity of their creative outputs. This groundbreaking study reveals how music and other performing arts shape understandings of ethnicity and nationality in contemporary Vietnam. Based on three years of fieldwork with Hmong living in Lào Cai and neighboring provinces adjacent to the Chinese and Laotian borders, the book traces the circulation of organized sounds that contribute to the adaptive capacities of this diverse social group. This original investigation of the sonic materialization of social identity outlines the full multiplicity of Hmong music making in a fascinating account of music, minorities, and the state in a postsocialist context.Less
Musical Minorities is the first English-language monograph on the performing arts of an ethnic minority in Vietnam. Living primarily in the northern mountains, many of the one million Hmong in Vietnam have strategically maintained their cultural distance from foreign invaders and encroaching state agencies for almost two centuries. They use cultural heritage as a means of maintaining a resilient community identity, malleable to their everyday needs and to negotiations among themselves and with others in the vicinity. Case studies of revolutionary songs, countercultural rock, traditional vocal and instrumental styles, tourist shows, animist and Christian rituals, and light pop from the diaspora illustrate the diversity of their creative outputs. This groundbreaking study reveals how music and other performing arts shape understandings of ethnicity and nationality in contemporary Vietnam. Based on three years of fieldwork with Hmong living in Lào Cai and neighboring provinces adjacent to the Chinese and Laotian borders, the book traces the circulation of organized sounds that contribute to the adaptive capacities of this diverse social group. This original investigation of the sonic materialization of social identity outlines the full multiplicity of Hmong music making in a fascinating account of music, minorities, and the state in a postsocialist context.
Absolute Music
Adaptive Strategies for Small-Handed Pianists
The African Imagination in Music
After the Golden Age
After the Rite
Agnes de Mille
Agustín Lara
Alan Jay Lerner
Albion's Dance
