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Books on the topic 'Music-oriented'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Grover, John. A computer-oriented description of music notation. University of Oslo, Dept. of Informatics, 1989.

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2

Frazier, Robert E. Guitar oriented condensed music theory: Including cheat-sheets. Robert E. Frazier, 2004.

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3

Lassfolk, Kai. Music notation as objects: An object-oriented analysis of the common western music notation system. International Semiotics Institute at Imatra : Semiotic Society of Finland : Department of Musicology, University of Helsinki, 2003.

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4

Music notation as objects: An object-oriented analysis of the common western music notation system. International Semiotics Institute, 2004.

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5

Jullander, Sverker. Rich in nuances: A performance-oriented study of Otto Olsson's organ music. Dept. of Musicology, Göteborg University, 1997.

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6

Kenkyūkai, Seikatsu Kankyō, ed. Fūei tekiseikahō hōrei kijunshū: Sandan taishōshiki. 5th ed. Taisei Shuppansha, 2008.

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7

Kageyama, Shin. Chūkai Fūeihō. Tōkyō Hōrei Shuppan, 2008.

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8

Japan, ed. Heisei 10-nen kaisei Fūei tekiseikahō no kaisetsu. Taisei Shuppansha, 1998.

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9

Sex press: The sexual revolution in the underground press, 1963-1979. Abrams, 2012.

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10

compiler, Primois Mariel, ed. Sex press: La révolution sexuelle vue par la presse underground. Éditions de La Martinière, 2012.

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11

Objective-C. Peachpit Press, 2010.

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12

library, Wiley online, ed. Objective-C. Wiley, 2011.

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13

McAuliffe, Emmett. Pop power!: The discography of melody-oriented rock 'n' roll : with rating & comments. [E. McAuliffe, 1990.

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14

Rolvsjord, Randi. Resource-Oriented Perspectives in Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.5.

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Resource-oriented music therapy emphasizes the development and stimulation of client’s strengths and resources rather than the reduction of symptoms or cure of pathology. Thus, the focus in therapy is positive experiences, mastery, and coping rather than on difficult emotions, psychological conflicts, and problems. Collaboration and user-involvement is highly emphasized. Resources-oriented perspectives in music therapy are linked to movements and theoretical perspectives in an interdisciplinary field, such as the philosophy of empowerment, positive psychology, salutogenesis, recovery, and vari

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15

Lazzarini, Victor. Computer Music Instruments II: Realtime and Object-Oriented Audio. Springer, 2019.

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16

T, Pope Stephen, ed. The Well-tempered object: Musical applications of object-oriented software technology. MIT Press, 1991.

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17

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 comm

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18

Myrick, Nathan. Music for Others. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197550625.001.0001.

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Musical activity is one of the most ubiquitous and highly valued forms of social interaction in North America—from sporting events to political rallies, concerts to churches. Its use as an affective agent for political and religious programs suggests that it has ethical significance, but it is one of the most undertheorized aspects of both theological ethics and music scholarship. Music for Others: Care, Justice, and Relational Ethics in Christian Music fills part of this scholarly gap by focusing on the religious aspects of musical activity, particularly on the practices of Christian communit

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19

bell, adam patrick, ed. The Music Technology Cookbook. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.001.0001.

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The Music Technology Cookbook is a practitioner-oriented collection of lesson plans outlining step-by-step music-making activities with music technology. Featuring fifty-six lessons by forty-nine authors from around the world, The Music Technology Cookbook covers a broad range of music technology topics including: composition (with digital audio workstations such as Ableton, Soundtrap, GarageBand); production skills such as recording, editing, and equalization; creating multimedia (ringtones, soundscapes, audiobooks, sonic brands, jingles); beatmaking; DJing; programming (Minecraft, Scratch, S

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20

McAllister, Lesley S. Yoga in the Music Studio. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915001.001.0001.

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The ancient practice of yoga, which has exploded in popularity in the United States over the past two decades, has the potential to help music students learn to practice more mindfully and reach peak performance more quickly. This book explores how professional musicians and music teachers of all instruments and levels can use yoga postures (asana) and breath work (pranayama) to enhance artistry. It begins with an overview of yoga philosophy and history before delving into principles of movement, alignment, anatomy, and breath. Following a research-oriented chapter illustrating the cognitive,

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21

Kenkyūkai, Seikatsu Kankyō, ed. Shin fūei tekiseikahō hōrei kijunshū: Sandan taishōshiki. 3rd ed. Taisei Shuppansha, 1999.

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22

Glass, Loren. Carole King's Tapestry. Bloomsbury Publishing Inc, 2021. http://dx.doi.org/10.5040/9781501355653.

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Carole King’s Tapestry is both an anthemic embodiment of second-wave feminism and an apotheosis of the Laurel Canyon singer-songwriter sound and scene. And these two elements of the album’s historic significance are closely related insofar as the professional autonomy of the singer-songwriter is an expression of the freedom and independence women of King’s generation sought as the turbulent sixties came to a close. Aligning King’s own development from girl to woman with the larger shift in the music industry from teen-oriented singles by girl groups to albums by adult-oriented singer-songwrite

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23

Lange, Barbara Rose. Ági Szalóki and Multiethnic Femininity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0003.

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Chapter 2 details how female performers with Romani (Gypsy) and Magyar ancestry face constraints of mixed ethnicity and gender, discussing the career of singer Ági Szalóki. The chapter outlines how Magyar female performers singing music of all regional ethnicities contributed to the folk revival in Hungary from the 1970s to the present; the international star Márta Sebestyén gave inspiration to young minority performers such as Szalóki, who then oriented their solo careers toward the liberalized society and the middle class. The chapter details how Szalóki left a Balkan Romani-style band to pu

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24

Alonso-Minutti, Ana R. Gatas y Vatas. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0008.

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This chapter centers on the activities of Gatas y Vatas, an annual experimental music festival in New Mexico that features solo performances by local practitioners. Initiated by young female Hispanic musicians as an attempt to counteract the white male dominance of local music scenes, Gatas y Vatas has become a catalyst of female empowerment where participants experience liberation while defying gender norms in an all-inclusive environment. Alonso-Minutti examines how the practices fostered in the festival are tied to a locally perceived freedom granted by Albuquerque’s complex cultural makeup

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25

Staged Seduction: Selling Dreams in a Tokyo Host Club. Stanford University Press, 2016.

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26

Takeyama, Akiko. Staged Seduction: Selling Dreams in a Tokyo Host Club. Stanford University Press, 2016.

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27

Marovich, Robert M. Turn Your Radio On. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039102.003.0004.

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This chapter focuses on the pioneers of sacred music radio broadcasting in Chicago. During the 1920s, several Chicago Pentecostal and Holiness church leaders discovered the potential of radio as a medium for transmitting their ministries to households throughout Chicago and beyond. It was through radio that Chicago's white community was introduced to the sounds of sanctified singing and preaching. As a cultural and economic phenomenon, black-oriented radio in Chicago traces its roots to 1929 and the entrepreneurial efforts of Jack L. Cooper, the first black disk jockey not only in Chicago but

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28

Patton, Raymond A. Culture Wars. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190872359.003.0008.

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This chapter shows how the growing culturally oriented divisions in and around punk peaked in the mid-1980s in culture wars that emerged simultaneously in societies across the First and Second Worlds. In the United States, the Parents Music Resource Center (PMRC) formed in Washington, DC, to combat profanity in music; in the United Kingdom, Crass faced obscenity charges; and governments of several Eastern European countries cracked down on punk and its offshoots, new wave and heavy metal. However, by the mid-1980s, a new coalition of forces began to form in opposition to the neoconservative re

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29

Wade, Stephen. Bill Stepp. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036880.003.0001.

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This chapter focuses on Kentuckian Bill Stepp, who worked as a logger in his younger days, then later turned his energies to fiddling for neighborhood hoedowns. Stepp is the creative source of an American anthem. In 1942 his rendition of the tune “Bonaparte's Retreat” became incorporated, nearly note for note, in the score of Rodeo, Aaron Copland's acclaimed modern ballet. By the early 1970s it appeared as “Hoedown,” an FM radio hit for Emerson, Lake, and Palmer, a symphonically oriented English rock band. Later, it formed the soundtrack for the beef growers' commercial, and finally, in this,

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30

Lott, Marie Sumner. “Domesticating” the Foreign in Arrangements of Operas, Folk Songs, and Other Works for Chamber Ensembles. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039225.003.0002.

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This chapter looks at string quartet transcriptions and arrangements. These arrangements differ from their piano-oriented counterparts in significant ways, and they reflect the changing role of chamber music—and that of opera and folk song—in musical life over the course of the nineteenth century. In translating an opera or other work for string quartet, arrangers combined seemingly opposed genres and social settings, bringing the opera house into the parlor in some cases and the countryside into the city in others. The chapter then focuses on Berlin-based publisher Adolph Martin Schlesinger.

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31

Endreß, Alexander, and Hubert Wandjo, eds. Musikwirtschaft im Zeitalter der Digitalisierung. Nomos Verlagsgesellschaft mbH & Co. KG, 2021. http://dx.doi.org/10.5771/9783845276939.

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How does one deal with the digitalisation of an industry when practice is overtaking itself so quickly, as the music industry has experienced in the past twenty years? On the one hand, by questioning the causes of change and, on the other hand, by describing and reflecting on practice. Both are done in this book. The music industry is understood as a complex system based on the division of labour, in which artist development, content production, content marketing and rights management go hand in hand. Special attention is therefore paid to these operative fields of action. The practice-oriente

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32

Kieffer, Alexandra. Debussy's Critics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847241.001.0001.

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Around the turn of the twentieth century, the work of Claude Debussy spurred a reimagining of music and musical listening in which Parisian musicians and intellectuals, informed by recent scientific discourse on affect, perception, and cognition, attempted to articulate a music aesthetics appropriate to the fully embodied, material self of psychological modernism. Important themes in debussyste music criticism are prefigured in the Symbolist wagnérisme of the late 1880s, which elaborated a model of affect and cognition drawn from the empirical psychology of Théodule Ribot. Following the premie

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33

Lange, Barbara Rose. Epilogue. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0011.

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The Epilogue describes how economic and social shocks of the late 2000s, in particular the 2008 world economic crisis, affected local fusion musics in Central Europe. It discusses changes in artistic personhood, musical sociality, creative processes, and connections to the West European musical market; efficiency penetrated the creative process, and more aspects of the individual became monetized. The Epilogue describes how far-right nationalism and its musical expression strengthened in the late 2000s, and how others made musical interventions against these trends. It describes how musicians

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34

Expressive Therapy: A Creative Arts Approach to Depth-Oriented Treatment. Human Sciences Pr, 1986.

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35

Wolf, Richard K. Beyond the Mātra. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038587.003.0004.

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This chapter examines the idea of classicism being connected with the counting of homogeneous time units, or mātras, and of local music being oriented to an irregular sequence of accents marked by syllables and claps. It considers the ways in which drum patterns might be linked to texts and accented syllables, as well as the importance of reciting drum syllables not only in the learning process but also in performances. Four principles for organizing drum patterns that do not depend on cycles with a fixed number of pulses are discussed: the number of stressed beats, repeating motives, tone mel

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36

Godreau, Isar P. Irresolute Blackness. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038907.003.0008.

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This chapter examines how the showcasing of black folklore in San Antón requires work and ideological maneuvering. Dynamics of representation of “community” varied a great deal depending on whether such public events were organized for residents or for a broader national audience. Local events such as Christmas dinners, Mother's Day celebrations, and Father's Day celebrations were mostly organized around religious activities, family oriented or preestablished holidays. In contrast, public events targeted to an outside audience centered on Afro-Puerto Rican or Afro-Antillean music and predomina

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37

Washburne, Christopher. Latin Jazz. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195371628.001.0001.

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Latin Jazz: The Other Jazz is an issue-oriented historical and ethnographic study that focuses on key moments in the history of the music in order to unpack the cultural forces that have shaped its development. The broad historical scope of this study, which traces the dynamic interplay of Caribbean and Latin American musical influence from eighteenth- and nineteenth-century colonial New Orleans through to the present global stage, provides an in-depth contextual foundation for exploring how musicians work with and negotiate through the politics of nation, place, race, and ethnicity in the eth

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