These efforts evolved into a general theory of expectation that will prove informative to readers interested in cognitive science and evolutionary psychology as well as those interested in music. The book describes a set of psychological mechanisms and illustrates how these mechanisms work in the case of music. All examples of notated music can be heard on the Web.Huron proposes that emotions evoked by expectation involve five functionally distinct response systems: reaction responses (which engage defensive reflexes); tension responses (where uncertainty leads to stress); prediction responses (which reward accurate prediction); imagination responses (which facilitate deferred gratification); and appraisal responses (which occur after conscious thought is engaged). For real-world events, these five response systems typically produce a complex mixture of feelings. The book identifies some of the aesthetic possibilities afforded by expectation, and shows how common musical devices (such as syncopation, cadence, meter, tonality, and climax) exploit the psychological opportunities. The theory also provides new insights into the physiological psychology of awe, laughter, and spine-tingling chills. Huron traces the psychology of expectations from the patterns of the physical/cultural world through imperfectly learned heuristics used to predict that world to the phenomenal qualia we experienced as we apprehend the world.

    The disruptions of the war, and the struggles of the ensuing peace, were reflected in the music of the time: in Pierre Boulez's radical re-forming of compositional technique and in John Cage's move into zen music, in Milton Babbitt's settling of the serial system, and in Dmitry Shostakovich's unsettling symphonies, in Karlheinz Stockhausen's development of electronic music and in Luigi Nono's pursuit of the universally human, in Iannis Xenakis's view of music as sounding mathematics and in Luciano Berio's consideration of it as language. The initiatives of these composers and their contemporaries opened prospects that have continued to unfold. This constant expansion of musical thinking since 1945 has left us with no single history of music. We live' as Griffiths says, among many simultaneous histories'. His study accordingly follows several different paths, showing how they converge and diverge.

    It was the first Brian Eno album tobe composed almost completely in the confines of a recording studio,over a scant few months in the summer of 1975. The album was a proofof concept for Eno's budding ideas of "the studio as musicalinstrument," and a signpost for a bold new way of thinking aboutmusic.In this book, Geeta Dayal unravels Another Green World's abundantmysteries, venturing into its dense thickets of sound. How was analbum this cohesive and refined formed in such a seemingly ad hoc way?How were electronics and layers of synthetic treatments used to createan album so redolent of the natural world? How did a deck of cardsfigure into all of this? Here, through interviews and archivalresearch, she unearths the strange story of how Another Green Worldformed the link to Eno's future -- foreshadowing his metamorphosisfrom unlikely glam rocker to sonic painter and producer.

    With its cultivated obscurity, ear-shattering sound, and over-the-top performances, Noise has captured the imagination of a small but passionate transnational audience.For its scattered listeners, Noise always seems to be new and to come from somewhere else: in North America, it was called "Japanoise." But does Noise really belong to Japan? Is it even music at all? And why has Noise become such a compelling metaphor for the complexities of globalization and participatory media at the turn of the millennium?In Japanoise, David Novak draws on more than a decade of research in Japan and the United States to trace the "cultural feedback" that generates and sustains Noise. He provides a rich ethnographic account of live performances, the circulation of recordings, and the lives and creative practices of musicians and listeners. He explores the technologies of Noise and the productive distortions of its networks. Capturing the textures of feedback—its sonic and cultural layers and vibrations—Novak describes musical circulation through sound and listening, recording and performance, international exchange, and the social interpretations of media.

    Looking at practices, concepts, tools and mixing instruments the author provides a comprehensive insight to the art and science of mixing.Whether a hobbyist of professional this book covers basic concepts to advanced techniques as well as tips and tricks and is a vital read for anyone wanting to succeed in the field of mixing.The book is accompanied by the website www.mixingaudio.com, featuring a sample chapter, illustrations, audio and a user forum. * Rounded, extensive and complete coverage of music mixing* Includes a DVD with over 700 audio samples and 4 sample mixes. The DVD is not included with the E-book. Please visit http://www.mixingaudiodvd.com/ to access the DVD content.* Covers new topics and mixing trends such as computer centred mixing

    But to do it well, you need familiarity with a wide array of equipment and techniques. This book covers them all. It delivers practical (and occasionally passionate) advice on everything from studio acoustics to jitter, miking drum sets to producing surround sound. The authors take you inside the modern studio, from its physical layout to the recording process and participants roles. After a surprisingly useful primer on sound and hearing, they turn to equipment: mikes, digital audio (and when to use analog tape instead); MIDI, amps, consoles, speakers, and more. You ll find in-depth, practical guidance on synchronization, noise reduction, mastering, manufacturing CDs -- really, just about any facet of recording you re interested in. Bill Camarda, from the July 2005 href="http://www.barnesandnoble.com/newslet... Only

    In this fable-like story three musicians from around the world are mysteriously summoned to Nashville, the Music City, to join together with Victor to do battle against the "Phasers," whose blinking "music-cancelling" headphones silence and destroy all musical sound. Only by coming together, connecting, and making the joyful sounds of immediate, "live" music can the world be restored to the power and spirit of music"--

    The revised edition is updated with a greater focus on digital recording techniques, the most powerful tools available to the home recordist. There are chapters devoted to instrument recording, humanizing drum patterns, mixing with plug-ins and virtual consoles, and a new section on using digital audio skills. And since, many true "Guerrillas" still record to analog tape, we have retained the best of that world. This edition features many more graphics than in the original edition, further enforcing Guerrilla Home Recording's reputation as the most readable, user-frienly recording title on the market.

    The company had been a fixture on the national opera scene--as the populist antithesis of the grand Metropolitan Opera, a nurturing home for young American talent, and a place where new, lively ideas shook up a venerable art form. But NYCO's demise represented more than the loss of a cherished organization: it was a harbinger of massive upheaval in the performing arts--and a warning about how cultural institutions would need to change in order to survive.Drawing on extensive research and reporting, Heidi Waleson, one of the foremost American opera critics, recounts the history of this scrappy company and reveals how, from the beginning, it precariously balanced an ambitious artistic program on fragile financial supports. Waleson also looks forward and considers some better-managed, more visionary opera companies that have taken City Opera's lessons to heart.Above all, Mad Scenes and Exit Arias is a story of money, ego, changes in institutional identity, competing forces of populism and elitism, and the ongoing debate about the role of the arts in society. It serves as a detailed case study not only for an American arts organization, but also for the sustainability and management of nonprofit organizations across the country.

    Why does music evoke such powerful moods? The answers are at last be- coming clear, thanks to revolutionary neuroscience and the emerging field of evolutionary psychology. Both a cutting-edge study and a tribute to the beauty of music itself, This Is Your Brain on Music unravels a host of mysteries that affect everything from pop culture to our understanding of human nature, including: • Are our musical preferences shaped in utero? • Is there a cutoff point for acquiring new tastes in music? • What do PET scans and MRIs reveal about the brain’s response to music? • Is musical pleasure different from other kinds of pleasure?This Is Your Brain on Music explores cultures in which singing is considered an essential human function, patients who have a rare disorder that prevents them from making sense of music, and scientists studying why two people may not have the same definition of pitch. At every turn, this provocative work unlocks deep secrets about how nature and nurture forge a uniquely human obsession.

    This reader for lovers of the piano distils his musical and linguistic eloquence and vast knowledge, and will prove invaluable to anyone with an interest in the technique, history and repertoire of the piano. Erudite, witty, enlightening and deeply personal, A Pianist's A to Z is the ideal book for all piano lovers, musicians and music aficionados: rarely has the instrument been described in such an entertaining and intelligent fashion.

    Starting with the Midlands beat combo Finders Keepers in the 1960s, he formed acclaimed funk-rock band Trapeze in the early 70s before joining Deep Purple at their commercial peak. Flying the world in Starship 1, the band's own Boeing 720 jet, Hughes enthusiastically embraced the rock superstar's lifestyle while playing on three Purple albums, including the classic Burn. When the band split in 1976 Hughes embarked on a breakneck run of solo albums, collaborations and even a brief, chaotic spell fronting Black Sabbath. All of this was accompanied by cocaine psychosis, crack addiction and other excesses, before Hughes survived a clean-up-or-die crisis, and embarked on a reinvigorated solo career enriched by a survivor's wisdom. In his autobiography, Hughes talks us through this whirlwind of a life with unflinching honesty and good humour, taking us right up to date with his triumphant re-emergence in current supergroup Black Country Communion. "I had a constant fascination with the darkside. It is another world, bordering on insanity, and demonic possession, or what I thought was my own Soul Bending personal nirvana. Its good to be back in the middle of the boat, instead of hanging on for dear life in the last life boat." - Glenn Hughes, April 2011

    Lucier explains in detail how each piece is made, unlocking secrets of the composers' style and technique. The book as a whole charts the progress of American experimental music from the 1950s to the present, covering such topics as indeterminacy, electronics, and minimalism, as well as radical innovations in music for the piano, string quartet, and opera. Clear, approachable and lively, Music 109 is Lucier's indispensable guide to late 20th-century composition. No previous musical knowledge is required, and all readers are welcome.

    The composer brings the Imperial Russia of his childhood vividly into focus, at the same time scanning what were at the time the brave new horizons of Boulez and Stockhausen with extraordinary acuity.Stravinsky answers searching questions about his musical development and recalls his association with Diaghilev and the Russian Ballet. There are sympathetic and extraordinarily illuminating reminiscences of such composers as Debussy and Ravel ('the only musicians who immediately understood Le Sacre du Printemps'), while mischievous squibs are directed at others, most notably perhaps against Richard Strauss, all of whose operas Stravinsky wished 'to admit ... to whichever purgatory punishes triumphant banality'.The conversations are by no means confined to musical subjects, ranging uninhibitedly across all the arts: Stravinsky gives unforgettable sketches of Ibsen, Rodin, Proust, Giacometti, Dylan Thomas and T S Eliot.'The conversations between Igor Stravinsky and Robert Craft are unique in musical history. The penetration of Craft's questions and the patience and detail of Stravinsky's answers combine to produce an intimate picture of a man who has sometimes puzzled, often delighted, and always intrigued ...' The Sunday Times

    Anselmi covers the bands and musicians that have impacted those styles most―Black Sabbath, Candlemass, Melvins, Eyehategod, Godflesh, Neurosis, Saint Vitus, and many others―while diving into the cultural doom that has spawned such music, from the bombing of Birmingham and hurricane devastation of New Orleans to glaring economic inequality, industrial alienation, climate change, and widespread addiction. Along the way, Anselmi interweaves the musical experiences that have led him to proudly identify as one of the doomed.