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Books on the topic 'Aural music theory'
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1
1962-, Murphy Paul, Clendinning Jane Piper, and Marvin Elizabeth West 1955-, eds. The musician's guide to aural skills. 2nd ed. New York: W. W. Norton, 2012.
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Thackray, Rupert Manfred. The seeing ear: Exercises in aural musicianship. Nedlands, W.A: CIRCME, School of Music, University of Western Australia, 1995.
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Thackray, Rupert Manfred. The hearing eye: An introduction to aural musicianship. [Nedlands, W.A.]: CIRCME, School of Music, University of Western Australia, 1994.
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Toft, Robert. Aural images of lost traditions: Sharps and flats in the sixteenth century. Toronto: University of Toronto Press, 1992.
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1936-, Caudharī Subhadrā, ed. Saṅgītaratnākara: "Sarasvatī" vyākhyā aura anuvādasahita. Naī Dillī: Rādhā Pablikeśana, 2000.
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Snodgrass, Jennifer. Teaching Music Theory. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190879945.001.0001.
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Many innovative approaches to teaching are being used around the country, and there is an exciting energy about the scholarship of teaching and learning. But what is happening in the most effective music theory and aural skills classrooms? Based on 3 years of field study spanning 17 states, coupled with reflections from the author’s own teaching strategies, Teaching Music Theory: New Voices and Approaches highlights teaching approaches with substantial real-life examples from instructors across the country. The main premise of the text focuses on the question of “why.” Why do we assess in a particular way? Why are our curricula designed in a certain manner? Why should students master aural skills for their career as a performer, music educator, or music therapist? It is through the experiences shared in the text that many of these questions of “why” are answered. Along with answering some of the important questions of “why,” the book emphasizes topics such as classroom environment, undergraduate research and mentoring, assessment, and approaches to curriculum development. Teaching Music Theory: New Voices and Approaches is written in a conversational tone to provide a starting point of dialogue for students, new faculty members, and seasoned educators on any level. The pedagogical trends presented in this book provide a greater appreciation of outstanding teaching and thus an understanding of successful approaches in the classroom.
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Musician's Guide to Aural Skills: Sight-Singing. Norton & Company Limited, W. W., 2016.
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Phillips, Joel, Jane Piper Clendinning, and Elizabeth West Marvin. The Musician's Guide To Aural Skills. W. W. Norton & Company, 2005.
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Phillips, Joel, Jane Piper Clendinning, and Elizabeth West Marvin. The Musician's Guide to Fundamentals, Volume 2: Aural Skills and Anthology, with Recordings CD-ROM. W. W. Norton, 2008.
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The Musician's Guide to Aural Skills, Vol. 2 [with audio CD]. W. W. Norton & Company, 2005.
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13
Courtney, Rosemary. Music and language, towards a theory of the influence of aural perception on language development and reading. 1987.
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Courtney, M. (Maureen) Rosemary. Music and language: towards a theory of the influence of aural perception on language development and reading. 1988.
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15
Porter, James I. Sounds You Cannot Hear. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.003.0010.
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Ancient musical and literary theory converge in a view about the ways in which aural effects are produced and received. According to both, sounds are constructed around gaps of sound. This is the source of their music and the pleasure they promise and then deliver—in the form of an appearance (a phantasia) that exists in the imagination rather than in the ear. Sounds that cannot be heard are truly sublime sounds. The chapter explores the genesis of this view of music, poetry, and the music of poetry in Cicero, the Hellenistic euphonist critics, and Longinus, with glances back at earlier stages of the same tradition (Aristoxenus, the fifth-century harmonikoi, and Gorgias), which in fact lies at the root of all song-culture in Greco-Roman antiquity.
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Walker, Elsie. Hearing Haneke. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.001.0001.
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Haneke’s films are sonically charged experiences of disturbance, desperation, grief, and many forms of violence. They are unsoftened by music, punctuated by accosting noises, shaped by painful silences, and defined by aggressive dialogue. Haneke is among the most celebrated of living auteurs: he is two-time receipt of the Palme d’Or at Cannes Film Festival (for The White Ribbon [2009] and Amour [2012]), and Academy Award winner of Best Foreign Language Film (for Amour), among numerous other awards. The radical confrontationality of his cinema makes him a most controversial, as well as revered, subject. Hearing Haneke is the first book-length study of the sound tracks that define his living legacy as an aural auteur. Hearing Haneke provides close sonic analyses of The Seventh Continent, Funny Games Code Unknown, The Piano Teacher, Caché, The White Ribbon, and Amour. The book includes several sustained theoretical approaches to film sound: including postcolonialism, feminism, genre studies, psychoanalysis, adaptation studies, and auteur theory. From these various theoretical angles, Hearing Haneke shows that the director consistently uses all aural elements (sound effects, dialogue, silences, and music) to inspire our humane understanding. He expresses faith in us to hear the pain of his characters’ worlds most actively, and hence our own more clearly. This has profound social and personal significance: for if we can hear everything better, this entails a new awareness of the “noise” we make in the world at large. Hearing Haneke will resonate for anyone interested in the power of art to inspire progressive change.
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Boutin, Aimée. Aural Flânerie. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039218.003.0002.
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This chapter establishes that scholarly approaches to flâneurs have downplayed the broader impact of the urban experience on the senses and underappreciated their aural acuity. From the type's early formulations by Honoré de Balzac, Auguste de Lacroix, and Victor Fournel, the flâneur is attuned to city sounds, and flâneur-writing arranges them to portray the city as concert. The art of flânerie consists of transforming the empirical confusion of city sounds into a unified musical composition. As the clamor of the streets promoted selective hearing, street musicians were targeted as major contributors to the city as concert. Close readings of verbal and visual sketches by Delphine de Girardin, Maria d'Anspach, Bertall, and Old Nick show that class-biased ideas about concert music influenced their often humorous reactions to street noise; nevertheless, the neurasthenic bourgeois ear was often less than receptive to the intrusive noise of foreign street performers. In contrast, Victor Fournel waxed enthusiastic about the people's love of music. A close reading of his Ce qu'on voit dans les rues de Paris makes sense of his distinctive appreciation for street music.
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Butz, Karel. Achieving Musical Success in the String Classroom. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190602888.001.0001.
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Achieving Musical Success in the String Classroom describes the author’s pragmatic pedagogical approach toward developing complete musicianship in beginning through advanced-level string players by incorporating the ideas of Mimi Zweig, Paul Rolland, and Shinichi Suzuki. The author’s philosophical assumptions are explained in regard to the structure and purpose of string teaching contributing to a high level of musical artistry among students. Introductory through advanced string concepts relating to instrument setup, posture, left- and right-hand development, music theory, aural skills, assessment procedures, imagery in playing, the development of individual practice and ensemble skills, and effective rehearsal strategies are explained in a sequential approach that benefits the classroom teacher and student. In addition, several score examples, sample lesson plans, and grading rubrics, as well as videos of the author demonstrating his pedagogical ideas and techniques with musicians, are included.
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Cheyne, Peter, Andy Hamilton, and Max Paddison, eds. The Philosophy of Rhythm. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199347773.001.0001.
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Spanning all cultures, rhythm is the basic pulse that animates poetry and music. The recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience—particularly in sociology, cultural and media theory, and literary studies—has yet to explore this fundamental category. Discussion of rhythm tends to be confined within the discrete conceptual domains and technical vocabularies of musicology and prosody. With its original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, this volume opens up wider—and plural—perspectives. It examines formal affinities between the historically interconnected fields of music, dance, and poetry, addressing key concepts such as embodiment, movement, pulse, and performance. Questions considered include: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? What is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? This collection provides a unique overview of a neglected aspect of aesthetic experience, and will appeal across disciplinary boundaries. It examines formal affinities between the historically interconnected fields of music, dance, and poetry, addressing key concepts such as embodiment, movement, pulse, and performance. The book is conceived throughout to appeal to a cross-disciplinary readership.
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Hsu, Eddie. Traditional Music for the People. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0008.
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In this chapter I use Chinese music departments in the PRC and Taiwan as case studies, exploring how the process of institutionalization has reshaped traditional music in the region and how Chinese music programs have developed responses to growing concerns about their relevance to the surrounding community. More Chinese music programs now seek to develop curricula that incorporate the practices of oral/aural tradition from local musical communities. In an effort to make traditional music more accessible to a wider audience, some institutions attempt to increase their appeal through interdisciplinary collaborations and outreach events as well. I argue that collaborations between institutions and communities will become indispensable to Chinese music programs to help ensure an appropriate representation of local music genres and its relevance to local audiences.
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Richardson, John, Claudia Gorbman, and Carol Vernallis, eds. The Oxford Handbook of New Audiovisual Aesthetics. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.001.0001.
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This volume offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the Internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music, and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes. Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema, and television migrated across media. However, the traversal, or “remediation,” from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of “cyberspace,” audiovisual expression has changed dramatically. The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and nonacademic writers (both mainstream and independent)-open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today’s sound and image. All consider the aural dimension, and what Michel Chion calls “audio-vision:” the sensory and semiotic result of sound placed with vision, an encounter greater than their sum.
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Hill, Juniper. Incorporating improvisation into classical music performance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0015.
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The paucity of improvisation over the last 150 years of western art music is an anomaly. This chapter discusses why and how classical musicians today might incorporate more improvisation into their practice and performance. Examples from professional musicians demonstrate innovative approaches to classical improvisation as well as methods for renewing historical practices in modern contexts. As a developmental tool, improvisation can be used to deepen understanding of traditional repertoire, improve technique and aural skills, expand expressive possibilities, discover a personal voice, and lessen performance anxiety. Methods for increasing improvisation in public performance are also illustrated, including the preparation of improvised cadenzas in canonical repertoire, the exploration of multiple possible score interpretations, the practice of functional improvisation for church services, and the adventure of boundary-challenging creative acts. The chapter concludes by addressing challenges and constraints faced by potential improvisers in today’s classical music culture, especially in relation to education (when important enabling skill sets are left underdeveloped), career pressures (when deviations from convention are risky) and value systems (when improvisation is considered wrong and the creative capacity of performers is deemed inferior). Classical performers are encouraged to take some of their training into their own hands and assert their right for greater artistic autonomy.
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Jones, Alisha Lola. Flaming? Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190065416.001.0001.
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Flaming?: The Peculiar Theopolitics of Fire and Desire in Black Male Gospel Performance examines the rituals and social interactions of African American men who use gospel music-making as a means of worshiping God and performing gendered identities. Prompted by the popular term “flaming” that is used to identify over-the-top or peculiar performance of identity, Flaming? argues that these men wield and interweave a variety of multivalent aural-visual cues, including vocal style, gesture, attire, and homiletics, to position themselves along a spectrum of gender identities. These multisensory enactments empower artists (i.e., “peculiar people”) to demonstrate modes of “competence” that affirm their fitness to minister through speech and song. Through a progression of transcongregational case studies, Flaming? observes the ways in which African American men traverse tightly knit social networks to negotiate their identities through and beyond the worship experience. Coded and “read” as either hypermasculine, queer, or sexually ambiguous, peculiar gospel performances are often a locus of nuanced protest, facilitating a critique of heteronormative theology while affording African American men opportunities for greater visibility and access to leadership. Same-sex relationships among men constitute an open secret that is carefully guarded by those who elect to remain silent in the face of traditional theology, but musically performed by those compelled to worship “in Spirit and in truth.” This book thus examines the performative mechanisms through which black men acquire an aura of sexual ambiguity, exhibit an ostensible absence of sexual preference, and thereby gain social and ritual prestige in gospel music circles.
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Bashford, Christina. Concert Listening the British Way? Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.8.
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It is a well-known fact that the provision of printed program notes at concerts of classical music was a nineteenth-century phenomenon aimed at guiding listener experiences. This chapter discusses why those notes first proliferated in Britain and whether there was anything peculiarly British about them. Program notes took root in 1840s Britain, initially at highly serious chamber concerts. They explained the formal structure by aural sign-postings and embodied a significant attempt to shape listening practices in Victorian Britain in a distinctive way. Underpinning their successful spread were several interlocking economic, cultural, and musical factors. These included the rapid development of a sizeable public concert culture, the growth of audiences eager for the elucidation of high art, the Victorian desire to educate and guide (related to notions of tourism, industry, rationality, progress, and religious reverence), and the absence of a tradition of publishing in-depth reviews of music in British journals.
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Kielian-Gilbert, Marianne. Disabled Moves. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.38.
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If music and music experience are more than internal representation and symbol manipulation, how might one flesh out and understand their multidimensionality? This essay describes “disabled moves” toward that question by imagining and disturbing what it might mean to think and be through the variant body. First, it considers the implications of the unexamined and assumed centricity of the abled body and the kinds of material-bodily-mental interventions that might unfix or jostle (musical) identity with respect to that centricity. Second, it considers the potential and limitations of medical and aural metaphors in Ethel Smyth’s Concerto for Horn, Violin and Orchestra (1926–1927). Third, it stages musical “theatres of madness,” juxtaposing descriptive listening accounts of Marta Ptaszyńska’s “Thorn Trees” from her Concerto for Marimba and Orchestra, to suggest a multidimensional approach to analysis that works with side-by-side encounters and the critical potential and desire for change.
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Schwartz, Jessica A. Radiation Sounds. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021919.
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On March 1, 1954, the US military detonated “Castle Bravo,” its most powerful nuclear bomb, at Bikini Atoll in the Marshall Islands. Two days later, the US military evacuated the Marshallese to a nearby atoll where they became part of a classified study, without their consent, on the effects of radiation on humans. In Radiation Sounds Jessica A. Schwartz examines the seventy-five years of Marshallese music developed in response to US nuclear militarism on their homeland. Schwartz shows how Marshallese singing draws on religious, cultural, and political practices to make heard the deleterious effects of US nuclear violence. Schwartz also points to the literal silencing of Marshallese voices and throats compromised by radiation as well as the United States’ silencing of information about the human radiation study. By foregrounding the centrality of the aural and sensorial in understanding nuclear testing’s long-term effects, Schwartz offers new modes of understanding the relationships between the voice, sound, militarism, indigeneity, and geopolitics.
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Walker, Elsie. Caché. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.003.0007.
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This chapter is a sonic analysis of Caché as an important postcolonial statement, one that attempts to redress historical injustices by amplifying the buried truths, and the ongoing fallout, of France’s colonial legacy. More specifically, the chapter explains the sonic significance of the characters’ speech, silences, and failures to face truths and understand each other (represented by the aural motif of their saying “nothing”), especially in relation to the historically suppressed massacre of Algerians protesting for Independence in October 1961. The chapter also dwells on the film’s undeniable power in the complete absence of any music to mediate its uncompromising representation of lasting social inequities in a postcolonial nation, and on a massive scale. The analysis engages with many other critical reactions to Caché that, like much scholarship on Haneke, downplay sonic subtleties and their progressive significance.
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Jarjour, Tala. Eight Old Syriac Modes. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635251.003.0003.
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This chapter scrutinizes conceptions of modality in relation to emotionality and aesthetics by addressing written forms of knowledge on the eight ecclesiastical modes in Syriac chant. It begins by presenting basic terms in existing discourses on the subject, then it examines a number of written sources (touching on issues relevant to orientalism and European musicology). The chapter develops a critical narrative on the concept of mode in three ways. First, it extracts from written tracts on the subject information that corresponds with the author’s ethnographic observation of living practice. Second, it dissects the concept of mode in Syriac music scholarship by tracking its sources and employment. Third, it brings to light the significance of perception and experience as they coincide in inherited knowledge in this aural tradition. In showing at once the presence and the absence of physical and metaphysical thinking in these writings, the chapter brings the notion of spirituality to the study of emotion and the aesthetic.
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Llano, Samuel. Discordant Notes. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199392469.001.0001.
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Scholarship on urban culture and the senses has traditionally focused on the study of literature and the visual arts. Recent decades have seen a surge of interest in the effects of sound on the urban space and its population. These studies analyze how sound generates identities that are often fragmentary and mutually conflicting. They have also explored the rise of campaigns against the negative effects of noise on the nerves and health of the population. However, little research has been carried out on the impact of sound and music in areas of broader social and political concern, such as social aid, hygiene, and social control. Based on a detailed study of Madrid from the 1850s to the 1930s, this book argues that sound and music have played a key role in structuring the transition to modernity by helping to negotiate social attitudes and legal responses to problems such as poverty, insalubrity, and crime. Attempts to control the social groups that own unwanted musical practices such as organ-grinding and flamenco performances in taverns raised awareness about public hygiene, alcoholism, and crime and triggered legal reform in these areas. In addition to marginalizing and persecuting these musical practices, the authorities and the media used workhouse bands as instruments of social control to spread “aural hygiene” across the city and wipe out unwanted musical practices.
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Xiao, Ying. China in the Mix. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812605.001.0001.
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Scarce attention has been paid to the dimension of sound and its essential role in constructing image, culture, and identity in Chinese film and media. China in the Mix fills a critical void with an original, pioneering study of the connections and intersections of film, media, music, and popular culture in contemporary China under postsocialist reform, capitalist globalization, and hybridization. It explores fascinating topics, including appropriations of popular folklore in the Chinese new wave of the 1980s; Chinese rock ’n’ roll and youth cinema in fin de siècle China; the political-economic impact of free market imperatives and Hollywood pictures on Chinese film industry and filmmaking in the late twentieth century; the reception and adaptation of hip hop; and the emerging role of Internet popular culture and social media in the early twenty-first century. This book examines the articulations and representations of mass culture and everyday life, concentrating on their aural/oral manifestations in contemporary Chinese cinema and in a wide spectrum of media and cultural productions. The research offers the first comprehensive investigation of Chinese film, expressions, and culture from a unique, cohesive acoustic angle and through the prism of global media-cultural exchange. It shows how the complex, evolving uses of sound (popular music, voice-over, silence, noise, and audio mixing) in film and media reflect and engage the important cultural and socio-historical shifts in contemporary China and in the increasingly networked world.
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Kennerley, David. Sounding Feminine. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190097561.001.0001.
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This book examines the uses and meanings of women’s voices in British society and musical culture between 1780 and 1850. As previous scholars have argued, during these decades patriarchal power increasingly came to rest upon a particular understanding of the essentially different nature of male and female physiology and psychology. As a result, this book contends, the female voice—believed to blend both physical and mental attributes—became central to maintaining, and challenging, gendered power structures. The book argues that the varying ways women used their voices—the sounds that they made, as much as the words they spoke or sang—were understood by contemporaries as aural markers of different kinds of femininity. Consequently, contemporary divisions over feminine ideals were both expressed and contested through women’s use of their voices and audiences’ responses to them. Following an introduction that lays out the book’s theoretical frameworks and main arguments, the first three chapters explore how contemporary responses to different styles of female vocality were shaped by class, religious, and national discourses, through an exploration of conduct literature, letters, diaries, life-writing, and music criticism and reportage in newspapers and periodicals. Two case studies then extend the argument further through detailed analysis of the use and meaning of women’s voices on the part of both amateur and professional female singers respectively. A closing epilogue draws together the book’s major themes and discusses their implications for the gender history of this period.