Healthy Singing by
Vocal anatomy and physiology -- Voice assessment -- Care of the singing voice -- Stress and the singer -- Care of the choral singer's voice -- Care of the choral director's voice -- Care of the singing teacher's voice -- Care of the school music teacher's voice -- Management of specific vocal problems -- Vocal exercises.
Jazz Piano Comping from the Top by
(Jazz Book). Introduces jazz piano playing from the very beginning! From chord symbols to comping, this book will get any player started and let them make sense of the jazz language.
The Operetta Empire by
CHOICE Outstanding Academic Title, 2022 "When the world comes to an end," Viennese writer Karl Kraus lamented in 1908, "all the big city orchestras will still be playing The Merry Widow." Viennese operettas like Franz Lehár's The Merry Widow were preeminent cultural texts during the Austro-Hungarian Empire's final years. Alternately hopeful and nihilistic, operetta staged contemporary debates about gender, nationality, and labor. The Operetta Empire delves into this vibrant theatrical culture, whose creators simultaneously sought the respectability of high art and the popularity of low entertainment. Case studies examine works by Lehár, Emmerich Kálmán, Oscar Straus, and Leo Fall in light of current musicological conversations about hybridity and middlebrow culture. Demonstrating a thorough mastery of the complex early twentieth-century Viennese cultural scene, and a sympathetic and redemptive critique of a neglected popular genre, Micaela Baranello establishes operetta as an important element of Viennese cultural life--one whose transgressions helped define the musical hierarchies of its day.
The Tongue As a Gateway to Voice, Resonance, Style, and Intelligibility by
To be in the way, or to be out of the way, that is the question. Voice users and scientists alike agree that the tongue is a crucial part in singing. Yet, there has been no literature published that solely addresses the tongue and its acoustical influence in the context of technique. The Tongue as a Gateway to Voice, Resonance, Style, and Intelligibility finally answers the question which has plagued voice users: how does the tongue affect my singing and how can I manipulate it for my purpose? This book is unique in its approach to, and concentration on, the singing and speaking of consonants. In the world of voice, consonants are often overlooked in favor of a vowel-centric approach to vocal pedagogy. By combining voice pedagogy with vocal science, Dr. Angelika Nair breaks down the mysteries of the tongue and its effect on consonant production for a fascinating new take on the human voice. In addition to up-to-date scientific information, this work provides practical resources for singers, actors, and voice pedagogues of all genres, including exercises, step-by-step instructions, and easy-to-follow illustrations. Readers of The Tongue as a Gateway to Voice, Resonance, Style, and Intelligibility have the opportunity to explore the voice as a whole and fully visualize the hidden nature of voice production for immediate application in their own singing. The author presents the complexities of voice science in simple and accessible terms, so it is applicable to anyone interested in enhancing their performance or teaching. Key Features More than 180 illustrations, including anatomical and spectrogram images Clear and detailed information about the anatomy and physiology of the tongue relative to the entire vocal tract The text features introductions, analysis, explanations, and practical applications Well-defined and practical exercises for each consonant group Evidence-based information that combines extensive both research and teaching experience with ultrasound in the voice studio Bolded key terms and a comprehensive glossary
American Song and Struggle from Columbus to World War 2 by
Long before anyone ever heard of 'protest music', people in America were singing about their struggles. They sang for justice and fairness, food and shelter, and equality and freedom; they sang to be acknowledged. Sometimes they also sang to oppress. This book uncovers the history of these people and their songs, from the moment Columbus made fateful landfall to the start of the Second World War, when 'protest music' emerged as an identifiable brand. Cutting across musical genres, Will Kaufman recovers the passionate voices of America itself. We encounter songs of the mainland and the conquered territories of Hawai'i, Cuba, Puerto Rico, and the Philippines; we hear Indigenous songs, immigrant songs and Klan songs, minstrel songs and symphonies, songs of the heard and the unheard, songs of the celebrated and the anonymous, of the righteous and the despicable. This magisterial book shows that all these songs are woven into the very fabric of American history.
At the Crossroads of Music and Social Justice by
Music is powerful and transformational, but can it spur actual social change? A strong collection of essays, At the Crossroads of Music and Social Justice studies the meaning of music within a community to investigate the intersections of sound and race, ethnicity, religion, gender, sexual orientation, and differing abilities. Ethnographic work from a range of theoretical frameworks uncovers and analyzes the successes and limitations of music's efficacies in resolving conflicts, easing tensions, reconciling groups, promoting unity, and healing communities. This volume is rooted in the Crossroads Section for Difference and Representation of the Society for Ethnomusicology, whose mandate is to address issues of diversity, difference, and underrepresentation in the society and its members' professional spheres. Activist scholars who contribute to this volume illuminate possible pathways and directions to support musical diversity and representation. At the Crossroads of Music and Social Justice is an excellent resource for readers interested in real-world examples of how folklore, ethnomusicology, and activism can, together, create a more just and inclusive world.
The Cambridge Encyclopedia of Brass Instruments by
Some thirty-two experts from fifteen countries join three of the world's leading authorities on the design, manufacture, performance and history of brass musical instruments in this first major encyclopedia on the subject. It includes over one hundred illustrations, and gives attention to every brass instrument which has been regularly used, with information about the way they are played, the uses to which they have been put, and the importance they have had in classical music, sacred rituals, popular music, jazz, brass bands and the bands of the military. There are specialist entries covering every inhabited region of the globe and essays on the methods that experts have used to study and understand brass instruments. The encyclopedia spans the entire period from antiquity to modern times, with new and unfamiliar material that takes advantage of the latest research. From Abblasen to Zorsi Trombetta da Modon, this is the definitive guide for students, academics, musicians and music lovers.
Capturing Music : The Story Of Notation by
In today's digital landscape, we have the luxury of experiencing music anytime, anywhere. But before this instant accessibility and dizzying array of formats--before CDs, the eight-track tape, the radio, and the turntable--there was only one recording technology: music notation. It allowed singers and soloists to travel across great distances and perform their work with stunning fidelity, a feat that we now very much take for granted. Thomas Forrest Kelly transports us to the lively and complex world of monks and monasteries, of a dove singing holy chants into the ear of a saint, and of bustling activity in the Cathedral of Notre Dame--an era when the only way to share even the simplest song was to learn it by rote, church to church and person to person. With clarity and a sense of wonder, Kelly tells a story that spans five hundred years, leading us on a journey through medieval Europe and showing how we learned to keep track of rhythm, melody, and precise pitch with a degree of accuracy previously unimagined. Kelly reveals the technological advances that led us to the system of notation we use today, placing each step of its evolution in its cultural and intellectual context. Companion recordings by the renowned Blue Heron ensemble are paired with vibrant illuminated manuscripts, bringing the art to life and allowing readers to experience something of the marvel that medieval writers must have felt when they figured out how to capture music for all time.
The Complete Book of 2010s Broadway Musicals by
This volume contains detailed information about every musical that opened on Broadway from 2010 through the end of 2019. This book discusses the decade's major successes, notorious failures, and musicals that closed during their pre-Broadway tryouts. In addition to including every hit and flop that debuted during the decade, this book highlights revivals and personal-appearance revues.
Daniels' Orchestral Music by
Daniels' Orchestral Music is the gold standard among conductors, music programmers, orchestra librarians, and any other music professional--or student--seeking to research an orchestral program, whether for a single concert or a full season. Compositions cover the standard international repertoire for the orchestra; this latest edition, nearly a decade since the previous one, contains over 8500 entries. Daniels' Orchestral Music organizes works alphabetically by composer and title, and contains duration and instrumentation of each entry, as well as date of composition. Individual appendices make it easy to browse works that include chorus, solo voices, or solo instruments. Further appendices list orchestral works by instrumentation; by duration; works intended for youth concerts; significant anniversaries of composers; and composer groups for thematic programming. An appendix labeled Orchestralogy provides essential bibliography, internet sources, and institutions and organizations necessary for the orchestra professional. A title index and a directory of publishers round out this monumental work. For this latest edition, users will find all the familiar useful features of the 4th edition, plus enhanced listings of individual movements and their durations. This work, used around the globe, is a must-have for orchestral professionals, whether conductors or orchestra librarians; administrators involved in artistic planning; music students considering orchestral conducting; authors of program notes; publishers and music dealers; and instructors of conducting.
Digital Signatures : The Impact of Digitization on Popular Music by
How sonically distinctive digital "signatures"--including reverb, glitches, and autotuning--affect the aesthetics of popular music, analyzed in works by Prince, Lady Gaga, and others. Is digital production killing the soul of music? Is Auto-Tune the nadir of creative expression? Digital technology has changed not only how music is produced, distributed, and consumed but also--equally important but not often considered--how music sounds. In this book, Ragnhild Brøvig-Hanssen and Anne Danielsen examine the impact of digitization on the aesthetics of popular music. They investigate sonically distinctive "digital signatures"--musical moments when the use of digital technology is revealed to the listener. The particular signatures of digital mediation they examine include digital reverb and delay, MIDI and sampling, digital silence, the virtual cut-and-paste tool, digital glitches, microrhythmic manipulation, and autotuning--all of which they analyze in specific works by popular artists. Combining technical and historical knowledge of music production with musical analyses, aesthetic interpretations, and theoretical discussions, Brøvig-Hanssen and Danielsen offer unique insights into how digitization has changed the sound of popular music and the listener's experience of it. For example, they show how digital reverb and delay have allowed experimentation with spatiality by analyzing Kate Bush's "Get Out of My House"; they examine the contrast between digital silence and the low-tech noises of tape hiss or vinyl crackle in Portishead's "Stranger"; and they describe the development of Auto-Tune--at first a tool for pitch correction--into an artistic effect, citing work by various hip-hop artists, Bon Iver, and Lady Gaga.
Encyclopedia of Latin American Popular Music by
This comprehensive survey examines Latin American music, focusing on popular--as opposed to folk or art--music and containing more than 200 entries on the concepts and terminology, ensembles, and instruments that the genre comprises. The rich and soulful character of Latin American culture is expressed most vividly in the sounds and expressions of its musical heritage. While other scholars have attempted to define and interpret this body of work, no other resource has provided such a detailed view of the topic, covering everything from the mambo and unique music instruments to the biographies of famous Latino musicians. Encyclopedia of Latin American Popular Music delivers scholarly, authoritative, and accessible information on the subject, and is the only single-volume reference in English that is devoted to an encyclopedic study of the popular music in this genre. This comprehensive text--organized alphabetically--contains roughly 200 entries and includes a chronology, discussion of themes in Latin American music, and 37 biographical sidebars of significant musicians and performers. The depth and scope of the book's coverage will benefit music courses, as well as studies in Latin American history, multicultural perspectives, and popular culture.
The European symphony from ca. 1800 to ca. 1930 : Germany and the Nordic countries (The Symphonic Repertoire, Volume III Part A) by
The third volume to appear in the magnum opus of A. Peter Brown takes as its topic the European symphony ca. 1800?ca. 1930 and is divided into two parts. The first part focuses on the symphonies of Germany and the Nordic countries and discusses in great detail the symphonies of Weber, Spohr, Mendelssohn, Schumann, Lindblad, Berwald, Svendsen, Gade, Nielsen, Sibelius, Berlioz, Liszt, Raff, and Strauss. Volume 3B will examine the symphonies of Great Britain, Russia, and France during the same period. Brown's series synthesizes an enormous amount of scholarly literature in a wide range of languages. It presents current overviews of the status of research, discusses important former or remaining problems of attribution, illuminates the style of specific works and their contexts, and samples early writings on their reception.
The First Golden Age of the Viennese Symphony : Haydn, Mozart, Beethoven, and Schubert (The Symphonic Repertoire, Volume II) by
Central to the repertoire of Western art music since the 18th century, the symphony has come to be regarded as one of the ultimate compositional challenges. Surprisingly, heretofore there has been no truly extensive, broad-based treatment of the genre, and the best of the existing studies are now several decades old. In this five-volume series, A. Peter Brown explores the symphony from its 18th-century beginnings to the end of the 20th century. Synthesizing the enormous scholarly literature, Brown presents up-to-date overviews of the status of research, discusses any important former or remaining problems of attribution, illuminates the style of specific works and their contexts, and samples early writings on their reception. The Symphonic Repertoire provides an unmatched compendium of knowledge for the student, teacher, performer, and sophisticated amateur. The series is being launched with two volumes on the Viennese symphony. Volume II The First Golden Age of the Viennese Symphony Haydn, Mozart, Beethoven, and Schubert Volume II considers some of the best-known and most universally admired symphonies by Haydn, Mozart, Beethoven, and Schubert, who created what A. Peter Brown designates as the first golden age of the Viennese symphony during the late 18th and first three decades of the 19th century. The last two dozen symphonies by Haydn, half dozen by Mozart, and three by Schubert, together with Beethoven's nine symphonies became established in the repertoire and provided a standard against which every other symphony would be measured. Most significantly, they imparted a prestige to the genre that was only occasionally rivaled by other cyclic compositions. More than 170 symphonies from this repertoire are described and analyzed in The First Golden Age of the Viennese Symphony, the first volume of the series to appear.
The Journey from Music Student to Teacher by
The Journey from Music Student to Teacher: A Professional Approach, Second Edition helps prospective educators transition from music student to professional music teacher. This textbook acknowledges that students must first reconcile their assumptions about learning and teaching before they can make thoughtful, informed decisions about their own professional education. Building upon personal experience is essential to an enhanced approach to the profession, and the topics and activities presented here guide readers to think not as students but as professionals, addressing the primary stages of teacher development. In three parts--Discovery of Self, Discovery of Teaching, and Discovery of Student Learning--the authors connect readers to theoretical foundations and the processes of becoming an insider to the profession. This updated Second Edition includes: Integration of the 2014 National Core Arts Standards Discussion of NAfMEs Model Cornerstone Assessments Explorations of issues of equity, access, and inclusion for marginalized populations and new examples of culturally responsive pedagogy Added coverage of innovative practices including popular music, technology for autonomous music-making, songwriting, and composition Streamlined discussion of learning theory, focusing on the basic foundations of behaviorism, cognitivism, and constructivism The accompanying companion website at www.routledge.com/cw/raiber provides revised and updated "Connecting to the Profession" features that help enhance students' understanding of the ideas presented in the text, links to videos of K-12 music teaching and interviews with teachers, and additional resources for instructors. Featuring networking activities to aid in self-reflection, a glossary of terms, and a wealth of online resources and tools, The Journey from Music Student to Teacher is the culmination of more than 25 years of experience in secondary music classrooms, providing a framework for establishing professional role identity among preservice music educators during their introduction to the field.
A Latin American Music Reader by
Javier F. León and Helena Simonett curate a collection of essential writings from the last twenty-five years of Latin American music studies. Chosen as representative, outstanding, and influential in the field, each article appears in English translation. A detailed new introduction by León and Simonett both surveys and contextualizes the history of Latin American ethnomusicology, opening the door for readers energized by the musical forms brought and nurtured by immigrants from throughout Latin America. Contributors include Marina Alonso Bolaños, Gonzalo Camacho Díaz, José Jorge de Carvalho, Claudio F. Díaz, Rodrigo Cantos Savelli Gomes, Juan Pablo González, Rubén López-Cano, Angela Lühning, Jorge Martínez Ulloa, Maria Ignêz Cruz Mello, Julio Mendívil, Carlos Miñana Blasco, Raúl R. Romero, Iñigo Sánchez Fuarros, Carlos Sandroni, Carolina Santamaría-Delgado, Rodrigo Torres Alvarado, and Alejandro Vera.
Mahalia Jackson and the Black Gospel Field by
Nearly a half century after her death in 1972, Mahalia Jackson remains the most esteemed figure in black gospel music history. Born in the backstreets of New Orleans in 1911, Jackson during the Great Depression joined the Great Migration to Chicago, where she became an highly regarded church singer and, by the mid-fifties, a coveted recording artist for Apollo and Columbia Records, lauded as the "World's Greatest Gospel Singer." This "Louisiana Cinderella" narrative of Jackson's career during the decade following World War II carried important meanings for African Americans, though it remains a story half told. Jackson was gospel's first multi-mediated artist, with a nationally broadcast radio program, a Chicago-based television show, and early recordings that introduced straight-out-of-the-church black gospel to American and European audiences while also tapping the vogue for religious pop in the early Cold War. In some ways, Jackson's successes made her an exceptional case, though she is perhaps best understood as part of broader developments in the black gospel field. Built upon foundations laid by pioneering Chicago organizers in the 1930s, black gospel singing, with Jackson as its most visible representative, began to circulate in novel ways as a form of popular culture in the 1940s and 1950s, its practitioners accruing prestige not only through devout integrity but also from their charismatic artistry, public recognition, and pop-cultural cachet. These years also saw shifting strategies in the black freedom struggle that gave new cultural-political significance to African American vernacular culture. The first book on Jackson in 25 years, Mahalia Jackson and the Black Gospel Field draws on a trove of previously unexamined archival sources that illuminate Jackson's childhood in New Orleans and her negotiation of parallel careers as a singing Baptist evangelist and a mass media entertainer, documenting the unfolding material and symbolic influence of Jackson and black gospel music in postwar American society.
Musical Landscapes in Color by
William C. Banfield's acclaimed collection of interviews delves into the lives and work of forty-one Black composers. Each of the profiled artists offers a candid self-portrait that explores areas from training and compositional techniques to working in a exclusive canon that has existed for a very long time. At the same time, Banfield draws on sociology, Western concepts of art and taste, and vernacular musical forms like blues and jazz to provide a frame for the artists' achievements and help to illuminate the ongoing progress and struggles against industry barriers. Expanded illustrations and a new preface by the author provide invaluable added context, making this new edition an essential companion for anyone interested in Black composers or contemporary classical music. Composers featured: Michael Abels, H. Leslie Adams, Lettie Beckon Alston, Thomas J. Anderson, Dwight Andrews, Regina Harris Baiocchi, David Baker, William C. Banfield, Ysaye Maria Barnwell, Billy Childs, Noel DaCosta, Anthony Davis, George Duke, Leslie Dunner, Donal Fox, Adolphus Hailstork, Jester Hairston, Herbie Hancock, Jonathan Holland, Anthony Kelley, Wendell Logan, Bobby McFerrin, Dorothy Rudd Moore, Jeffrey Mumford, Gary Powell Nash, Stephen Newby, Coleridge-Taylor Perkinson, Michael Powell, Patrice Rushen, George Russell, Kevin Scott, Evelyn Simpson-Curenton, Hale Smith, Billy Taylor, Frederick C. Tillis, George Walker, James Kimo Williams, Julius Williams, Tony Williams, Olly Wilson, and Michael Woods
New York and the International Sound of Latin Music, 1940-1990 by
New York City has long been a generative nexus for the transnational Latin music scene. Currently, there is no other place in the Americas where such large numbers of people from throughout the Caribbean come together to make music. In this book, Benjamin Lapidus seeks to recognize all of those musicians under one mighty musical sound, especially those who have historically gone unnoticed. Based on archival research, oral histories, interviews, and musicological analysis, Lapidus examines how interethnic collaboration among musicians, composers, dancers, instrument builders, and music teachers in New York City set a standard for the study, creation, performance, and innovation of Latin music. Musicians specializing in Spanish Caribbean music in New York cultivated a sound that was grounded in tradition, including classical, jazz, and Spanish Caribbean folkloric music. For the first time, Lapidus studies this sound in detail and in its context. He offers a fresh understanding of how musicians made and formally transmitted Spanish Caribbean popular music in New York City from 1940 to 1990. Without diminishing the historical facts of segregation and racism the musicians experienced, Lapidus treats music as a unifying force. By giving recognition to those musicians who helped bridge the gap between cultural and musical backgrounds, he recognizes the impact of entire ethnic groups who helped change music in New York. The study of these individual musicians through interviews and musical transcriptions helps to characterize the specific and identifiable New York City Latin music aesthetic that has come to be emulated internationally.
Rhymin' and Stealin' : Musical Borrowing in Hip-Hop by
Rhymin' and Stealin' begins with a crucial premise: the fundamental element of hip-hop culture and aesthetics is the overt use of preexisting material to new ends. Whether it is taking an old dance move for a breakdancing battle, using spray paint to create street art, quoting from a famous speech, or sampling a rapper or 1970s funk song, hip-hop aesthetics involve borrowing from the past. By appropriating and reappropriating these elements, they become transformed into something new, something different, something hip-hop. Rhymin' and Stealin' is the first book-length study of musical borrowing in hip-hop music, which not only includes digital sampling but also demonstrates a wider web of references and quotations within the hip-hop world. Examples from Nas, Jay-Z, A Tribe Called Quest, Eminem, and many others show that the transformation of preexisting material is the fundamental element of hip-hop aesthetics. Although all music genres use and adapt preexisting material in different ways, hip-hop music celebrates and flaunts its "open source" culture through highly varied means. It is this interest in the web of references, borrowed material, and digitally sampled sounds that forms the basis of this book--sampling and other types of borrowing becomes a framework with which to analyze hip-hop music and wider cultural trends.
The Singing Teacher's Guide to Transgender Voices by
The Singing Teacher's Guide to Transgender Voices is the first comprehensive resource developed for training transgender and non- binary singers. This text aids in the development of voice pedagogy tailored to the needs of transgender singers, informed by cultural competence, and bolstered by personal narratives of trans and non- binary singing students. The singing life of a transgender or non-binary student can be overwhelmingly stressful. Because many of the current systems in place for singing education are so firmly anchored in gender binary systems, transgender and gender nonconforming singers are often forced into groups with which they feel they don't belong. Singers in transition are often afraid to reach out for help because the likelihood of finding a voice teacher who is competent in navigating the social, emotional, physical, and physiological challenges of transition is minimal at best. This text equips teachers with a sympathetic perspective on these unique struggles and with the knowledge and resources needed to guide students to a healthy, joyful, and safe singing life. It challenges professional and academic communities to understand the needs of transgender singers and provide evidence-based voice education and real-world opportunities that are authentic and genuine. The Singing Teacher's Guide to Transgender Voices is the first book of its kind to provide thorough, organized information on the training of trans singers for educators in both the academic and independent teaching realms.
Songbooks : The Literature Of American Popular Music by
In Songbooks, critic and scholar Eric Weisbard offers a critical guide to books on American popular music from William Billings's 1770 New-England Psalm-Singer to Jay-Z's 2010 memoir Decoded. Drawing on his background editing the Village Voice music section, coediting the Journal of Popular Music Studies, and organizing the Pop Conference, Weisbard connects American music writing from memoirs, biographies, and song compilations to blues novels, magazine essays, and academic studies. The authors of these works are as diverse as the music itself: women, people of color, queer writers, self-educated scholars, poets, musicians, and elites discarding their social norms. Whether analyzing books on Louis Armstrong, the Beatles, and Madonna; the novels of Theodore Dreiser, Gayl Jones, and Jennifer Egan; or varying takes on blackface minstrelsy, Weisbard charts an alternative history of American music as told through its writing. As Weisbard demonstrates, the most enduring work pursues questions that linger across time period and genre--cultural studies in the form of notes on the fly, on sounds that never cease to change meaning.
The Trouble with Wagner by
In this unique and hybrid book, cultural and music historian Michael P. Steinberg combines a close analysis of Wagnerian music drama with a personal account of his work as a dramaturg on the bicentennial production of The Ring of the Nibelung for the Teatro alla Scala Milan and the Berlin State Opera. Steinberg shows how Wagner uses the power of a modern mythology to heighten music's claims to knowledge, thereby fusing not only art and politics, but truth and lies as well. Rather than attempting to separate value and violence, or "the good from the bad," as much Wagner scholarship as well as popular writing have tended to do, Steinberg proposes that we confront this paradox and look to the capacity of the stage to explore its depths and implications. Drawing on decades of engagement with Wagner and of experience teaching opera across disciplines, The Trouble with Wagner is packed with novel insights for experts and interested readers alike.
Whose Blues? by
Mamie Smith's pathbreaking 1920 recording of "Crazy Blues" set the pop music world on fire, inaugurating a new African American market for "race records." Not long after, such records also brought black blues performance to an expanding international audience. A century later, the mainstream blues world has transformed into a multicultural and transnational melting pot, taking the music far beyond the black southern world of its origins. But not everybody is happy about that. If there's "No black. No white. Just the blues," as one familiar meme suggests, why do some blues people hear such pronouncements as an aggressive attempt at cultural appropriation and an erasure of traumatic histories that lie deep in the heart of the music? Then again, if "blues is black music," as some performers and critics insist, what should we make of the vibrant global blues scene, with its all-comers mix of nationalities and ethnicities? In Whose Blues?, award-winning blues scholar and performer Adam Gussow confronts these challenging questions head-on. Using blues literature and history as a cultural anchor, Gussow defines, interprets, and makes sense of the blues for the new millennium. Drawing on the blues tradition's major writers including W. C. Handy, Langston Hughes, Zora Neale Hurston, and Amiri Baraka, and grounded in his first-person knowledge of the blues performance scene, Gussow's thought-provoking book kickstarts a long overdue conversation.
Culturally Responsive Teaching in Music Education by 
Indian music of the Southwest. by
Recorded and produced by Laura Boulton (1899–1980), an American ethnomusicologist, this collection of songs includes music from rituals in several tribes from Arizona, New Mexico, and the northern region of Mexico. Mostly male voices perform all of the songs either solo or in chorus, accompanied by rattles, bells, or drums. The liner notes contain in-depth descriptions of the rituals of which the songs are a part, in addition to other cultural context.
Open Access Musicology by 
Psychology for Musicians by
In recent years, a psychological perspective has gained increasing acceptance in the education provided to musicians: teachers, performers, and "creatives" alike. Research in music psychology has revealed how musicians acquire the ability to convey emotional intentions as sounded music, how listeners perceive it as feelings and moods, and how this powerful process relates to social and cultural dynamics.
The Symphonic Repertoire, Volume I : The Eighteenth-Century Symphony
Central to the repertoire of Western art music since the 18th century, the symphony has come to be regarded as one of the ultimate compositional challenges. In his five-volume series The Symphonic Repertoire, the late A. Peter Brown explores the symphony from its 18th-century beginnings to the end of the 20th century. In Volume 1, The Eighteenth-Century Symphony, 22 of Brown's former students and colleagues collaborate to complete the work that he began on this critical period of development in symphonic history. The work follows Brown's outline, is organized by country, and focuses on major composers. It includes a four-chapter overview and concludes with a reframing of the symphonic narrative. Contributors address issues of historiography, the status of research, and questions of attribution and stylistic traits, and provide background material on the musical context of composition and early performances. The volume features a CD of recordings from the Bloomington Early Music Festival Orchestra, highlighting the largely unavailable repertoire discussed in the book.
The Symphonic Repertoire, Volume II: The First Golden Age of the Viennese Symphony : Haydn, Mozart, Beethoven, and Schubert by
Central to the repertoire of Western art music since the 18th century, the symphony has come to be regarded as one of the ultimate compositional challenges. Surprisingly, heretofore there has been no truly extensive, broad-based treatment of the genre, and the best of the existing studies are now several decades old. In this five-volume series, A. Peter Brown explores the symphony from its 18th-century beginnings to the end of the 20th century. Synthesizing the enormous scholarly literature, Brown presents up-to-date overviews of the status of research, discusses any important former or remaining problems of attribution, illuminates the style of specific works and their contexts, and samples early writings on their reception. The Symphonic Repertoire provides an unmatched compendium of knowledge for the student, teacher, performer, and sophisticated amateur. The series is being launched with two volumes on the Viennese symphony. Volume II The First Golden Age of the Viennese Symphony Haydn, Mozart, Beethoven, and Schubert Volume II considers some of the best-known and most universally admired symphonies by Haydn, Mozart, Beethoven, and Schubert, who created what A. Peter Brown designates as the first golden age of the Viennese symphony during the late 18th and first three decades of the 19th century. The last two dozen symphonies by Haydn, half dozen by Mozart, and three by Schubert, together with Beethoven's nine symphonies became established in the repertoire and provided a standard against which every other symphony would be measured. Most significantly, they imparted a prestige to the genre that was only occasionally rivaled by other cyclic compositions. More than 170 symphonies from this repertoire are described and analyzed in The First Golden Age of the Viennese Symphony, the first volume of the series to appear.
The Symphonic Repertoire, Volume IIIa: The European symphony from ca. 1800 to ca. 1930 : Germany and the Nordic countries by
The third volume to appear in the magnum opus of A. Peter Brown takes as its topic the European symphony ca. 1800?ca. 1930 and is divided into two parts. The first part focuses on the symphonies of Germany and the Nordic countries and discusses in great detail the symphonies of Weber, Spohr, Mendelssohn, Schumann, Lindblad, Berwald, Svendsen, Gade, Nielsen, Sibelius, Berlioz, Liszt, Raff, and Strauss. Volume 3B will examine the symphonies of Great Britain, Russia, and France during the same period. Brown's series synthesizes an enormous amount of scholarly literature in a wide range of languages. It presents current overviews of the status of research, discusses important former or remaining problems of attribution, illuminates the style of specific works and their contexts, and samples early writings on their reception.
The Symphonic Repertoire Volume IV: The Second Golden Age of the Viennese Symphony by
The Second Golden Age of the Viennese Symphony Brahms, Bruckner, Dvorák, Mahler, and Selected Contemporaries Although during the mid-19th century the geographic center of the symphony in the Germanic territories moved west and north from Vienna to Leipzig, during the last third of the century it returned to the old Austrian lands with the works of Brahms, Bruckner, Dvorák, and Mahler. After nearly a half century in hibernation, the sleeping Viennese giant awoke to what some viewed as a reincarnation of Beethoven with the first hearing of Brahms's Symphony No. 1, which was premiered at Vienna in December 1876. Even though Bruckner had composed some gigantic symphonies prior to Brahms's first contribution, their full impact was not felt until the composer's complete texts became available after World War II. Although Dvorák was often viewed as a nationalist composer, in his symphonic writing his primary influences were Beethoven, Schubert, and Brahms. For both Bruckner and Mahler, the symphony constituted the heart of their output; for Brahms and Dvorák, it occupied a less central place. Yet for all of them, the key figure of the past remained Beethoven. The symphonies of these four composers, together with the works of Goldmark, Zemlinsky, Schoenberg, Berg, Smetana, Fibich, Janácek, and others are treated in Volume IV, The Second Golden Age of the Viennese Symphony, covering the period from roughly 1860 to 1930.
The Vocal Athlete by 
The Vocal Athlete : Application and Technique for the Hybrid Singer by
The Second Edition includes a compilation of voice exercises created and used by well-known voice pedagogues from preeminent colleges, established private studios, and clinical settings. The exercises focus on various aspects of contemporary commercial music (CCM) including bodywork, mental preparation, registration, and much more."--Back cover.
What Every Singer Needs to Know about the Body by
"What Every Singer Needs to Know About the Body, Fourth Edition gives singers and teachers a Body Mapping resource - from anatomy and physiology to body awareness - that helps them discover and correct misconceptions about how their bodies are designed and how they function. This book provides detailed descriptions of the structures and movements necessary for healthy and efficient body awareness, balance, breathing, phonation, resonance, articulation, and gesture. Many voice books focus on the anatomical facts, but leave singers asking, "How can I apply this to my singing?" What Every Singer Needs to Know About the Body helps to answer that question, providing practical exercises and detailed illustrations"--
YouTube and Music by
YouTube has afforded new ways of documenting, performing and circulating musical creativity. This first open access sustained exploration of YouTube and music shows how record companies, musicians and amateur users have embraced YouTube's potential to promote artists, stage performances, build artistic (cyber)identity, initiate interactive composition, refresh music pedagogy, perform fandom, influence musical tourism and soundtrack our everyday lives. Speaking from a variety of perspectives, musicologists, film scholars, philosophers, new media theorists, cultural geographers and psychologists use case studies to situate YouTube as a vital component of contemporary musical culture.
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Armenian Music Through the Ages
Hagopian is a virtuoso on the ’ud (oud), a principal instrument of Armenian, Turkish, and Arab musical traditions. Included in his repertory are both Armenian classical and folk styles, which in the U.S. have received little exposure outside of the Armenian community. This National Heritage Fellowship award winner and his small ensemble perform 13 brilliant selections. "Serenity and dignity on first hearing.... Behind that veil, however...tension and passion smoulder in the deep."
Baptist Shouts and Gospel Songs by 
Blues Routes: Heroes and Tricksters: Blues and Jazz Work Songs and Street Music
Blues Routes is a resonant almanac of blues styles and blues-related music and musicians including: Memphis barrelhouse and Harlem parlor piano players; blues guitarists from the Delta and Piedmont, San Francisco and Chicago; Kansas City and New Orleans jazz masters; hambone call-and-response and Mardi Gras Indian chants; Texas jump blues and Louisiana Creole zydeco; minstrel and jazz banjomen; street go-go bucket-drummers and railroad track-lining gandy dancers. In this fin de siècle collection, the diversity of American blues and blues-influenced styles and the unity of their African ancestral heartbeats can be heard in great performances recorded live at the influential Folk Masters concert and radio series.
Brotando del Silencio - Breaking Out of the Silence by
"The history and oppression experienced by the woman of La Raza -'the Latin woman' - in the United States are not well-known, even in these years when so much is heard about women’s liberation. By ‘La Raza’ we mean the dominant population of the American continent, the people who are racial mixture of native Indian, European and African. For us, the women of La Raza includes Chicanas, Puerto Ricans, women from Central and South America. Our national or cultural backgrounds may vary but we have more in common than difference..."
Chinese Classical Instrumental Music
The Chinese Cultural Theater Group re-creates as closely as possible the highly crafted court and religious music that reached its peak during the T’ang Dynasty (seventh to tenth centuries A.D.). Musicians use traditional instruments, including the pi-p’a (a plucked string instrument similar to a mandolin), the hsiao (a flute-like instrument with a nasal quality) and the erh-hu (a two-stringed fiddle).
Classic African-American Ballads
Hildegard Of Bingen: O eterne Deus (arr. M. Roelofs for piano) (Amare)Indian music of the Southwest. by
Recorded and produced by Laura Boulton (1899–1980), an American ethnomusicologist, this collection of songs includes music from rituals in several tribes from Arizona, New Mexico, and the northern region of Mexico. Mostly male voices perform all of the songs either solo or in chorus, accompanied by rattles, bells, or drums. The liner notes contain in-depth descriptions of the rituals of which the songs are a part, in addition to other cultural context.
KARAJAN: Recordings on Deutsche Grammophon and Decca (Complete) - Offenbach to Ponchielli
The Mississippi River of Song: A Musical Journey Down the Mississippi
This two-hour, 36 track, musical journey down the Mississippi from the headwaters to the delta captures the power and diversity of American music in the late 20th century. The music, recorded between 1995 and 1997 in small towns and large cities along the river, reflects centuries of interaction and experimentation along America’s great waterway.
Navajo songs / recorded by Laura Boulton in 1933 and 1940. by
Recorded Aug. 13, 1940 in Thoreau, N.M. (1st-2nd works), Aug. 17-Sept. 1940 in Arizona (3rd-13th works), and Aug.-Sept. 1933 at the Chicago Century of Progress Exposition (14th-19th works).
Rolas de Aztlán: Songs of the Chicano Movement
Songs of struggle, hope, and vision fueled the Chicano Movement's quest for civil rights, economic justice, and cultural respect. Rolas de Aztlán (songs from the Chicano ancestral homeland) spotlights 19 milestone recordings made between 1966 and 1999 by key Chicano artist/activistsDaniel Valdez, Los Lobos del Este de Los Angeles (later Los Lobos), Agustín Lira and Teatro Campesino, Los Alacranes Mojados, Conjunto Aztlan, and many more! 40-page booklet with extensive liner notes and photos.
Smithsonian folkways world music collection.
¡Viva el Mariachi!: Nati Cano's Mariachi Los Camperos
A traditionalist and a visionary, Nati Cano has both mirrored and shaped the history of mariachi music. He and Los Camperos, the group he founded and directs, have been a fixture in the Los Angeles area and a driving force in the mariachi tradition in North America for more than forty years. His longtime association with Linda Ronstadt, backing her up in live performances and on her milestone Canciones de Mi Padre album, helped catapult mariachi music to unprecedented national prominence. In this collection of newly issued material, Cano and Los Camperos perform some of mariachi's most beloved songs with the vibrancy and intensity that distinguish them as one of the finest mariachi bands in the world.
Selected recordings added to the NAXOS service.
50 Selected Songs by
(Vocal Collection). Contents: Schubert: Rastlose Liebe * Die Allmacht * Im Abendroth * Nacht und Traume * Wohin? * Nachtviolen * Der Schmetterling * Heidenroslein * Ungeduld * Liebhaber in allen Gestalten Schumann: Die Lotosblume * Mein schoner Stern! * Widmung * Fruhlingsnacht * Der Nussbaum * Auftrage * Schneeglockchen * Du bist wie eine Blume * Mit Myrthen und Rosen * Mondnacht Brahms: Von ewiger Liebe * Standchen * O komme, holde Sommernacht * Auf dem Kirchhofe * Botschaft * Vergebliches Standchen * Der Tod, das ist die kuhle Nacht * In Waldeseinsamkeit * Wie Melodien zieht es mir * Meine Liebe ist grun Wolf: In der Fruhe * Lebe wohl! * Nun wandre, Maria * Und willst du deinen Liebsten sterben * Verborgenheit * Mignon * Auf demgrunen Balcon * Nummersatte Liebe * In dem Schatten meiner Locken * Bescheidene Liebe Strauss: Morgan * Cacilie * Standchen * Heimkehr * Traum durch die Dammerung * Allerseelen * Zueignung * Ich trage meine Minne Heimliche Aufforderung * Ruhe, meine Seele!
Anthology of Art Songs by Black American Composers by
(Vocal Collection). Contents: For You There is No Song (Leslie Adams) * Early in the Mornin' (David Baker) * A Good Assassination Should Be Quiet (David Baker) * Status Symbol (David Baker) * Three Dream Portraits: Minstrel Man; Dream Variations; I, Too (Margaret Bonds) * The Barrier (Charles Brown) * Song Without Words (Charles Brown) * Death of an Old Seaman (Cecil Cohen) * Two Songs for Julie Ju (Noel da Costa) * Cassandra's Lullaby (Mark Fax) * Love (Mark Fax) * A Charm at Parting (Adolphus C. Hailstork) * I Loved You (Adulphus C. Hailstork) * Absalom (Eugene Hancock) * Nunc Dimittis (Eugene Hancock) * Riding to Town (Thomas Kerr, Jr.) * Compensation (Charles Lloyd, Jr.) * If There Be Sorrow (Wendell Logan) * Marrow of My Bone (Wendell Logan) * Chanson Triste (Maurice McCall) * Sweet Sorrow (Maurice McCall) * Weary Blues (Dorothy Rudd Moore) * Love Let the Wind Cry...How I Adore Thee (Undine Moore) * Faithful One (Robert Owens) * Genius Child (Robert Owens) * A Child's Grace (Coleridge-Taylor Perkinson) * Melancholy (Coleridge-Taylor Perkinson) * Night (Florence Price) * Song to the Dark Virgin (Florence Price) * Velvet Shoes (Hale Smith) * Grief (William Grant Still) * A Death Song (Howard Swanson) * I Will Lie Down in Autumn (Howard Swanson) * The Negro Speaks of Rivers (Hoaward Swanson) * Lament (George Walker) * A Red, Red Rose (George Walker) * Wry Fragments (Olly Wilson) * Dancing in the Sun (John Work, Jr.) * Soliloquy (John Work, Jr.).
In His hand : seven spirituals for voice and piano by 
Johannes Brahms: 75 Songs by
(Vocal Collection). Historical notes, about the composition of the song and its early performance history, are included for each song. A new line-by-line translation appears on the first page of music for each song. New research, and new, clear music engravings make this a great source for this important music. This is the largest collection of Brahms songs commercially available. Long-lasting, sewn binding. Contents: Ach, weende diesen Blick * Am Sonntag Morgen * Alte Liebe * An die Nachtigall * An eine Aeolsharfe * Auf dem Kirchhofe * Blinde Kuh * Botschaft * Dammrung senkte sich von oben * Das Madchen spricht * Dein blaues Auge * Der Fruhling * Der Gang zum Liebchen * Der Jager * Der Schmied * Der Tod, das ist die kuhle Nacht * Des Liebsten Schwur * Die Liebende schreibt * Die Mainacht * Erinnerung * Es hing der Reif * Es liebt sich so lieblich im Lenze * Es schauen die Blumen * Es traumte mir * Feldeinsamkeit * Geheimnis * Im Garten am Seegestade * Immer leiser wird mein Schlummer * In der Fremde * Juchhe! * Lerchengesang * Liebestreu * Madchenlied (Kapper) * Madchenlied (Am jungsten Tag) * Madchenlied (Auf die Nacht in der Spinnstubn) * Meine Liebe ist grun * Meine Lieder * Minnelied * Mondnacht * Nachtigall * Nachtigallen schwingen * Nicht mehr zu dir zu gehen * O komme, holde Sommernacht * O kuhler Wald * O liebliche Wangen * O wusst ich doch den Weg zuruck * Regenlied * Salamander * Sapphische Ode * Sehnsucht * Serenade * Sommerabend * Sonntag * Spanische Lied * Standchen (folksong) * Standchen (Kugler) * Therese * Treue Liebe * Unbewegte laue Luft * Vergebliches Standchen * Verzagen * Von ewiger Liebe * Vorschneller Schwur * Wie bist du, meine Konigin * Wie Melodien zieht es mir * Wiegenlied * Wir wandelten * Zigeunerlieder: He, Zigeuner, greife in die Saiten ein * Hochgeturmte Rimaflut, wie bist du so trub * Wiusst ihr, wann mein Kindchen am allerschonsten ist? * Lieber Gott, du weisst, wie oft bereut ich hab * Brauner Bursche fuhrt zum Tanze * Roslein dreie in der Reihe * Kommt dir manchmal in den Sinn * Rote Abendwolken ziehn am Firmament.
Cello suites no. 1, 2, 5 ; Fantasies & chorale by 
English sacred music of George Jeffreys by 
Tombeau sur la mort de M. Comte D'Logy & Menuett (for solo guitar) by 
The Music and Scripts of In Dahomey by 
Songs and Arias Ornamented by Giovanni Battista Velluti, the Last Operatic Castrato by