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Books on the topic 'Contemporary instrumental music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Barrett, Bob. Contemporary music styles. Taylor Made Music, 1996.

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2

Wyrtzen, Don. Piano worship: Meditations for sunday. Singspiration, 1991.

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3

Sundin, Nils-Göran. Aesthetic criteria for musical interpretation: A study of the contemporary performance of western notated instrumental music after 1750. University of Jyväskylä, 1994.

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4

Sterling, Robert. Songs in the key of love: 12 arrangements for vocal ensemble or contemporary choir. Word Music, 1996.

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5

Barrett, Bob. Synthesizers in praise & worship: The keyboardist's guide to electronic orchestration. Taylor Made Music, 1997.

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6

Wajler, Zig. World beat fun: Multicultural and contemporary rhythms for K-8 classrooms. Warner Bros. Publications, 2002.

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7

French pianism: An historical perspective : including interviews with contemporary performers. Pro/Am Music Resources, 1992.

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8

Mantooth, Frank. Voicings for jazz keyboard: A comprehensive approach to contemporary keyboard voicings for the performer, arranger, teacher, jazz theorist. Hal Leonard Pub. Corp., 1986.

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9

Dewey, John. The influence of Darwin on philosophy and other essays in contemporary thought. Southern Illinois University Press, 2005.

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10

Oboe Unbound: Contemporary Techniques. Rowman & Littlefield Publishers, 2014.

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11

Oboe Unbound: Contemporary Techniques (New Instrumentation). The Scarecrow Press, Inc., 2004.

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12

Flint, Tommy. Easy Gospel Guitar Solos. Mel Bay Pubns, 1989.

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13

Neal, Jocelyn R. The Twang Factor in Country Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0003.

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The term twang in instrumental and vocal contexts carries powerful associations within country and western music. Revered by some and disdained by others, twang indexes rural traditions, untrained singers, and, consequently the pride in this cultural heritage. This chapter explores the sonic properties of twang in both instruments and the human voice, the cultural implications and reception of twang, and the deemphasis on twang in Nashville’s country music scene in the 1950s. It presents a case study of two contrasting recordings by Jim Reeves (one with liberal use of twang and one without), e

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14

Wood, Hugh. Contemporary music, 1945-1980. 1990.

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15

Weiss, Naomi. Hearing the Syrinx in Euripidean Tragedy. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.003.0007.

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References to the syrinx are mostly absent from extant tragedy until the late fifth century BC, when the instrument suddenly starts appearing in Euripides’ plays, especially in the choral odes. This chapter demonstrates that the syrinx is almost always mentioned alongside the aulos, the double pipe that accompanied dramatic choreia, or in such a way that the aulos is strongly suggested, so that the one instrument is meant to be heard as the other. Such instrumental mimesis in Euripides’ tragedies does more than just show off his own skill and engagement with contemporary musical trends and dis

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16

Uzendoski, Michael A., and Edith Felicia Calapucha-Tapuy. Cosmological Communitas in Contemporary Amazonian Music. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036569.003.0008.

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This chapter describes the modern musical genre Runa Paju, a genre that features clever Quichua lyrics, electronic amplification, and eclectic use of instruments and musical styles. It focuses on the social dynamics of the music and its relationship to Quichua cosmology and mythological thought. It argues that, although Runa Paju is a new, modern genre, it follows the same communicative and social assumptions of storytelling as traditional genres. Runa Paju brings into artistic contour the experiences of life's problems and experiences with a larger narrative of cosmological destiny. By target

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17

Ó Briain, Lonán. Hybridity and the Other in Modern National Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190626969.003.0003.

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The process of inventing a national musical tradition for newly independent Vietnam demanded the inclusion of appropriate features from the minority cultures. Scholars compiled studies of these groups and ascribed musical instruments and styles to particular people. Composers and performers were then encouraged, via the awards and honors that were bestowed upon them by the Communist Party, to incorporate these features into their musical palettes. Lương Kim Vĩnh, a state-employed musician from the Viet majority, successfully modified the Hmong reed pipe for use in modern national music, and he

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18

Bakan, Michael B. Graeme Gibson. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190855833.003.0007.

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Graeme Gibson is a man of many talents. He curates an online museum of more than four hundred world music instruments, plays many of those instruments himself, designs and builds others, and conducts copious research on music traditions worldwide. Because “world music involves numerous traditions [up] to contemporary musics,” Graeme says, “I prefer to think of it as a spectrum that includes numerous genres.” He sees parallels between the spectrum of world music and the autism spectrum, where he states that he “also found that everyone is different from their case, to my case and so on. I do ag

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19

Day-O'Connell, Sarah. The Singing Style. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0010.

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Despite its cursory description by Leonard Ratner and its outright dismissal by Raymond Monelle, the “singing style” is frequently evoked by analysts referring loosely (and often contradictorily) to song-like qualities. This chapter presents the singing style within the wider discourse, culture, and practice surrounding eighteenth-century songs and singing. Contemporary discussions of vocal composition (Johann Mattheson, Heinrich Christoph Koch) and vocal performance (Pier Francesco Tosi, in translations with commentaries by John Ernest Galliard and Johann Friedrich Agricola) involve a range o

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20

Cook, Nicholas. Making music together. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199347803.003.0002.

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This first chapter of Music as Creative Practice sets out a social and performative approach to creativity in music. It develops the idea of emergence, the generation of unpredicted and unpredictable outcomes, within the context of collaborative performance, but extends it into a broad concept of real-time musical creativity. This is achieved through the idea of the musical assemblage, in which interactions between people are extended through the role of instruments, scores and other ‘outside the room’ factors: creativity is a property of the total human and nonhuman system. The argument is de

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21

Ó Briain, Lonán. Musical Minorities. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190626969.001.0001.

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Musical Minorities is the first English-language monograph on the performing arts of an ethnic minority in Vietnam. Living primarily in the northern mountains, many of the one million Hmong in Vietnam have strategically maintained their cultural distance from foreign invaders and encroaching state agencies for almost two centuries. They use cultural heritage as a means of maintaining a resilient community identity, malleable to their everyday needs and to negotiations among themselves and with others in the vicinity. Case studies of revolutionary songs, countercultural rock, traditional vocal

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22

Hutchinson, Sydney. No ma’ se oye el fuinfuán. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037207.003.0013.

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Merengue is widely recognized as the national music of the Dominican Republic, its most popular and best-known export. In the twentieth century, merengue split into different genres, catering to different social groups: the orquesta merengue, centered around wind and brass instruments, and the accordion-based merengue típico. This chapter examines how the accordion is played in Dominican merengue típic. It outlines historical and contemporary meanings of the accordion as related to class, ethnicity, and gender, suggesting that the instrument often embodies Dominicans' changing ideas about them

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23

Williams, Peter. The Organ in Western Culture, 7501250. Cambridge University Press, 2005.

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24

Gill, Denise. Separation, the Sound of the Rhizomatic Ney, and Sacred Embodiment. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190495008.003.0003.

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Chapter 2 demonstrates the depth to which rhizomatic analysis can be utilized with a single sound and word: Hû. I study Hû as a sound, as instrument technique for the end-blown reed flute, the ney, as sacred embodiment, and as representative of the city of Istanbul. This chapter also offers a history of Sufism in relation to contemporary Turkish classical music production. This chapter challenges secular discursive and theoretical frameworks used to analyze Turkish classical music as I focus on Hû as a case study to demonstrate how we can identify spirituality and melancholy in something as sm

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25

Jacobson, Marion S. The Accordion in New Scores. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037207.003.0015.

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This chapter focuses on the work of contemporary composer and accordionist William Schimmel and his experimental use of the piano accordion. Schimmel's somewhat odd choice of instrument—which is not an accepted “concert instrument,” from the music academy's point of view—unshackles him from some classic compositional constraints, giving him the freedom to explore the piano accordion's unique tonalities and textures. Schimmel's interpretations not only give a new voice to classic works but release meanings hitherto concealed by strict adherence to the musical score. By opening up new possibilit

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26

The Influence of Darwin on Philosophy and Other Essays in Contemporary Thought. Southern Illinois University, 2007.

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27

Fink, Robert, Melinda Latour, and Zachary Wallmark, eds. The Relentless Pursuit of Tone. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.001.0001.

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The Relentless Pursuit of Tone: Timbre in Popular Music assembles a wide spectrum of contemporary perspectives on how sound functions in an equally wide array of popular music. With subjects ranging from the twang of country banjos and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume attempts to bridge the gap between timbre, the purely acoustic characteristics of sound waves, and tone, an emergent musical construct that straddles the borderline between the perceptual and the political. The book’s chapters engage with t

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28

Byers, Mark. Charles Olson and American Modernism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198813255.001.0001.

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The Practice of the Self situates the work of American poet Charles Olson (1910–70) at the centre of the early postwar American avant-garde. It shows Olson to have been one of the major advocates and theorists of American modernism in the late 1940s and early 1950s; a poet who responded fully and variously to the political, ethical, and aesthetic urgencies driving innovation across contemporary American art. Reading Olson’s work alongside that of contemporaries associated with the New York Schools of painting and music (as well as the exiled Frankfurt School), the book draws on Olson’s publish

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29

Bell, Adam Patrick. The Studio. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190296605.003.0002.

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Chapter 2 discusses the role of the producer, the concept of instrumentality, and how the recording studio has come to be conceptualized as an instrument since the mid-twentieth century. As exemplified by the practices of producers in the 1950s (Jerry Leiber and Mike Stoller) and the 1960s (Phil Spector, the Beach Boys’ Brian Wilson, and Motown’s Berry Gordy), early iterations of the studio as musical instrument entailed a collaborative process of working with musicians and studio personnel. In the early 1970s playing the studio as musical instrument took on a new meaning in the hands of Jamai

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30

Clarke, Eric F., Mark Doffman, David Gorton, and Stefan Östersjö. Fluid practices, solid roles? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0009.

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This chapter investigates the relationship between the fluid practices that frequently characterize the work of contemporary musicians, and the more solid roles of performer and composer that continue to hold sway in contemporary music. Focusing on a case study of the collaborative creation of Forlorn Hope for eleven-string alto guitar and electronics, by Gorton and Östersjö, the chapter analyses the processes that lead from research and experimentation with particular guitar tunings and playing techniques, through a more conventionally compositional phase, to the first public performance of t

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31

Anno, Mariko. Piercing the Structure of Tradition. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781939161079.001.0001.

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What does freedom sound like in the context of traditional Japanese theater? Where is the space for innovation, and where can this kind of innovation be located in the rigid instrumentation of the Noh drama? This book investigates flute performance as a space to explore the relationship between tradition and innovation. This first English-language monograph traces the characteristics of the Noh flute (nohkan), its music, and transmission methods and considers the instrument's potential for development in the modern world. The book examines the musical structure and nohkan melodic patterns of f

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32

Pritchard-Pink, Nicola. Dibdin and Jane Austen. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812425.003.0008.

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Jane Austen was one of Dibdin’s greatest admirers and his songs feature prominently in her music collection. Yet the Dibdin songs she owned, with their bawdy comedy, political and social satire, and martial, masculine themes, were far removed from the musical diet prescribed for young ladies of Austen’s rank by conduct writers. Indeed, they were quite different from those advocated by Dibdin himself in his tract on the musical education of young girls, the Musical Mentor (1808), which suggested songs on ‘Constancy’, ‘A Portrait of Innocence’, or ‘Vanity Reproved’ as more suitable subject matte

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33

Perrott, Lisa. ZigZag. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.038.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Animators and visual music artists have long experimented with technological devices to explore the image–sound relationship, often innovating new ways of composing motion in time and space. For Len Lye this involved pioneering methods of animation and exploring the material qualities of organic materials such as film and metal, creating a substantial body of handmade animations that continue to affect audiences and inspire contemporary practitioners. Lye’s w

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