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Books on the topic 'Musical content'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Berman, Laurence. The musical image: A theory of content. Greenwood Press, 1993.

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2

Berman, Laurence D. The musical image: A theory of content. Greenwood Press, 1993.

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3

DeBellis, Mark Andrew. Music and the representational content of experience. U.M.I., 1989.

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4

Grekow, Jacek. From Content-based Music Emotion Recognition to Emotion Maps of Musical Pieces. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70609-2.

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5

Schleuter, Stanley L. A sound approach to teaching instrumentalists: An application of content and learning sequences. 2nd ed. Schirmer Books, 1997.

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6

Bergad, Ruth. Early childhood units for music. Teacher Created Materials, Inc., 1995.

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7

Schenker, Heinrich. Beethoven's ninth symphony: A portrayal of its musical content, with running commentary on performance and literature as well. Yale University Press, 1992.

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8

Martinho, Fernando Manuel de Menezes Falcão. Musical apprenticeship: The role of context in musical training. University of Surrey Roehampton, 2003.

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9

Meadows, Eddie S. Bebop to cool: Context, ideology, and musical identity. Greenwood Press, 2003.

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10

R, Heintze James, ed. American musical life in context and practice to 1865. Garland, 1994.

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11

Holm, Jennifer L. Babymouse: The musical. Random House Children's Books, 2009.

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12

Alexander, Joseph. Guitar scales in context: The practical reference guide. Fundamental Changes, 2014.

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13

Convention wisdom: The content of musical form. University of California Press, 2000.

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14

Conventional wisdom: The content of musical form. University of California Press, 2000.

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15

McClary, Susan. Conventional Wisdom: The Content of Musical Form. University of California Press, 2000.

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16

Conventional Wisdom: The Content of Musical Form (Ernest Bloch Lectures). University of California Press, 2001.

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17

Grekow, Jacek. From Content-based Music Emotion Recognition to Emotion Maps of Musical Pieces. Springer, 2018.

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18

Grekow, Jacek. From Content-based Music Emotion Recognition to Emotion Maps of Musical Pieces. Springer, 2017.

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19

Duff, John Andrew. Three works of Karel Husa: An analytical study of form, style, and content. 1990.

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20

Ellis, Katharine. French Musical Life. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197600160.001.0001.

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This book is a study of French musical centralization and its discontents during the period leading up to and beyond the “provincial awakening” of the Belle Époque. The book explains how different kinds of artistic decentralization and regionalism were hard won (or not) across a politically turbulent century from the 1830s to World War II. In doing so, it redraws the historical map of musical power relations in France. Based on work in more than seventy archives, chapters on conservatoires, concert life, stage music, folk music, and composition reveal how tensions of state and locality played

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21

BERGAD, RUTH, and Lynn Didominicis. Early Childhood Units for Music. Teacher Created Resources, 2004.

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22

Beethoven's Ninth Symphony: A Portrayal of Its Musical Content, with Running Commentary on Performance and Literature As Well. Yale University Press, 1992.

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23

Herrera, Tere Lynn. The similarity of texted musical grammar to oral communication: Exploring grammar, text and content with examples from fieldwork with Grupo Kultura. 1997.

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24

Kartomi, Margaret. Sumatra’s Performing Arts, Groups, and Subgroups. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0001.

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This book examines the traditional musical arts of Sumatra, with particular emphasis on the ethnographic, cultural, and historical contexts of the performing arts that contain music as well as some of the changes in their style, content, and reception from 1971 when the author began her field travels. The musical arts, or performing arts containing music, include the vocal, instrumental, and body percussive music, the dance and other body movement, the art of self-defense, the bardic arts, and the musical theater performed at domestic ceremonies. The book considers the musico-lingual groups an

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25

Frith, Simon. Afterword. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0017.

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The afterword comments on the central concepts of the book. It begins with a critique of traditional musicology and of sociological studies of music, the former examining musical content with insufficient focus on social content and the latter doing the reverse. In reviewing the book’s chapters, the afterword points to the complex networks of commerce and art that are present in all pieces of music. The study of musical instruments is also crucial in this volume, as the authors examine the interaction between instrument and instrumentalist and how the concept of “musical instrument” has expand

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26

Patro, Girish. About Music Industry for Beginners 2nd Edition: For Budding Sound Engineers , Music Performers, Music Educators, Musical Content Creators, Music Business Startups, Film and Music Lovers. Independently Published, 2020.

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27

Greenfield, Thomas A. American Musicals in Context. ABC-CLIO, LLC, 2021. http://dx.doi.org/10.5040/9798400611377.

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With the hit musical Hamilton (2015) captivating audiences and reshaping the way early U.S. history is taught and written about, this book offers insight into an array of musicals that explore U.S. history. The work provides a synopsis, overview of critical and audience reception, and historical context and analysis for each of 20 musicals selected for the unique and illuminating way they present the American story on the stage. Specifically, this volume explores musicals that have centered their themes, characters, and plots on some aspect of America’s complex and ever-changing history. Each

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28

Stroeher, Vicki P., and Justin Vickers, eds. Benjamin Britten in Context. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108634878.

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Benjamin Britten, pianist, conductor, educator, composer of a wide range of music from large-scale operas and choral works to string quartets and songs, is acknowledged as a pivotal figure in mid-twentieth-century Britain. This volume explores the contexts for his multi-faceted career and his engagement with his contemporaries in music, art, literature, and film, British musical institutions, royal and governmental entities, and the church, as well as his ground-breaking projects, philosophical and ideological tenets. The book is thematically structured in five parts: Britten's relationships w

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29

Maslon, Laurence. Turn Over for Act Two. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199832538.003.0001.

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The ways in which music from Broadway reached listeners were different than most of popular music: show tunes had content, but full scores from Broadway had context as well as content. The act and the art of recovering the musical experience of a Broadway show for home listeners were both complex and challenging; how producers and composers met the technical and aesthetic challenges of capturing a narrative stage experience is the journey of this book. The songs from Broadway were and are an intensely personal and popular aspect of American popular culture; likewise, the cast albums themselves

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30

Utz, Christian. Musical Composition in the Context of Globalization. transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839450956.

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31

Utz, Christian. Musical Composition in the Context of Globalization. transcript Verlag, 2021. http://dx.doi.org/10.1515/9783839450956.

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32

Kinder, Keith. The Wind and Wind-Chorus Music of Anton Bruckner. Greenwood Publishing Group, Inc., 2000. http://dx.doi.org/10.5040/9798216186663.

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This comprehensive study treats the wind works of Anton Bruckner as a complete genre and uses them to illustrate how the composer evolved in style throughout his career. A major nineteenth-century composer, organist, and church musician, Bruckner's compositional style changed dramatically in the early 1860s, dividing his career into two distinct parts. During his early career he immersed himself in the study of traditional musical principles including form, harmony, counterpoint, and orchestration. The second phase of his career, in which he composed the symphonies upon which much of his curre

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33

Harris, Craig. Computer Music in Context (Contemporary Music Review). Routledge, 1996.

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34

Fisher, Victor. Daily Planner 110 Pages Undated with Snow Content 8. 5 X 11: Musical Phantom of Opera for to Do List, Calendar, Organizer, Scheduler, Productivity Tracker, Meal Prep, Organize Tasks, Lists - Winter Gifts. Independently Published, 2021.

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35

Creech, Andrea, and Susan Hallam. Facilitating learning in small groups. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0004.

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Musical ensemble performance is an inherently social activity, offering a rich context for fostering deep learning. Yet, musicians need to be supported in developing the skills that underpin negotiation and collaboration in generating musically cohesive, imaginative and convincing performances. This chapter focuses on the role of the coach or facilitator in maximizing the potential for collaborative and creative music-making in groups. The group processes and roles found in ensembles of varying types are considered within a framework comprising musical, perceptual and social skills required fo

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36

Lesser, Andrew. Gamifying the Music Classroom. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197696644.001.0001.

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Abstract Digital games, often referred to as video games, have the potential to act as effective educational resources in the teaching of musical concepts and skills. This book serves as an introduction to how digital games can be used in educational contexts for in-service and preservice school music teachers and shows how to successfully use digital games to create, perform, respond to, and connect musical content in a way that is engaging and relevant for students. Specific examples of over 40 digital games are included in lesson plan outlines that, along with connections to educational obj

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37

Manuel, Peter. The Trajectories of Transplants. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038815.003.0002.

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Most of the North Indian music heritage brought to the Caribbean consisted of folk styles and genres that were predominantly text-driven, in that their expressive interest lay primarily in lyric content rather than purely musical dimensions. The vitality of such genres in the Caribbean has been gravely undermined by the decline of the Bhojpuri language. And yet, the fate of these music idioms has not been one of uniform decadence. This chapter discusses three genres of Bhojpuri-region narrative song—birha, the Ālhā epic, and antiphonal Ramayan singing—suggesting how their functions, inherent f

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38

Manuscripts and Medieval Song: Inscription, Performance, Context. Cambridge University Press, 2015.

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39

Golonka, Marek. Musical jako maszyna pamięci. Przedstawienie przeszłości Austrii w wybranych musicalach Michaela Kunzego. University of Warsaw Press, 2022. http://dx.doi.org/10.31338/uw.9788323554066.

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Michael Kunze, librettist whose works include Elisabeth and Dance of the Vampires, enjoys immense popularity throughout Europe and Asia. His biographical musicals are not only impressive shows but also fascinating attempts at introducing the audience both to Austrian history and to mechanisms of presenting the past by means of modern music theatre. "Musical as Memory Machine" discusses the creation process of Kunze’s two famous musicals, Elisabeth and Mozart!, in the context of studies on collective memory and of the Euro-American history of music theatre as a form of entertainment. The book d

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40

Roig-Francoli, Miguel. Workbook/Anthology for use with Harmony in Context. McGraw-Hill Humanities/Social Sciences/Languages, 2002.

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41

Roig-Francoli, Miguel. Workbook/Anthology for use with Harmony in Context. McGraw-Hill Humanities/Social Sciences/Languages, 2002.

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42

Leach, Elizabeth Eva, and Helen Deeming. Manuscripts and Medieval Song: Inscription, Performance, Context. Cambridge University Press, 2015.

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43

Manuscripts and Medieval Song: Inscription, Performance, Context. Cambridge University Press, 2018.

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44

Leach, Elizabeth Eva, and Helen Deeming. Manuscripts and Medieval Song: Inscription, Performance, Context. Cambridge University Press, 2015.

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45

Rentmeester, Casey, and Jeff R. Warren, eds. Heidegger and Music. Rowman & Littlefield, 2022. https://doi.org/10.5040/9798881814137.

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Although philosophers have examined and commented on music for centuries, Martin Heidegger, one of the greatest philosophers of the 20th century, had frustratingly little to say about music—directly, at least. This volume, the first to tackle Heidegger and music, features contributions from philosophers, musicians, educators, and musicologists from many countries throughout the world, aims to utilize Heidegger’s philosophy to shed light on the place of music in different contexts and fields of practice. Heidegger’s thought is applied to a wide range of musical spheres, including improvisation,

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46

Browner, Tara, and Thomas L. Riis, eds. Rethinking American Music. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.001.0001.

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Only since the 1970s have the variety of American musical styles and sounds have been allowed to stand on their own two feet in the academic world. Recent efforts to place American music-making within new or heretofore neglected contexts are diverse and inevitably shift our consciousness about music’s meaning and impact in culture. This volume contains a series of commentaries or glosses, chapters about American music broadly understood that seek especially to explore four critical factors beyond the the familiar categories defined by repertory or biography alone: the impact of performance; th

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47

Pinzino, Mary Ellen. Giving Voice to Children's Artistry. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197606520.001.0001.

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This book addresses the development of children’s artistry in the music classroom and children’s chorus. It unveils children’s artistry, identifying its characteristic behaviors, its progression of development and necessary components for growth, and guides the practical application of principles addressed. The book addresses the development of children’s artistry from the perspective of both the choral art and the process of music learning, with each informing the other, rooting artistry in music learning and developing artistry in an ongoing manner throughout childhood. It presents the music

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48

Heintze, James R. American Musical Life in Context and Practice To 1865. Taylor & Francis Group, 2020.

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49

Heintze, James R. American Musical Life in Context and Practice To 1865. Taylor & Francis Group, 2018.

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50

Heintze, James R., ed. American Musical Life in Context and Practice to 1865. Routledge, 2018. http://dx.doi.org/10.4324/9780429430565.

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