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1
Snigurowicz, Diana. The Musical examiner, 1842-1844. Ann Arbor, Mich: U.M.I., 1992.
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2
Ho, Wai-Chung. Globalization, Nationalism, and Music Education in the Twenty-First Century in Greater China. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463729932.
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Globalization, Nationalism, and Music Education in the Twenty-First Century in Greater China examines the recent developments in school education and music education in Greater China – Mainland China, Hong Kong, and Taiwan – and the relationship between, and integration of, national cultural identity and globalization in their respective school curriculums. Regardless of their common history and cultural backgrounds, in recent decades, these localities have experienced divergent political, cultural, and educational structures. Through an analysis of the literature, official curriculum documents, approved music textbooks, and a survey questionnaire and in-depth interviews with music teachers, this book also examines the ways in which policies for national identity formation and globalization interact to complement and contradict each other in the context of music education in respect to national and cultural values in the three territories. Wai-Chung Ho’s substantive research interests include the sociology of music, China’s education system, and the comparative study of East Asian music education. Her research focuses on education and development, with an emphasis on the impact of the interplay between globalization, nationalization, and localization on cultural development and school music education.
3
Slaughter, Karin. Skin Privilege. Penguin Random House, 2013.
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4
V, Rosenberg Neil, ed. Transforming tradition: Folk music revivals examined. Urbana: University of Illinois Press, 1993.
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5
Rosenberg, Neil V. Transforming Tradition: FOLK MUSIC REVIVALS EXAMINED (Folklore and Society). University of Illinois Press, 1993.
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6
The organ question critically examined. 2nd ed. [London, Ont.?: s.n.], 1985.
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7
Cox, Damian, and Michael Levine. Music and Ethics. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935321.013.145.
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This essay examines the relationship between music and ethics. Can music have a positive or negative role in our disposition toward, or performance of, right and wrong acts, duties, and virtues? Can it make a difference to us morally? Can musical experience make us better or worse off from a moral point of view? It is argued that although there is no necessary connection between listening to or appreciating music and one’s moral character, the contingent connections are many and various. Kivy’s critique of the character-building force of absolute music is examined and rejected. If music possesses epistemic and behavioral moral force, then it possesses—for some people, some of the time—the power to build moral character. If music enlarges our capacities of emotional empathy (not for everyone, or all music, and not on all occasions), then it has a role to play in building moral character.
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Bontemps, Arna. Music. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037696.003.0027.
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This chapter examines Negro music as well as musicians such as singers, instrumentalists, directors, and composers in Illinois in the late nineteenth and early twentieth centuries. It begins with a discussion of various Negro musicians in Illinois, from piano prodigy “Blind Tom” Wiggins and the Hampton Singers to the Fisk Jubilee Singers and choral groups known for singing spirituals. Among them were the Chicago Choral Study Club, one of the first to perform the works of black composer Samuel Coleridge-Taylor. The chapter also considers the emergence of organized music schools among Chicago Negroes, including the Coleridge-Taylor Music School and the National Conservatory of Music, as well as church choirs, musical clubs and associations.
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Greasley, Alinka E., and Helen M. Prior. Shaping popular music. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0017.
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Much of the research on musical shaping in performance focuses on western classical music. This chapter explores musical shaping from the perspectives of popular musicians. First, we examine the performer’s role in shaping music in live performance, drawing on recent survey research and existing work. Second, the roles of performer, producer and technology in shaping music in the recording studio are examined, including an investigation of how popular music recordings are shaped by technological practices. Third, we discuss ways in which popular music recordings may be used in performance, with a focus on DJs using the idea of musical shaping in their work. A final section summarizes the varied notions of musical shaping that arise from these perspectives and explores their implications, as well as the limitations of studying a flexible and widely applicable metaphor such as shape in a genre as diverse as popular music.
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Brown, Frank Burch. Music. Edited by John Corrigan. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780195170214.003.0012.
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Music has often been regarded as the most directly emotional of the arts and the art most intimately involved with religious and spiritual life. In the endeavor to understand music's relation to emotion and religion, a variety of approaches and disciplines are relevant. There are, for example, scientific and psychological studies that can yield insight into the character of musical and emotional response, and of music's access to the affective life. Thus, multiple disciplines are pertinent, from musicology (including ethnomusicology) and history to philosophy, psychology, and various branches of religious studies, particularly theology and comparative religions. This essay deals with historical perspectives, major theories, and current issues regarding music, emotion, and religion. It begins by considering classic and exceptionally enduring images and ideas of music, including the ancient Greek myth of Orpheus. It then considers musical ethics and metaphysics in the West from antiquity through the Renaissance. The essay also examines remaining issues and unresolved tensions about music, emotion, and religion.
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Kartomi, Margaret. South Sumatra. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0007.
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This chapter examines the historical distribution of two musico-lingual groups living in South Sumatra: the Besemah in Tanjungsakti and Kayuagung, and the Ogan-Komering Ilir (OKI) people in Burai. South Sumatra's network of rivers and tributaries—known as the Batang Hari Sembilan—has governed its peoples' travels, worldviews, adat, legends, and musical arts for well over 2,000 years. This chapter explores how South Sumatra's environment and associated cosmology, adat customs, and the history of religion and foreign contact have shaped its musico-lingual groups and music, dance, and theater more generally. It first considers the Besemah's bardic legends and their classical and social dances and ensemble music, vocal music, and solo instrumental music before turning to the Anak Dalem people. It also describes the Ogan-Komering Ilir (OKI) river basins, the dance called tari tanggai, Palembang, and musical arts with a Muslim theme or flavor in the uplands and lowlands.
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Ghetti, Claire M. Phenomenological Research in Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.15.
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The creative and subjective aspects of music therapy make the discipline unique, but also pose challenges when researching and explicating its essence. There is a demand for research methodologies that are responsive to the indigenous elements of the music therapy process, and that accommodate the participant’s subjective, conscious experience of music therapy phenomena. Phenomenological research captures the subjective experience of phenomena, which renders it a particularly desirable methodology for music therapists. This chapter examines the philosophical foundations of phenomenological research, and distinguishes between descriptive and hermeneutic phenomenological methodologies. The phenomenological music therapy research literature is examined in depth, from the formative contributions of early seminal works to recent developments including applications of neurophenomenology, arts-based approaches, and Interpretative Phenomenological Analysis.
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Scaletti, Carla. Sonification ≠ Music. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.9.
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Starting from the observation that symbolic language is not the only channel for human communication, this chapter examines ‘data sonification’, a means of understanding, reasoning about, and communicating meaning that extends beyond that which can be conveyed by symbolic language alone. Data sonification is a mapping from data generated by a model, captured in an experiment, or otherwise gathered through observation to one or more parameters of an audio signal or sound synthesis model for the purpose of better understanding, communicating, or reasoning about the original model, experiment, or system. Although data sonification shares techniques and materials with data-driven music, it is in the interests of the practitioners of both music composition and data sonification to maintain a distinction between the two fields.
14
Amico, Stephen. Music, Form, Penetration. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038273.003.0002.
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This chapter explores the relationship between Russian gay men and both Western and Russian popular musics by focusing on specific harmonic and melodic musical attributes that contribute to a Russian “sound.” In particular, it considers the link between sound and listener to experiences of (pleasurable) penetration. It shows that Russian homosexuality imparts a certain prestige (marked by modernity, style, and internationality) upon a cultural product. It also reveals that Russian gay men professed a preference for Western popular music and Western music in general, even as many of them also admitted a connection to Russian popular musics. Finally, it examines the connections between music, penetrations, and the homosexual body in the context of politics. The chapter suggests that lived experience—apprehended, in part, as a porosity of borders and operating as both a material and conceptual dynamic—inflects the interaction between Russian gay men and audible culture.
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Dumpson, J. Donald. Black Gospel Choral Music. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.24.
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This chapter examines Black gospel music with an emphasis on choral music, and explores this form of American sacred music through sociological theory, contact theory, and multicultural lenses. Such perspectives will provide insights into ways to listen to, prepare, and perform Black gospel music more fully in a variety of settings; from church to secular classrooms. This multifaceted discussion examines the impact of nonmusical experiences on our engagement with unfamiliar music. It also explores how thoughts, individual agency, identity, American history, racial dynamics, religion, governmental policies, and our interpretation of the separation of church and state impact our agency to teach and program Black gospel music. Choral conductors, individual singers, and vocal ensemble participants will be able to understand how their nonmusical experiences impact their decisions regarding the choral music they explore.
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Kärjä, Antti-Ville. A Metahistorical Inquiry into Historiography of Nordic Popular Music. Edited by Fabian Holt and Antti-Ville Kärjä. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.10.
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This chapter examines how the relation between national culture and emerging forms of transcultural diversity plays out in the historiography of Nordic popular music. The chapter offers a comparative analysis of how histories of popular music have been written in the Nordic countries. A particular focus in the comparison is on Finland and Sweden. The analysis rests on the principles of metahistory, referring to the ways in which historiography is implicated in power relations and interests of the present. To develop the methodology further, the notion of “pre-positional politics of historiography” is introduced. The historical accounts in question are approached in addition in terms of methodological nationalism, “rock imperialism,” and exceptionalist anachronism, to underline the tendencies to valorize not only the alleged uniqueness of national popular musics but also rock music as a particularly worthy subject of music historiography.
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Moten, Fred. Jurisgenerative grammar (for alto). Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.017.
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“Jurisgenerative Grammar” is concerned with the interplay of legality and criminality in the generation of language and music. It examines how a kind of fugitive poetics is enacted in the fall into what Martin Heidegger refers to as thecommercium, a social space marked by the propensity for song, chatter, and idle talk. This essay argues that thecommerciumis, in fact, a place for thought and thoughtful creation. Its aesthetic sociality animates the compositional and improvisational practices in which Anthony Braxton is engaged in the making of his “language musics,” even when such music is given in solo performance.
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Lott, Marie Sumner. Publishing Chamber Music. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039225.003.0001.
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This chapter examines the institution of chamber music publishing by looking closely at three internationally significant publishers. In all three cases, publishers sought to balance their production of “monumental” and “ephemeral” products to establish and maintain a reliable source of income and new musical material for themselves and, by extension, the musicians who relied upon them. Individually, the three firms represent different models with diverse priorities and business strategies: a small business established by a chamber music lover and copyright activist (Hofmeister); a larger firm that grew with the musical marketplace, changing hands at several points and evolving to address the needs of a growing public (Peters); and a midsize firm that specialized in practical music for private and public use (Schlesinger, later Lienau-Schlesinger). Together, these three companies provides a picture of the music business as it developed throughout the Romantic era.
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Stimeling, Travis D. Recording Practice in Country Music. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.5.
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This chapter explores the influence of recording technologies on the creation and reception of country music from the first hillbilly recordings to the twenty-first century. Following a survey of recent literature from the musicology of recording and sound studies, country music’s voice-centered recording strategies are explored through case studies drawn from early hillbilly, honky tonk, and “hot country” recordings. Country music’s history as a recorded musical practice is shaped by technological and aesthetic developments that can be heard in a wide range of recorded popular musics. Furthermore, this chapter examines the ways that bluegrass musicians, engineers, and producers deploy specific technologies, including the single-microphone technique, to articulate their musical and cultural authenticity. These ways can help us gain a better understanding of the expressive power of recorded country music by placing these “records in dialogue” with other recordings in country music and from other music styles.
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Howell, Gillian, Lee Higgins, and Brydie-Leigh Bartleet. Community Music Practice. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.26.
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Many people have become disengaged from music making owing to the commercialization and commodification of music practices. This chapter examines a distinctive response to that disengagement, through the work of community music facilitators, who connect on interpersonal and musical levels to encourage community music practice. Four case studies are used to illustrate the central notions of this approach. Underpinning these four case studies is the concept of musical excellence in community music interventions. This notion of excellence refers to the quality of the social experience—bonds formed, meaning and enjoyment derived, and sense of agency that emerges for individuals and the group—alongside the musical outcomes created through the music making experience. The chapter concludes by considering the ways in which community music opens up new pathways for reflecting on, enacting, and developing approaches that respond to a wide range of social, cultural, health, economic, and political contexts.
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Leech-Wilkinson, Daniel, and Helen M. Prior, eds. Music and Shape. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.001.0001.
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Shape is a concept that is widely used in talk about music. Musicians in wide-ranging genres of music use it to help them rehearse, teach and think about what they do. Yet why is a word that seems to require something to see or to feel so useful to describe something that sounds? How is sound shaped? And how does shaping help performers and composers, and engage listeners? If the concept is so ubiquitous among practitioners, why has it been missing from music studies until now? Music and Shape examines numerous aspects of this surprisingly close relationship, with contributions from scholars and musicians, artists, dancers, filmmakers, and synaesthetes. The book opens up new perspectives on musical performance, music psychology and music analysis, making explicit and open to investigation a vital factor in musical thinking and experience that was previously overlooked as a mere metaphor.
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Wheeler, Barbara L. Music Therapy Research. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.11.
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Music therapy is a diverse field and music therapy research increasingly reflects that diversity. Many methods and approaches are used to examine the various facets of music therapy practice and theory. This chapter provides an overview of music therapy research, and provides basic information about how research is conducted in this field. Research methods in music therapy research are similar to those used in other healthcare disciplines. A range of methods are reviewed and presented including; experimental research and Randomized Controlled Trials, Participatory Action Research, Grounded Theory, and Phenomenological methods.
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Cron, Matthew. Music from Heaven. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040191.003.0006.
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This chapter provides an eighteenth-century context for Johann Sebastian Bach’s cantatas with obbligato organ by showing how their various components engage in a larger discourse about the German Baroque organ: namely, its intimation of Heaven. There are almost 200 surviving church cantatas by Bach, eighteen of which contain movements where the organist transitions from a continuo player to a concertist. Modern scholarship has considered such compositions primarily from two perspectives: a historiographical perspective, which places them in the larger context of the history of the keyboard concerto; and a compositional perspective, which considers them as examples of the arrangement and reworking of previous musical material. This chapters examines how a particular yet widespread way of thinking about the organ gave rise to a fruitful context for the obbligato organ cantata in the early eighteenth century by analyzing Bach’s works from the perspective of an original listener—that is, as a member of the congregation. It argues that Bach’s libretto guided his instrumentation and that he often took advantage of the longstanding identification of the organ with Heaven.
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Nicholls, Simon, Michael Pushkin, and Vladimir Ashkenazy. Thought in words, music, colour. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190863661.003.0005.
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The content and style of Skryabin’s verse and influences upon it are examined and its relation to its music discussed. Two major works are examined: The Poem of Ecstasy, which was conceived simultaneously in words and in music, is analysed according to an interpretation by Boris de Schloezer, Skryabin’s close associate. Schloezer proposes a Lisztian/Wagnerian system of leading motives as the link between poetry and music. Prometheus, which combines music, colour, and one hidden ‘mystic word’, is examined and the relation of its structure and tonality to colour and to philosophy analysed. The recently deciphered significance of the ‘mystic word’ and its use is recounted. (103)
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Klempe, Sven Hroar. Music and Imagination. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190468712.003.0012.
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Music is close to language, and when we listen to music, we may also imagine certain events, stories, and the like. The differences, although obvious, are not so easy to detect. These subtle nuances are examined in this chapter with the aim of delineating the general traits of musical imagination. The author defines musical imagination in terms of a human act that provides a type of framework for cognition in which cognition and sensations are united in feelings. This also forms the basis for verticality, which is expressed in terms of musical polyphony. The multitude in musical polyphony opens up for a sort of community, which brings in a social dimension. As long as the social community forms the basis of cultural psychology, a thorough understanding of musical imagination may contribute to a more complete understanding of cultural psychology as well.
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Patel, Aniruddh D. Music and the brain. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0019.
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This article presents the evidence for links between music and language. The focus is on perceptual processes, and on links between mechanisms involved in the processing of instrumental music and of ordinary, day-to- day language. Music and language may have a number of common processes that act on distinct types of information, e.g. on musical melodies vs. linguistic intonation contours, or on chord progressions vs. sequences of words. Thus, the distinction between the domain specificity of information vs. the generality of processing is an essential conceptual tool for research that examines the relationship between music and other cognitive domains.
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Street, John. Music as Political Communication. Edited by Kate Kenski and Kathleen Hall Jamieson. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199793471.013.75.
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This chapter examines the ways in which music acts as political communication and plays an important role in politics. It notes that the contemporary study of political communication has tended to overlook the role that sound plays and provides an account of the ways in which music has been associated with political communication through protest, propaganda, and resistance. The chapter then explains how music can be understood to communicate politics and discusses how political communication scholars might study music’s role in the public sphere and civic engagement. It concludes by arguing that sound should be featured more prominently in political communication research than it is currently.
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Avila, Jacqueline. Cinesonidos. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190671303.001.0001.
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Cinesonidos: Film Music and National Identity During Mexico’s Época de Oro is the first book-length study concerning the function of music in the prominent genres structured by the Mexican film industry. Integrating primary source material with film music studies, sound studies, and Mexican film and cultural history, this project closely examines examples from five significant film genres that developed during the 1930s through 1950s. These genres include the prostitute melodrama, the fictional indigenista film (films on indigenous themes or topics), the cine de añoranza porfiriana (films of Porfirian nostalgia), the revolutionary melodrama, and the comedia ranchera (ranch comedy). The musics in these films helped create and accentuate the tropes and archetypes considered central to Mexican cultural nationalism. Distinct in narrative and structure, each genre exploits specific, at times contradictory, aspects of Mexicanidad—the cultural identity of the Mexican people—and, as such, employs different musics to concretize those constructions. Throughout this turbulent period, these tropes and archetypes mirrored changing perceptions of Mexicanidad manufactured by the state and popular and transnational culture. Several social and political agencies were heavily invested in creating a unified national identity to merge the previously fragmented populace owing to the Mexican Revolution (1910–ca.1920). The commercial medium of film became an important tool in acquainting a diverse urban audience with the nuances of national identity, and music played an essential and persuasive role in the process. In this heterogeneous environment, cinema and its music continuously reshaped the contested, fluctuating space of Mexican identity.
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Rimmer, Mark. Community Music and Youth. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.28.
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Recent years have witnessed an increasing alignment between community music activity and youth. From the range of community music-style activities taking place across formal domains of youth provision, to the youth-oriented musical activities occurring within informal settings, many commentators have come to see community music activities as holding particular relevance and value in relation to youth. Importantly, however, the assumptions lying behind the purportedly ‘special’ relationship between community music and youth—as well as their implications for the nature of much youth-focused community music activity—too often go unexamined. This chapter critically interrogates some of the key ways in which this relationship is commonly understood, and then examines how these sit alongside the broader purposes and values commonly associated with community music.
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Wierzbicki, James. The Pop Music Mainstream. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040078.003.0002.
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This chapter examines the two most successful commodities in the field of popular music in 1950: “The Tennessee Waltz” and “Goodnight, Irene”—both of which are composed in 3/4 time. In terms of meter alone, these two extraordinarily successful songs stand as much in contrast to the rock 'n' roll music that captured the attention of American teenagers later in the decade as to the swing music that appealed to Americans of diverse age groups in the years leading up to and including World War II. But meter is not the main thing that distinguishes “The Tennessee Waltz,” and “Goodnight, Irene.” Rather than meter, or tempo, or even rhythm, what most distinguishes these songs from earlier and later efforts is their treatment of rhythm.
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Kartomi, Margaret. Sumatra’s Performing Arts, Groups, and Subgroups. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0001.
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This book examines the traditional musical arts of Sumatra, with particular emphasis on the ethnographic, cultural, and historical contexts of the performing arts that contain music as well as some of the changes in their style, content, and reception from 1971 when the author began her field travels. The musical arts, or performing arts containing music, include the vocal, instrumental, and body percussive music, the dance and other body movement, the art of self-defense, the bardic arts, and the musical theater performed at domestic ceremonies. The book considers the musico-lingual groups and subgroups of Sumatra—population groups and subgroups that are primarily distinguished from one another on the basis of the lingual attributes of their vocal-musical genres (including songs, ritual/religious chanting, song-dances, and intoned theatrical monologues or exchanges). This chapter provides an overview of some of the major themes that recur throughout the book—identity, rituals and ceremonies, religion, the impact of foreign contact on the performing arts, the musical instruments and pitch variability, the dances and music-dance relationships, social class, gender issues, and arts education.
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Lattig, Sharon. “A Music Numerous as Space”. Edited by Greg Garrard. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199742929.013.028.
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This article examines the concept of cognitive environment in relation to ecocriticism. It discusses Gaston Bachelard’s analysis, in his The Poetics of Space, of historian Jules Michelet’s work depicting the building of a bird’s nest. It suggests that the corporeal act of nest-building may then be argued to imply the continuity of an organism and its environment and that the notion of enclosure is built into any ecology or Thoreavian economy.
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Cohen, Mary L., and Jennie Henley. Music-Making Behind Bars. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.11.
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Approaches to incarceration and community music vary widely. This chapter examines music-making in US and UK prison contexts, suggesting new insights into the values, applications, and meanings of community music. Contrasting approaches towards imprisonment exist not only across the globe, but also within particular countries. In the United States, a wide range of practices within the contexts of imprisonment occur, such as differences in incarceration rates between whites and people of color, sentence lengths, use of capital punishment, voting rights, and quality of legal representation. Inmates’ opportunities for self-expression are restricted. Research and practice in music-making in prisons suggest that community music approaches within prisons provide a means towards desistance, improved self-esteem, social support and a sense of accomplishment. Music-making within the complex power dynamics of prison contexts emphasizes the importance of the welcome and hospitality within our understanding of community music.
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McCusker, Kristine M. Gendered Stages. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.9.
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This chapter examines the ways country music performers and producers created contingent, gendered stages that evolved from the industry’s start in the 1920s. It also examines the ways country artists and others have welded ideas of an authentic and genuine music to those performances to make those contingent stages seem solid, stable, and unchanging, even as they reflect a southern culture in transition. The chapter describes those gendered strategies from the early barn dance radio years to the mid-1950s country and western music to the current industry, including the recent “tomato” controversy. It assumes a tight connection between the images presented on stage and the off-stage relationships between performers, producers, and other industry insiders, an interconnection that has had ramifications for country music scholarship as well. We need to examine and move beyond the links between the genre’s authenticity narratives and its various gendered stages.
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Teitelbaum, Benjamin R. Rap, Reggae, and White Minoritization. Edited by Fabian Holt and Antti-Ville Kärjä. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.19.
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This chapter examines the significance of music in radical white nationalist activism in the Nordic countries. The focus of the chapter is a change in how nationalists look at the relation between their ideological dogmas and music. For decades, the consensus was that the music had to be white, but in the 2000s young activists started to challenge this norm, introducing genres such as hip hop and reggae. The analysis looks beyond the literature’s conventional focus on how the music supports activism to instead examine racial constructions through music, arguing that the introduction of black genres involved a new conception of whiteness. The case studies include the rappers Zyklon Boom and Juice from Sweden, as well as a song by Nordic Youth.
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Beal, Amy C. New York Waltzes. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039157.003.0004.
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This chapter examines Beyer's solo piano pieces. The titles for her three major piano suites—Gebrauchs-Musik, Dissonant Counterpoint, and Clusters—derive from techniques in the air during the mid-1930s. Beyer's Gebrauchs-Musik (1934) consists of five short, mostly two-voice pieces. The undated Dissonant Counterpoint likewise explores repeating and evolving rhythmic patterns, as well as additive rhythm ideas, expanding the length of individual measures within an ametrical setting and creating discretely separate phrase structures similar to techniques used in her clarinet suites. Like much of Beyer's music, these pieces frequently include difficult polyrhythms. Indeed, the pieces in these suites tend to alternate between a quick, rhythmic style and a slow, static one.
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Bivins, Jason C. The Bible and Music. Edited by Paul C. Gutjahr. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190258849.013.32.
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Against reductive understandings of textualism, this chapter argues that substantive reckoning with the Bible and music in American history reveals the text’s generativity. Examined here is the interaction between the Bible and various musical forms ranging from hymns to classical music to rap and hip hop. Interweaving broad American religious concerns with identity, community, and power, the Bible’s musical settings and expressions in history are varied and challenging. Across their range, one sees how the conjoined musical and textual imaginations of Americans force a reconsideration of embodied musical creativity, the sensorium of American religions, performance of central religious themes and preoccupations, and religious audiences and publics.
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Marovich, Robert M. Sacred Music in Transition. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039102.003.0003.
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This chapter examines Chicago sacred music in a period of transition, focusing on the roles played by Charles Henry Pace and the Pace Jubilee Singers. The Pace Jubilee Singers are a fascinating example of African American sacred music in transition. They were among Chicago's first black religious artists to perform on radio, broadcasting during the 1920s and early 1930s over radio station WCBN and megawatt stations WLS and WGN. The group was also among the first mixed jubilee ensembles to feature a female soloist prominently in the person of Hattie Parker. This chapter first provides a historical background on Pace and his formation of the Pace Jubilee Singers before discussing the group's recordings, including sessions with Victor Records, and Parker's contribution to the group. It also considers the Pace Jubilee Singers' radio appearances following the end of their recording career, as well as the careers of Parker and Pace after the group's disbandment. Pace continued writing and publishing sacred music, including gospel songs, in Pittsburgh. He died on December 16, 1963.
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Gentry, Philip M. Introduction—Music and Identity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190299590.003.0001.
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This first chapter of the book introduces its key concepts. The term “identity” became popularized after World War II, thanks to social scientists attempting to describe new modes of self-fashioning. At the same time, large social movements began to coalesce around the concert, and simultaneously, there was a large growth in new musical styles and institutions. Rather than impose larger abstract theories, the book’s methodology is to examine individual scenes of music-making, asking how individuals made use of the concept of identity, especially in political terms. A more holistic notion of music, drawn from the discipline of performance studies, allows the book to make connections between often disparate strategies.
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Murphy, Clifford R. Country Music as Cultural Practice. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.14.
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This chapter argues that country music should be examined first and foremost as social practice—as a driver of community expression and social capital through music, words, and dance. While country music functions in a multitude of ways, from narrative storytelling to commercial product and points in between, the commercial sphere of country music has been exhaustively examined. Scholarly inquiry into country music, rooted in the folk revival of the mid-twentieth century and significantly influenced by collectors (and collections) of commercial country music, has maintained a southern, commercial focus for much of the past half-century. As such, scholarly and popular understanding of what, where, and who country music springs from has ignored significant regional vernacular forms and uses of country music. Ethnographic inquiry has made it possible to tell the story country music culture and traditions. Murphy illustrates his argument with examples from New England, the Mid-Atlantic, and Atlantic Canada.
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Thomas, Oliver. Music in Euripides’ Medea. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.003.0005.
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This chapter argues that a tricky passage of Athenaeus, about Euripides’ use of melodic responsion in the play’s odes (453c–454a), is worth taking seriously. The reasons for doubting its information are not overwhelming, and moreover the effects of such responsion tie in excellently with what a number of the characters within the play (especially the chorus in the first and third stasima) have to say about music. In testing the hypothesis that Euripides employed ‘melodic responsion’ in the Medea, the chapter shows that melodic structure could have reinforced the odes’ semantics and themes, but also that it would have been a crucial element in the characterization of the chorus. This use of melody is also examined in the context of existing scholarship on Euripides’ adoption of various ‘New Musical’ forms later in his career.
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Bucuvalas, Tina, ed. Greek Music in America. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.001.0001.
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Greek Music in America: A Reader provides a foundation for understanding the scope, practice, and development of Greek music in America through essays by the principal scholars in the field. This is the first book to offer a comprehensive view of the subject; despite the richness, diversity, and longevity of Greek music in America, there has been relatively little available on the topic. The volume includes several previously published essays, as well as recent work by contemporary specialists on the Greek diaspora. The book opens with a sociohistorical overview of Greek music in America, followed by four major sections. The essays brought together in Musical Genre, Style, and Content cover topics ranging from changes in sacred music in the United States to Café Aman, rebetika, amanedes, Turkish influences, and verbal interjections in musical performances. In the Places section, authors interrogate the musical culture of specific Greek American communities. Delivering the Music: Recording Companies and Performance Venues examines the many ways that music was made available. Profiles provides biographical sketches of noteworthy individuals or entities that shaped the course of Greek music in America or contributed to its allure and perpetuation through their exceptional skills. An additional essay on publicly available Greek music collections completes the book.
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Coffman, Don D. Community Music Practice with Adults. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.10.
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This chapter examines three approaches to teaching and learning that resonate with community music principles and that can help inform the theoretical bases for community music practice, because there are similarities between the facilitating behaviours of community musicians and the teaching behaviours of educators. Specifically, this chapter portrays a continuum of viewpoints about guiding others—pedagogy, andragogy, and heutagogy—and illustrates how aspects of each approach can be applied to community music practice. These approaches range from authoritarian ideas that are teacher-centred and learner-dependent to more autonomous ideas that embrace learner-centred and self-directed learning. The New Horizons Band of Iowa City, Iowa, in the United States, is presented as an illustration.
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Drewett, Michael. Exploring Transitions in Popular Music. Edited by Patricia Hall. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.1.
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This article examines the censorship of popular music in South Africa during the apartheid (1948–1994) and post-apartheid years, as well as changes in musical censorship resulting from the country’s transition to democracy. It considers the different forms of censorship in South Africa, paying particular attention to central government mechanisms of music censorship through the former Directorate of Publications and the South African Broadcasting Corporation. Despite the relaxation of formal mechanisms of censorship since the early 1990s and the significant freedom of expression enjoyed by musicians, the article shows that regulation and censorship of popular music remain in effect. Finally, it assesses the current situation with regards to musical censorship in South Africa and the implications of present legislation for the future.
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Hearsum, Paula, and Ian Inglis. The Emancipation of Music Video. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.031.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Although YouTube is rightly acknowledged as one of the pivotal forms of social networking to have emerged in the last decade, relatively little attention has been paid to its specific impact on the form and content of music video. From its tentative beginnings in the 1970s, music video quickly established itself as one of the principal—and most powerful—components of the popular music industry. This chapter examines the ways in which the creative opportunities provided by YouTube’s overt democratization of modes of video production, presentation, and consumption have had economic, aesthetic, and political repercussions on popular music practices and have fundamentally shifted traditional understandings of supply and demand.
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Cook, Nicholas. Music: A Very Short Introduction. 2nd ed. Oxford University Press, 2021. http://dx.doi.org/10.1093/actrade/9780198726043.001.0001.
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Music: A Very Short Introduction is a study of music and thinking about music, focusing on its social, cultural, and historical dimensions. It draws on a wealth of accessible examples, ranging from Beethoven to Chinese zither music. This VSI also discusses the nature of music as a real-time performance practice; the role of music in social and political action; and the nature of musical thinking, including the roles played in it by instruments, notations, and creative imagination. It explores the impact of digital technology on the production and consumption of music, including how it has transformed participatory music-making and the music business. Finally it examines music’s position in a globalized world. In many ways music has changed out of all recognition over the last twenty years, and so the second edition of this VSI has been comprehensively rewritten.
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Huber, Patrick. The “Southernness” of Country Music. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.22.
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This chapter presents an overview of Bill C. Malone’s “southern thesis,” as first articulated in his 1968 study, Country Music, U.S.A.: A Fifty-Year History, and examines the influential role that this regional interpretation has played in shaping country music scholarship. The chapter surveys some of the major trends in the scholarly literature over the past five decades regarding the music’s perceived southernness. It explores Malone’s problematic presentation of the American South as an exceptional region rooted in a unique rural folk culture, and the resulting historiographical debates. The chapter also identifies some significant topical and interpretative lacunae that now pervade the country music scholarship as a result of Malone’s interpretation, and suggests several approaches to rectifying these omissions, including reinterpreting prewar country music as a commercial product of a modern, urban-industrial America and focusing attention on the American regional traditions and musical tributaries that contributed to its creation.
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Marsh, Clive. Salvation in Art and Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198811015.003.0004.
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This chapter engages with two well-known works of art: the Isenheim altarpiece and Handel’s Messiah. It considers both the content and the reception and use of the two works, as examples of high art, but also as artistic products which have, respectively, become the focus of tourism and popular classical music. The way in which each purveys an understanding of Christian redemption is examined both for Christian believers and for Western citizens more broadly. At the heart of the exposition is the way that the artistic forms of the two works –as visual art and music—themselves contribute to the understanding of salvation presented and received.
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Hallam, Susan, Ian Cross, and Michael Thaut, eds. Oxford Handbook of Music Psychology. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.001.0001.
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The Oxford Handbook of Music Psychologyprovides a comprehensive overview of the latest developments in this fast-growing area of research. With contributions from experts in the field, the coverage offered has both range and depth. The fifty-two articles are divided into eleven sections covering both experimental and theoretical perspectives. Ten sections each present articles that focus on specific areas of music psychology: the origins and functions of music; music perception; responses to music; music and the brain; musical development; learning musical skills; musical performance; composition and improvisation; the role of music in our everyday lives; and music therapy and conceptual frameworks. In each section, authors critically review the literature, highlight current issues, and explore possibilities for the future. The final section examines how in recent years the study of music psychology has broadened to include a range of other scientific disciplines. It considers the way that the research has developed in relation to technological advances, fostering links across the field and providing an overview of the areas where the field needs further development in the future.
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Willingham, Lee, and Glen Carruthers. Community Music in Higher Education. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.9.
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The establishment of community music courses and degree programs in universities gives rise to discourse about the fundamental principles of community music. Can community music flourish in the complexity of academia, where disciplines are regulated, researched, and examined systematically? This chapter will argue that community music principles are synergistic with higher education goals, and, in fact, traditional music education has much to learn and gain from community music practices. How can schools of music be more civic minded, community friendly, and enhance the cultural life of the regions they serve? How can rigour exist (artistic and scholarly) in a culture of empathy, inclusivity, and hospitality where nonformal pedagogies are practiced, and where intergenerational and lifelong learning—along with activism, health, and wholeness—are foundational? These questions are addressed and measured against a tradition where audition standards and progression pathways are becoming increasingly multivalent.