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Books on the topic 'Creating text and music'

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Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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1

Abbinanti, Frank. Dialogues (creating music). Lebanon, NH: Frog Peak Music, 1999.

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2

R, Pointon Marcia, and Binski Paul, eds. Image, music, text. Oxford, UK: Blackwell Publishers, 1996.

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3

Barthes, Roland. Image, music, text. New York: Noonday Press, 1988.

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4

Sturman, Paul. Creating music around the world. Cambridge: Cambridge University Press, 2000.

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5

1948-, Boswell William, ed. Creating careers in music theatre. New York: P. Lang, 1988.

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6

Creating in the music industry. Manchester, England: Music Industry Learning, 2007.

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7

Creating country music: Fabricating authenticity. Chicago: University of Chicago Press, 1997.

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8

Music as social text. Cambridge, UK: Polity Press, 1991.

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9

Creating music and sound for games. Boston: Thomson Course Technology, 2007.

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10

Verdi's theater: Creating drama through music. Chicago: University of Chicago Press, 1998.

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11

1962-, Zinfert Maria, Partridge Matthew 1955-, and Einstürzende Neubauten (Musical group), eds. Headcleaner: Text für Einstürzende Neubauten = Text for Collapsing New Buildings. Berlin: Die Gestalten Verlag, 1997.

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12

Peter, Nickol, and Bricheno Toby, eds. Pop music: The text book. London: Peters Edition, 2003.

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13

Studies in music with text. New York: Oxford University Press, 2006.

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14

Lewin, David. Studies in music with text. New York, NY: Oxford University Press, 2006.

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15

Musical palette: A fundamentals text. Cincinnati, Ohio: Atomic Dog Pub., 2003.

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16

Analysing popular music: Image, sound, text. Los Angeles: SAGE, 2010.

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17

Bray, David. Creating a musical school. New York: Oxford University Press, 2009.

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18

Bray, David. Creating a musical school. New York: Oxford University Press, 2009.

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19

Música norteña: Mexican migrants creating a nation between nations. Philadelphia: Temple University Press, 2009.

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20

Listening, playing, creating: Essays on the power of sound. Albany: State University of New York Press, 1995.

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21

Deubert, John. Creating Adobe Acrobat forms. Edited by Morgan Becky. Berkeley, Calif: Peachpit, 2002.

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22

Carter, James. Just Imagine: Music, Images and Text to Inspire Creative Writing. Taylor & Francis Group, 2017.

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23

Carter, James. Just Imagine: Music, Images and Text to Inspire Creative Writing. Taylor & Francis Group, 2017.

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24

Carter, James. Just Imagine: Music, Images and Text to Inspire Creative Writing. Taylor & Francis Group, 2017.

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25

Otter, Monika. Music by Tristan. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198795148.003.0010.

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This chapter considers the interplay between medieval Tristan romances and Tristan songs, music closely associated with the romances and indeed attributed to the character Tristan himself. In particular, the chapter looks at Marie de France’s lai ‘Chevrefoil’, and the anonymous thirteenth-century lai ‘Kievrefuel’, which is quite distinct from Marie’s narrative poem but evokes it in some particulars. The multiple relationships between different Tristan poems and Tristan tunes, intertwined and mutually evoking each other, allows us to ‘think [of] Romance’ as a larger, modular experience, a cultural game that can transcend an individual text and generate potentially limitless further texts. It also suggests a twelfth-century way of ‘thinking [with] Romance’ in a playful, creative way that both erases and accentuates the fictionality of the romance world and its characters.
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26

Bauer, William I. Music Learning Today. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197503706.001.0001.

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Grounded in a research-based, conceptual model called Technological Pedagogical and Content Knowledge (TPACK), the essential premise of Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music is that music educators and their students can benefit through use of technology as a tool to support learning in the three musical processes—creating, performing, and responding to music. Insights on how technology can be used to advantage in both traditional and emerging learning environments are provided, and research-based pedagogical approaches that align technologies with specific curricular outcomes are described. Importantly, the book advocates that the decision on whether or not to utilize technology for learning, and the specific technology that might be best suited for a particular learning context, should begin with a consideration of curricular outcomes (music subject matter). This is in sharp contrast to most other books on music technology that are technocentric, organized around specific software applications and hardware. The book also recognizes that knowing how to effectively use the technological tools to maximize learning (pedagogy) is a crucial aspect of the teaching-learning process. Drawing on the research and promising practices literature in music education and related fields, pedagogical approaches that are aligned with curricular outcomes and specific technologies are suggested. It is not a “how to” book per se, but rather a text informed by the latest research, theories of learning, and documented best practices, with the goal of helping teachers develop the ability to understand the dynamics of effectively using technology for music learning.
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27

Kellman, Noah. The Game Music Handbook. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938680.001.0001.

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Writing music for games is an art that requires conceptual forethought, specialized technical skill, and a deep understanding of how players interact with games and game audio. The Game Music Handbook embarks on a journey through numerous soundscapes throughout video game history, exploring a series of concepts and techniques that are key to being a successful game music composer. This book organizes key game music scoring concepts into an applicable methodology, describing them with memorable distinctions that leave readers with a clear picture of how to apply them to creating music and sound. Any music composer or musician who wishes to begin a career in game composition can pick up this text and quickly gain a solid understanding of the core techniques for composing video game music, as well as the conceptual differences that separate it from any other compositional field. Some of these topics include designing emotional arcs for nonlinear timelines, the relationship between music and sound design, discussion of the player’s interaction with audio, and more. There is also much to be gained by advanced readers or game audio professionals, who will find detailed discussion of game state and its effect on player interaction, a composer-centric lesson on programming, how to work with version control, information on visual programming languages, emergent audio, music for virtual reality (VR), procedural audio, and other indispensable knowledge about advanced reactive music concepts. The text often explores the effect that music has on a player’s interaction with a game. It discusses the practical application of this interaction through the examination of various techniques employed in games throughout video game history to enhance immersion, emphasize emotion, and create compelling interactive experiences.
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28

Damodaran, Sumangala. Protest and Music. Oxford University Press, 2016. http://dx.doi.org/10.1093/acrefore/9780190228637.013.81.

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The relationship between music and politics and specifically that between music and protest has been relatively under-researched in the social sciences in a systematic manner, even if actual experiences of music being used to express protest have been innumerable. Further, the conceptual analysis that has been thrown up from the limited work that is available focuses mostly on Euro-American experiences with protest music. However, in societies where most music is not written down or notated formally, the discussions on the distinct role that music can play as an art form, as a vehicle through which questions of artistic representation can be addressed, and the specific questions that are addressed and responded to when music is used for political purposes, have been reflected in the music itself, and not always in formal debates. It is only in using the music itself as text and a whole range of information around its creation—often, largely anecdotal and highly context dependent—that such music can be understood. Doing so across a whole range of non-Western experiences brings out the role of music in societal change quite distinctly from the Euro-American cases. Discussions are presented about the informed perceptions about what protest music is and should be across varied, yet specific experiences. It is based on the literature that has come out of the Euro-American world as well as from parts that experienced European colonialism and made the transition to post-colonial contexts in Asia, Africa, and Latin America.
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29

Deaville, James, Siu-Lan Tan, and Ron Rodman, eds. The Oxford Handbook of Music and Advertising. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780190691240.001.0001.

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The Oxford Handbook of Music and Advertising assembles an array of forty-two pathbreaking chapters on the production, texts, and reception of advertising through music. Uniquely interdisciplinary, the collection’s tripartite structure leads the reader through these stages in the communication of the advertising message as presented by Chris Wharton (2015). The chapters on production study the factors, activities, and people behind the music for the marketing pitch, both past and present. Prominent throughlines in the section include factors influencing the selection of music (and musicians) for advertising, the role of music in corporate branding strategies, the creative forces behind the soundscape of advertising, and industry practices that undergird all aspects of music in commercial contexts. The section on Text focuses on analytic and historical approaches to ads in various media, and includes commentaries on musical genres in ads ranging from Western European art music to American popular genre. Also covered in this section is ad music as used in different ad genres, such as political ads, public service announcements, and television commercials. The analyses used in this section draws from traditional music theory, semiotics, and hermeneutic analysis. Finally, the last section addressing “Reception”—with contributions by researchers in psychology, marketing, and other fields—involves the formulation of models and theories, and implementation of research methods to examine how the presence of music may influence peoples’ attitudes, emotions, thoughts, and behaviors in the context of advertisements and within service environments such as stores, restaurants, and banks. The editors and chapter contributors of this book bring a diversity of perspectives to the topic but share a united aim: to illuminate music’s vital contribution to the advertising message.
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30

Bernstein, Zachary. Thinking In and About Music. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190949235.001.0001.

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Milton Babbitt (1916–2011) was, at once, one of the century’s foremost composers and a founder of American music theory. These two aspects of his creative life—“thinking in” and “thinking about” music, as he would put it—nourished each other. Theory and analysis inspired fresh compositional ideas, and compositional concerns focused theoretical and analytical inquiry. Accordingly, this book undertakes an excavation of the sources of his theorizing as a guide to analysis of his music. Babbitt’s idiosyncratic synthesis of ideas from Heinrich Schenker, analytic philosophy, and cognitive science—at least as much as more obviously relevant, and more frequently cited, predecessors such as Arnold Schoenberg—provide insight into his aesthetics and compositional technique. Examination of Babbitt’s newly available sketch materials sheds additional light on his procedures. But a close look at his music reveals a host of concerns unaccounted for in his theories, some of which seem to directly contradict theoretical expectations. New analytical models are needed to complement those suggested by Babbitt’s theories. Departing from the serial logic of Babbitt’s writings, his compositional procedures, and most previous work on the subject—and in an attempt to discuss Babbitt’s music as it is actually heard rather than just deciphered—the book brings to bear theories of gesture and embodiment, rhetoric, text setting, and temporality. The result is a richly multifaceted look at one of the twentieth century’s most fascinating musical minds.
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31

Creating Music Around the World (Creating Music). Longman, 1988.

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32

Creating Music (Music Magic). Silver Burdett Ginn, 1995.

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33

Subotnick, Morton. Creating Music Series: Making Music. Alfred Publishing, 2008.

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34

Subotnick, Morton. Creating Music: Hearing Music , CD-ROM. Alfred Music, 2009.

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35

Subotnick, Morton. Creating Music: Playing Music , CD-ROM. Alfred Music, 2009.

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36

Subotnick, Morton. Creating Music: Making Music , CD-ROM. Alfred Music, 2009.

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37

Chomsky. Creating Curriculum in Music. Prentice Hall, 1988.

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38

Creating a Music Website. PC Publishing, 2001.

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39

Paul, Driver, and Christiansen Rupert, eds. Music and text. London: Harwood Academic Publishers, 1989.

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40

Barthes, Roland. Image-Music-Text. Fontana Press, 1993.

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41

Barthes, Roland. Image-Music-Text. Fontana Press, 1993.

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42

Scher, Steven Paul, ed. Music and Text. Cambridge University Press, 1992. http://dx.doi.org/10.1017/cbo9780511518355.

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43

Taylor, Catherine. Image Text Music. Self Publish, Be Happy, 2022.

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44

Alchin, C. A. Applied Harmony: A Text-Book for Those Who Desire a Better Understanding of Music and an Increase in Power of Expression - Either in Performance or Creative Work. Creative Media Partners, LLC, 2018.

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45

Alchin, C. A. Applied Harmony: A Text-Book for Those Who Desire a Better Understanding of Music and an Increase in Power of Expression - Either in Performance or Creative Work. Creative Media Partners, LLC, 2018.

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46

Alchin, C. A. Applied Harmony, a Text-Book for Those Who Desire a Better Understanding of Music and an Increase in Power of Expression - Either in Performance or Creative Work. Creative Media Partners, LLC, 2018.

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47

Alchin, C. A. Applied Harmony, a Text-Book for Those Who Desire a Better Understanding of Music and an Increase in Power of Expression - Either in Performance or Creative Work. Franklin Classics Trade Press, 2018.

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48

Subotnick, Morton. Creating Music: World of Music , CD-ROM. Alfred Music, 2009.

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49

Peterson, Richard A. Creating Country Music: Fabricating Authenticity. University Of Chicago Press, 1999.

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50

Degirmenci, Koray. Creating Global Music in Turkey. Lexington Books/Fortress Academic, 2013.

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