Chronicling leading musicians from their first encounters with jazz to the development of a unique improvisatory voice, Paul Berliner documents the lifetime of preparation that lies behind the skilled improviser's every idea.The product of more than fifteen years of immersion in the jazz world, Thinking in Jazz combines participant observation with detailed musicological analysis, the author's experience as a jazz trumpeter, interpretations of published material by scholars and performers, and, above all, original data from interviews with more than fifty professional musicians: bassists George Duvivier and Rufus Reid; drummers Max Roach, Ronald Shannon Jackson, and Akira Tana; guitarist Emily Remler; pianists Tommy Flanagan and Barry Harris; saxophonists Lou Donaldson, Lee Konitz, and James Moody; trombonist Curtis Fuller; trumpeters Doc Cheatham, Art Farmer, Wynton Marsalis, and Red Rodney; vocalists Carmen Lundy and Vea Williams; and others. Together, the interviews provide insight into the production of jazz by great artists like Betty Carter, Miles Davis, Dizzy Gillespie, Coleman Hawkins, and Charlie Parker.Thinking in Jazz overflows with musical examples from the 1920s to the present, including original transcriptions (keyed to commercial recordings) of collective improvisations by Miles Davis's and John Coltrane's groups. These transcriptions provide additional insight into the structure and creativity of jazz improvisation and represent a remarkable resource for jazz musicians as well as students and educators.Berliner explores the alternative ways—aural, visual, kinetic, verbal, emotional, theoretical, associative—in which these performers conceptualize their music and describes the delicate interplay of soloist and ensemble in collective improvisation. Berliner's skillful integration of data concerning musical development, the rigorous practice and thought artists devote to jazz outside of performance, and the complexities of composing in the moment leads to a new understanding of jazz improvisation as a language, an aesthetic, and a tradition. This unprecedented journey to the heart of the jazz tradition will fascinate and enlighten musicians, musicologists, and jazz fans alike.

    No practical aspect of instrumentation for the orchestra is neglected, and comprehensive treatment is given to each significant component. The author approaches orchestration from the premise that the principles can best be presented by analysis of music as it has been written.The essentials of instrument combination discussed here are those which can be observed operating in the scores of great composers from Haydn, Mozart, and Beethoven down to our own day.Orchestration is notable for the clarity and logic of its organization. From a consideration of the individual instruments and their technical problems the author skillfully develops his analysis of orchestration, covering his analysis of orchestration, covering instrumentation of primary and secondary melodies, part-writing, chords, and contrapuntal techniques. Finally, he discusses typical problems in orchestration together with some examples of their solutions.Orchestration is profusely illustrated with hundreds of musical examples and with drawings of the various musical instruments that make up the modern orchestra.

    He examines the myths and misconceptions that have grown up around progressive rock and paints a vivid, colourful picture of the Seventies based on hundreds of hours of his own interviews with musicians, music business insiders, journalists and DJs, and from the personal testimonies of those who were fans of the music in that extraordinary decade.

    This book provides unique insights and perspectives for artists, students, teachers, mediators and anyone interested in how consciousness may be effected by profound attention to the sonic environment. Deep Listening(R) is a practice created by composer Pauline Oliveros in order to enhance her own as well as other's listening skills. She teaches this practice worldwide in workshops, retreats and in her ground breaking Deep Listening classes at Rensselaer Polytechnic Institute and Mills College. Deep Listening practice is accessible to anyone with an interest in listening. Undergraduates with no musical training benefit from the practices and successfully engage in creative sound projects. Many report life changing effects from participating in the Deep Listening classes and retreats.Oliveros is recognized as a pioneer in electronic music and a leader in contemporary music as composer, performer, educator and author. Her works are performed internationally and her improvisational performances are documented extensively on recordings, in the literature and on the worldwide web.

    The arche, or origin, is always also a command, and a beginning is always the first principle that governs and decrees. This is as true for theology, where God not only creates the world but governs and continues to govern through continuous creation, as it is for the philosophical and political tradition according to which beginning and creation, command and will, together form a strategic apparatus without which our society would fall apart.The five essays collected here aim to deactivate this apparatus through a patient archaeological inquiry into the concepts of work, creation, and command. Giorgio Agamben explores every nuance of the arche in search of an an-archic exit strategy. By the book's final chapter, anarchy appears as the secret center of power, brought to light so as to make possible a philosophical thought that might overthrow both the principle and its command.

    Written in 1828, in the last months of the young Schubert's life, 'Winterreise' ("Winter's Journey"), has come to be considered the single greatest piece of music ever written for the male solo voice. Deceptively brief - the twenty-four short poems are performed uninterrupted in 70 minutes - it nonetheless has an emotional depth and power that no music of its kind has ever equalled. Originally intended to be sung to an intimate gathering, performances of 'Winterreise' now pack the greatest concert halls around the world. Drawing on his firsthand experience with this work (he has performed it more than one hundred times), on his musical knowledge, and on his training as a scholar, Ian Bostridge teases out the enigmas and subtle meanings of each song, exploring the world and the states of heart and mind in which Schubert created them, and the exquisite resonance and affinities that continue, even today, to move us so profoundly.

    Its dazzling virtuosity and spectacular live concerts made it hugely popular with fans during the 1970s, who saw bands such as King Crimson, Emerson, Lake and Palmer, Yes, Genesis, Pink Floyd, and Jethro Tull bring a new level of depth and sophistication to rock. On the other hand, critics branded the elaborate concerts of these bands as self- indulgent and materialistic. They viewed progressive rock's classical/rock fusion attempts as elitist, a betrayal of rock's populist origins. In Rocking the Classics, the first comprehensive study of progressive rock history, Edward Macan draws together cultural theory, musicology, and music criticism, illuminating how progressive rock served as a vital expression of the counterculture of the late 1960s and 1970s. Beginning with a description of the cultural conditions which gave birth to the progressive rock style, he examines how the hippies' fondness for hallucinogens, their contempt for Establishment-approved pop music, and their fascination with the music, art, and literature of high culture contributed to this exciting new genre. Covering a decade of music, Macan traces progressive rock's development from the mid- to late-sixties, when psychedelic bands such as the Moody Blues, Procol Harum, the Nice, and Pink Floyd laid the foundation of the progressive rock style, and proceeds to the emergence of the mature progressive rock style marked by the 1969 release of King Crimson's album In the Court of the Crimson King. This golden age reached its artistic and commercial zenith between 1970 and 1975 in the music of bands such as Jethro Tull, Yes, Genesis, ELP, Gentle Giant, Van der Graaf Generator, and Curved Air. In turn, Macan explores the conventions that govern progressive rock, including the visual dimensions of album cover art and concerts, lyrics and conceptual themes, and the importance of combining music, visual motif, and verbal expression to convey a coherent artistic vision. He examines the cultural history of progressive rock, considering its roots in a bohemian English subculture and its meteoric rise in popularity among a legion of fans in North America and continental Europe. Finally, he addresses issues of critical reception, arguing that the critics' largely negative reaction to progressive rock says far more about their own ambivalence to the legacy of the counterculture than it does about the music itself. An exciting tour through an era of extravagant, mind-bending, and culturally explosive music, Rocking the Classics sheds new light on the largely misunderstood genre of progressive rock.

    It provides an intimate and compelling look at the many forces that shaped this most American of art forms and the many influences that gave rise to jazz’s post-war styles. Rich with the voices of musicians, producers, promoters, and others on the scene during the decades following World War II, this book views jazz’s evolution through the prism of technological advances, social transformations, changes in the law, economic trends, and much more.In an absorbing narrative enlivened by the commentary of key personalities, Marc Myers describes the myriad of events and trends that affected the music's evolution, among them, the American Federation of Musicians strike in the early 1940s, changes in radio and concert-promotion, the introduction of the long-playing record, the suburbanization of Los Angeles, the Civil Rights movement, the “British invasion” and the rise of electronic instruments. This groundbreaking book deepens our appreciation of this music by identifying many of the developments outside of jazz itself that contributed most to its texture, complexity, and growth.

    . . deeply, intimately, totally violated" by a music community that had fundamentally misinterpreted his work. As a profound admirer of Chopin's "promenade of discoveries," Gide intersperses musical notation throughout the text to illuminate his arguments, but most moving is Gide's own poetic expression for the music he so loved.

    How is listening different from hearing? What does listening entail? How does what is heard differ from what is seen? Can philosophy even address listening, ecouter, as opposed to entendre, which means both hearing and understanding?Unlike the visual arts, sound produces effects that persist long after it has stopped. The body, Nancy says, is itself like an echo chamber, responding to music by inner vibrations as well as outer attentiveness. Since "the ear has no eyelid" (Quignard), sound cannot be blocked out or ignored: our whole being is involved in listening, just as it is involved in interpreting what it hears.The mystery of music and of its effects on the listener is subtly examined. Nancy's skill as a philosopher is to bring the reader companionably along with him as he examines these fresh and vital questions; by the end of the book the reader feels as if listening very carefully to a person talking quietly, close to the ear.

    "The text provides students with a comprehensive but accessible and highly practical set of tools for the understanding of music."

    The rocker settled in Berlin, where he would make his “Berlin Trilogy”—the albums Low, Heroes, and Lodger, which are now considered some of the most critically acclaimed and innovative of the late twentieth century. But Bowie’s time in Berlin was about more than producing new music. As Tobias Rüther describes in this fascinating tale of Bowie’s Berlin years, the musician traveled to West Berlin—the capital of his childhood dreams and the city of Expressionism—to repair his body and mind from the devastation of drug addiction, delusions, and mania.             Painting a vivid picture of Bowie’s life in the Schöneberg area of the city, Rüther describes the artist’s friendships and collaborations with his roommate, Iggy Pop, as well as Brian Eno and Tony Visconti. Rüther illustrates Bowie’s return to painting, days cycling to the Die Brücke museum, and his exploration of the city’s nightlife, both the wild side and the gay scene. In West Berlin, Bowie also met singer and actress Romy Haag; came to know Hansa Studios, where he would record Low and Heroes; and even landed the part of a Prussian aristocrat in Just a Gigolo, starring alongside Marlene Dietrich. Eventually Rüther uses Bowie and his explorations of the cultural and historical undercurrents of West Berlin to examine the city itself: divided, caught in the Cold War, and how it began to redefine itself as a cultural metropolis, turning to the arts to start a new history. Tying in with an exhibition at the Museum of Contemporary Art, Chicago, in September, 2014, Heroes tells the fascinating story of how the music of the future arose from the spirit of the past. It is an unforgettable look at one of the world’s most renowned musicians in one of its most inspiring cities.

    In the analysis of rhythms -- both biological and social -- Lefebvre shows the interrelation of space and time in the understanding of everyday life.With dazzling skills, Lefebvre moves between discussions of music, the commodity, measurement, the media and the city. In doing so he shows how a non-linear conception of time and history balanced his famous rethinking of the question of space. This volume also includes his earlier essays on "The Rhythmanalysis Project" and "Attempt at the Rhythmanalysis of Mediterranean Towns.">

    He became a central figure of the avant-garde early in his life and remained at that pinnacle until his death in 1992 at the age of eighty. Now award-winning biographer Kenneth Silverman gives us the first comprehensive life of this remarkable artist. We follow Cage from his Los Angeles childhood—his father was a successful inventor—through his stay in Paris from 1930 to 1931, where immersion in the burgeoning new musical and artistic movements triggered an explosion of creativity in him and, after his return to the States, into his studies with the seminal modern composer Arnold Schoenberg. We see Cage’s early experiments with sound and percussion instruments, and watch as he develops his signature work with prepared piano, radio static, random noise, and silence. We learn of his many friendships over the years with other composers, artists, philosophers, and writers; of his early marriage and several lovers, both female and male; and of his long relationship with choreographer Merce Cunningham, with whom he would collaborate on radically unusual dances that continue to influence the worlds of both music and dance.Drawing on interviews with Cage’s contemporaries and friends and on the enormous archive of his letters and writings, and including photographs, facsimiles of musical scores, and Web links to illustrative sections of his compositions, Silverman gives us a biography of major significance: a revelatory portrait of one of the most important cultural figures of the twentieth century.

    Skillfully weaving historical inquiry with an examination of classed cultural repertoires and close listening to country songs, Hubbs confronts the shifting and deeply entangled workings of taste, sexuality, and class politics. In Hubbs’s view, the popular phrase “I’ll listen to anything but country” allows middle-class Americans to declare inclusive “omnivore” musical tastes with one crucial exclusion: country, a music linked to low-status whites. Throughout Rednecks, Queers, and Country Music, Hubbs dissects this gesture, examining how provincial white working people have emerged since the 1970s as the face of American bigotry, particularly homophobia, with country music their audible emblem. Bringing together the redneck and the queer, Hubbs challenges the conventional wisdom and historical amnesia that frame white working folk as a perpetual bigot class. With a powerful combination of music criticism, cultural critique, and sociological analysis of contemporary class formation, Nadine Hubbs zeroes in on flawed assumptions about how country music models and mirrors white working-class identities. She particularly shows how dismissive, politically loaded middle-class discourses devalue country’s manifestations of working-class culture, politics, and values, and render working-class acceptance of queerness invisible. Lucid, important, and thought-provoking, this book is essential reading for students and scholars of American music, gender and sexuality, class, and pop culture.