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Books on the topic 'Musical topic'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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1

Lucia, Christine. Music notation: A South African guide. Unisa Press, 2011.

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2

Bernabei, Fabio. Aerosmith: 40 anni di storia dai Toxic Twins a Guitar Hero. Tsunami, 2011.

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3

Aerosmith: 40 anni di storia dai Toxic Twins a Guitar Hero. Tsunami, 2011.

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4

Popular music: Topics, trends & trajectories. Sage, 2012.

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5

Off-Broadway musicals since 1919: From Greenwich Village follies to the toxic avenger. Scarecrow Press, 2011.

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6

Hischak, Thomas S. Off-Broadway musicals since 1919: From Greenwich Village follies to the toxic avenger. Scarecrow Press, 2011.

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7

ill, Gutierrez Rudy, ed. Spirit seeker: John Coltrane's musical journey. Clarion Books, 2012.

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8

1949-, Denicola Robert C., and Kaplan Benjamin 1911-, eds. Cases on copyright, unfair competition, and other topics bearing on the protection of literary, musical, and artistic works. 4th ed. Foundation Press, 1985.

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1949-, Denicola Robert C., ed. Cases on copyright, unfair competition, and other topics bearing on the protection of literary, musical, and artistic works. 6th ed. Foundation Press, 1995.

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10

Brown, Ralph S. Cases on copyright, unfair competition, and related topics bearing on the protection of literary, musical, and artistic works. 7th ed. Foundation Press, 1998.

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11

Brown, Ralph S. Cases on copyright, unfair competition, and other topics bearing on the protection of literary, musical, and artistic works. 5th ed. Foundation Press, 1990.

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12

Butler, Margaret Ruth, 1966- editor of compilation, Page, Janet Kathleen, 1957- editor of compilation, and Society for Eighteenth-Century Music, eds. SECM in Brooklyn, 2010: Topics in eighteenth-century music I. Steglein Publishing, 2014.

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13

Music and Victorian philanthropy: The tonic sol-fa movement. Cambridge University Press, 2009.

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14

Monelle, Raymond. Musical Topic: Hunt, Military and Pastoral. Indiana University Press, 2006.

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15

The Musical Topic: Hunt, Military And Pastoral (Musical Meaning and Interpretation). Indiana University Press, 2006.

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16

Beghin, Tom. Recognizing Musical Topics Versus Executing Rhetorical Figures. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0022.

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Along with the emergence of topic theory, musicological discourse has witnessed a spectacular revival of rhetorical terminology. How can musical topics be defined vis-à-vis rhetorical figures? Any answer is fraught with paradox. Unlike Scheibe’s or Mattheson’sloci topici(which remained conceptually clearly anchored ininventio), Ratnerian topics span the range ofresandverba(ideas and words) orinventioandelocutio: like figures, topics are to be recognized as striking foreground events and definitions of them have been style-specific. This chapter discusses three existing examples of figure- versus topic-oriented analysis of solo keyboard sonatas, exploring the compatibility of topic and figure while enlarging the picture to include performance,voluntas(or intent of the speaker), and choice of instrument. The three analyses are Friedrich August Kanne’s (1821) of Mozart’s K. 309/i, Wye Allanbrook’s (1992) of Mozart’s K. 332/i, and Leonard Ratner’s (1980) of Haydn’s Hob. XVI:52/i.
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17

Psychedelic popular music: A history through musical topic theory. Indiana University Press, 2017.

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18

Melamed, Daniel R. The Musical Topic of the Mass in B Minor. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190881054.003.0003.

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If there is a fundamental musical subject of Johann Sebastian Bach’s Mass in B Minor, a compositional problem the work explores, it is the tension between two styles cultivated in church music of Bach’s time. One style was modern and drew on up-to-date music such as the instrumental concerto and the opera aria. The other was old-fashioned and fundamentally vocal, borrowing and adapting the style of Giovanni Pierluigi da Palestrina, his sixteenth-century contemporaries, and his seventeenth-century imitators. The movements that make up Bach’s Mass can be read as exploring the entire spectrum of possibilities offered by these two styles (the modern and the antique), ranging from movements purely in one or the other to a dazzling variety of ways of combining the two. The work illustrates a fundamental opposition in early-eighteenth-century sacred music that Bach confronts and explores in the Mass.
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19

Mirka, Danuta, ed. The Oxford Handbook of Topic Theory. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199841578.001.0001.

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The concept of topics was introduced into the vocabulary of music scholars by Leonard Ratner to account for cross-references between eighteenth-century styles and genres. The emergence of this phenomenon followed the rapid proliferation and consolidation of stylistic and generic categories. While music theorists and critics classified styles and genres, defining their affects and proper contexts for their usage, composers crossed the boundaries between them, using stylistic conventions as means of communication with the audience. Such topical use of styles and genres out of their proper contexts and their mixtures with other styles and genres became the hallmark of South-German instrumental music, which engulfed the so-called Viennese Classicism. Since this music did not develop its own aesthetics and, in its days, received no adequate critical appraisal, topic theory developed from Ratner’s seminal insight by Wye J. Allanbrook, Kofi Agawu, Robert Hatten, Raymond Monelle, and others can be considered a theory of this music, andThe Oxford Handbook of Topic Theorygoes some way toward reconstructing its aesthetic underpinnings. The volume grounds the concept of topics in eighteenth-century music theory, aesthetics, and criticism; documents historical reality of individual topics on the basis of eighteenth-century sources, traces the origins of topical mixtures to transformations of eighteenth-century musical life, and relates topical analysis to other kinds of music analysis conducted from the perspectives of composers, performers, and listeners. It lays the foundation under further investigation of musical topics in the nineteenth, twentieth, and twenty-first centuries.
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20

Quaglia, Bruce. Musical Prosthesis. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.36.

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This essay explores prosthesis as a hermeneutic model for the analysis of musical form and expression in Beethoven, with special attention given to codas and other parageneric spaces such as slow introductions. Codas in general, and Beethoven’s in particular, are theorized as extrinsic musical spaces that serve compensatory functions in relation to the normalized musical body of the sonata form. In a literal sense, a prosthetic compensates the disabled body by enhancing or remediating functions that deviate from the normal. Prosthesis thus becomes the means through which the relationships of inclusion and difference are mediated. By focusing on Beethoven’s slow introductions and codas and then recasting them as prosthetic spaces, the essay also revisits a famous exchange between critics Joseph Kerman and Charles Rosen on the topic of Beethoven’s codas, in order to resituate relational musical difference within more recent theories of musical form.
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21

Ashley, Richard. Musical improvisation. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0038.

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Musical improvisation is, to many in the Western world, an activity shrouded in mystery. Most listeners are familiar with some genres of music in which improvisation is a commonplace, such as rock and other popular styles, jazz, or perhaps ‘ethnic’ musics – that is to say, composed or improvised ‘traditional’ musics falling outside the typical Western canons. Therefore listeners are aware that many musicians can, and routinely do, produce novel musical utterances in real time. The question for most them is ‘How is improvisation carried out?’ With this formulation of the question, musical improvisation becomes a suitable topic for psychological investigation, focusing on cognitive, physical, and interpersonal processes, and on the musical structures on which these processes operate. This article seeks to bring together the literature on musical improvisation that will be of interest and benefit to those wishing to know more about it from a cognitive perspective.
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22

MacDonald, Raymond, David J. Hargreaves, and Dorothy Miell. Musical identities. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0043.

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This article presents a number of key themes relating to the concept of musical identities. It provides a definition of identity, with a discussion of why identity is a timely topic for consideration. The article then presents an overview of a series of studies investigating musical identities of jazz musicians. These highlight the utility of qualitative techniques, and in particular focus-group and semi-structured interview methods, for understanding how professional musicians construct their identities in relation to both their musical activities and wider psychological and cultural issues. The article looks next at how theories of motivation and the self can help to explain some of the behavioural aspects of musical identities. It provides evidence that children's self-concepts, and in particular their levels of confidence (both of which are related to musical identities), can influence the rate of musical development and musical achievement, drawing briefly on a study which compares the views of pupils, parents, and teachers about what it is to be ‘good at music’.
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23

Mirka, Danuta. Introduction. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.002.

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Critical reception of topic theory over the last decades has been adversely affected by the conviction that the concept of topics has no basis in eighteenth-century music theory, aesthetics, and criticism. Furthermore, the study of musical topics has been confounded by discrepancies between representatives of topic theory, who expanded this concept beyond cross-references between styles and genres. Drawing on a wide range of eighteenth-century sources, this introduction clears away the discrepancies, clarifies the concept of topics, and relates it to Johann Georg Sulzer’s concept of characters. The relation between Ratner’s topics and Sulzer’s characters bears on the scope and semiotic status of topical signification, which is here reconsidered in light of eighteenth-century semiotics. In turn, the origins of Sulzer’s characters in the Baroque theory of affects explain the relation between musical topics and rhetoricalloci topici, discussed by Johann David Heinichen and Johann Mattheson as tools of musical invention.
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24

Wolf, Richard, Stephen Blum, and Christopher Hasty, eds. Thought and Play in Musical Rhythm. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190841485.001.0001.

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Thought and Play in Musical Rhythm seeks to explore representations and implicit as well as explicit theorizing of rhythm in relation to aspects of performance that resist objectification and/or are elastic. Authored by ethnomusicologists and music theorists, the chapters provide detailed case studies of art and vernacular musical traditions, historical and contemporary, in South, West, East, and Southeast Asia; West and North Africa; Europe; and North America. Together these case studies highlight the multiple dimensions of musical rhythm. Considering rhythm as a topic involves a set of terminologies, methods, assumptions, and efforts at generalizing and abstracting that together point to a larger dynamic in scholarly discourse between universalizing and local approaches to rhythm and music more generally. However, from a theoretical standpoint, the volume rejects the kind of abstraction that removes “rhythm” from musical process and experience.
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25

Hunter, Mary. Topics and Opera Buffa. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.003.

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Opera buffa is cited as the source for the topical variety of classical style instrumental music. It is also cited as a topic within instrumental music. This essay argues, with examples from works by Haydn, Mozart, Galuppi, Cimarosa, and Martín y Soler, that musical devices of opera buffa were not on the whole exported to instrumental music but rather were translated to the subtler and more refined instrumental idiom. When opera buffa is identified as a topic in instrumental music, it is more often the presumed gestural world of the comic stage that is evoked than the actual musical devices most characteristic of the genre. And when we study topics in opera—either buffa or seria—it is worth taking into account that they have the capacity not only redundantly to confirm verbal and visual cues, but also to complicate them by suggesting irony or parody, among other things.
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26

Haringer, Andrew. Hunt, Military, and Pastoral Topics. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.008.

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This chapter is intended as a response and supplement to Raymond Monelle’s bookThe Musical Topic: Hunt, Military and Pastoral(2006), with a focus on the writings of eighteenth-century music theorists. Despite the thoroughness of Monelle’s study, he largely overlooks such writers as Mattheson, Sulzer, Schubart, and Türk, who all provide important details on these topics, both in terms of their musical parameters and their cultural meanings. Their insights both strengthen and finesse Monelle’s arguments, providing a richer picture of such complex subtopics as the march and siciliana. The chapter concludes with a reflection on Monelle’s unique contributions to the field of music semiotics.
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27

Blackwood, Alan. Musical Instruments (Topics). Hodder Wayland, 1987.

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28

Galand, Joel. Topics and Tonal Processes. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0017.

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This chapter contributes to topic theory by evaluating the extent to which the choice of musical topics and tonal process in a composition might mutually condition or influence one another. Is it possible to “semanticize” the tonal paths taken by eighteenth-century composers on the basis of the keys with which certain topics were associated? The chapter begins by establishing some conditions under which a proposed connection between topics and tonal process may be considered. Next, it reviews the evidence for associating certain keys with individual topics in the first place, with particular emphasis on the pastorale, hunt,tempesta(i.e.Sturm und Drang),ombra, and military topics. Finally, the chapter presents passages, mostly drawn from the music of Haydn, Mozart, and Beethoven, that exemplify possible interactions of topic and tonal plan.
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29

McClelland, Clive. and. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0011.

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The topical label ofSturm und Drang, which draws on parallels between certain movements of Haydn’s middle-period symphonies and the trend in German Romantic literature (Wyzewa 1909) was deemed misguided and no longer fit for purpose in the discipline of topic theory. In this chapter it is replaced bytempesta. This termacknowledges the origins of the topic not in Haydn’s symphonies, but in early opera, since the musical language clearly derives from depictions of storms and other devastations in the theater.Tempestais to be regarded as the counterpart ofombra, the menacing style of music associated with the supernatural. Both styles are often juxtaposed in infernal scenes, where the creeping terror ofombrais contrasted with the fast frenzy oftempesta. The aesthetic framework for these topics is Burke’s “sublime of terror” (1758) rather than the German literarySturm und Drang.
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30

Bucuvalas, Tina, ed. Greek Music in America. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.001.0001.

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Greek Music in America: A Reader provides a foundation for understanding the scope, practice, and development of Greek music in America through essays by the principal scholars in the field. This is the first book to offer a comprehensive view of the subject; despite the richness, diversity, and longevity of Greek music in America, there has been relatively little available on the topic. The volume includes several previously published essays, as well as recent work by contemporary specialists on the Greek diaspora. The book opens with a sociohistorical overview of Greek music in America, followed by four major sections. The essays brought together in Musical Genre, Style, and Content cover topics ranging from changes in sacred music in the United States to Café Aman, rebetika, amanedes, Turkish influences, and verbal interjections in musical performances. In the Places section, authors interrogate the musical culture of specific Greek American communities. Delivering the Music: Recording Companies and Performance Venues examines the many ways that music was made available. Profiles provides biographical sketches of noteworthy individuals or entities that shaped the course of Greek music in America or contributed to its allure and perpetuation through their exceptional skills. An additional essay on publicly available Greek music collections completes the book.
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31

Warner, Rebecca. Attracting the Family Market. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.26.

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The musical aimed at the family market is an important part of the landscape of the British musical. This paper seeks to explore some of the key characteristics that can make a musical appeal to a hybrid, cross-generational audience. By employing Tony Graham’s five-step gauge for considering the suitability of particular works for capturing a child’s interest as a framework, the essay explores the musicals Honk!, Mary Poppins, Matilda, and Charlie and the Chocolate Factory as case studies. Special attention is paid to ideas of imagination, transcendence, and the use of a universal topic to appeal to the family market.
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32

Rumph, Stephen. Topical Figurae. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.019.

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Musical topics have invited comparison with language ever since Leonard Ratner adopted the rhetorical termtopos. Yet topic theory has not addressed the “double articulation” of language: while words function as meaningful signs, they are articulated by meaningless elements, what Louis Hjelmslev referred to collectively as “figurae.” This chapter develops an analogous theory of topical figurae, structural features that articulate multiple topics but do not themselves signify topically, adapting concepts from phonology (deletion, markedness, assimilation, neutralization). The musical analyses explore both the semantic and syntactic implications of topical figurae, focusing on Beethoven’s “Eroica” Symphony and Mozart’s Piano Sonata in F major, K. 332. Embedded equally in the musical structure and the topical code, figurae bridge the gap between formal analysis and cultural hermeneutics and can lead to a more holistic understanding of topical meaning.
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33

Buhler, James. Critical Theory and the Soundtrack. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0007.

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Critical theory covers a wide range of interpretive methods, including under its rubric many of the most significant trends of recent scholarship. Chapter 7 considers general issues of critical theories and the soundtrack. The first part looks at the origins of critical theory in Marxism, the analysis of ideology, postcolonialism, and issues of labor. The largest portion of this section examines the theory of musical topics and subjects the concept of musical topic to ideological critique. The second part of the chapter contains a lengthy discussion of how debates over gender and sexuality have influenced thinking about the soundtrack.
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34

Gann, Kyle. The Programmatic Argument and Henry Sturt. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252040856.003.0002.

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At the time Ives began the Concord, program music (music that implicitly referred to or musical described historical or literary narratives) was still somewhat controversial. The prologue of Essays Before a Sonata takes up the topic of program music and reveals Ives’s erudite understanding of its previous history. It also reveals his indebtedness to a minor English Hegelian philosopher named Henry Sturt, who has never before been covered in the Ives literature.
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35

Guymer, Sheila. Eloquent Performance. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0023.

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This chapter explores how skilled performers use topical analysis in their interpretative decision-making, presenting material from lesson-interviews conducted with fortepianists Robert Levin and Bart van Oort. Drawing on treatises by Türk, Quantz, Kirnberger, Koch, and Leopold Mozart, it examines some historical foundations of Leonard Ratner’s topics, their connections with eighteenth-century concepts of musical character and expression, and topics’ limitations as tools in the process of analysis and interpretation. The chapter takes the Allegro movements of Mozart’s Sonata K. 333 as two case studies. It concludes that awareness of topical references in this repertoire aids performers in systematically identifying and executing contrasts, enabling more expressive and communicative performance. It suggests that a sensitive understanding of historically informed performance practices benefits topic theorists, as analyses may be undermined by anachronistic assumptions about how the music sounds in performance.
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36

Dahlstedt, Palle. Action and Perception. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.4.

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While computational models of human music making are a hot research topic, the human side of computer-based music making has been largely neglected. What are our cognitive processes like when we create musical algorithms, and when we compose and perform with them? Musical human–algorithm interaction involves embodied action, perception and interaction, and some kind of internalization of the algorithms in the performer’s mind. How does the cognitive relate to the physical here? Departing from the age-old mind–body problem, this chapter tries to answer these questions and review relevant research, drawing from a number of related fields, such as musical cognition, cognition and psychology of programming, embodied performance, and neurological research, as well as from the author’s personal experience as an artist working in the field.
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37

Margulis, Elizabeth Hellmuth. Expectation, Musical Topics, and the Problem of Affective Differentiation. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0025.

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Since Leonard Meyer (1956), music theorists have looked to expectation as a primary generator of musical affect. Yet, expectation and its complement—surprise—do not explain affective differentiation of the experience of listening to music. This study looks to a different tradition in music theory—that of musical topics—for a possible explanation. Listeners heard excerpts representing one of four musical topics in a normative and surprising version, where a general pause had been inserted before the cadence. Listeners continuously rated the excerpts as they progressed along one of four different affective dimensions. The hypothesis was that surprise—the general pause—would elevate perceptions of particular affective dimensions only in particular topical contexts. Musical topics, in other words, might function as a lens through which surprise is transformed into distinct phenomenological experiences.
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38

Grimshaw-Aagaard, Mark, Mads Walther-Hansen, and Martin Knakkergaard, eds. The Oxford Handbook of Sound and Imagination, Volume 2. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780190460242.001.0001.

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The Oxford Handbook of Sound and Imagination is a two-volume anthology that covers the topic of imagination in the context of sound and music. There are seventy chapters in ten parts across two volumes that present thinking and research on the topic from a broad multidisciplinary perspective, and the fields of study represented include (but are not limited to): music (composition, improvisation, philosophy, therapy, and so forth); sound studies; acoustics and bioacoustics; cognition and neurology; psychology; literature, poetry, and comics; heritage studies; anthropology; branding and advertising; audio technology; film studies; computer games and virtual reality; and aesthetics. Volume 2 of the handbook contains thirty-one chapters organized across five parts (“Musical Performance,” “Systems and Technologies,” “Psychology,” “Aesthetics,” and “Posthumanism”).
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39

Interpreting Musical Gestures, Topics, And Tropes: Mozart, Beethoven, Schubert (Musical Meaning and Interpretation). Indiana University Press, 2004.

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40

The Toxic Avenger New Jerseys First Superhero Musical. Hal Leonard Publishing Corporation, 2010.

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41

John, Bartholomew. The Steel Band (Topics in Music Series). Oxford University Press, USA, 1985.

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42

Racy, A. J. Musical Improvisation. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.23.

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This chapter studies musical improvisation from the perspective of a performing musician and ethnomusicologist. Informed by personal experience and theory, the author explores improvisation in terms of two broadly conceived yet closely interconnected realms, musical artistry and cultural interpretation. Examples from different world contexts are presented with emphasis on the author’s area of expertise, especially the Arab World, Turkey, and Iran. Topics addressed include musical mode, emotion, ecstasy, and the cultural values and meanings attached to improvisatory practice. Cross-cultural musical fusions are closely studied. Through analysis of specific performance events, this research highlights the symbolic, social, political, and ideological meanings as well as the improvisatory artistry.
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43

Hatten, Robert. The Troping of Topics in Mozart’s Instrumental Works. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0020.

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An eighteenth-century musical topic is a familiar figure, texture, genre, or style that is imported into a new context, where it may interact with other topics and the prevailing discourse of a movement in ways that may spark creative meanings. These interactions are analogous to the processes that produce tropes in literary language. A merger of expressive meanings may produce an effect akin to metaphor, whereas resistance to merger may signal some form of irony. Degrees of compatibility, dominance, creativity, and productivity among topics and tropes are explored in Mozart’s instrumental works, with extended examples drawn from the first movements of Mozart’s Piano Sonatas in F major, K. 332, and D major, K. 576, and the second and fourth movements of his String Quartet in D minor, K. 421.
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44

Hatten, Robert S. Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert. Indiana University Press, 2017.

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45

Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert. Indiana University Press, 2017.

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46

Gilmour, Michael J., ed. Call Me the Seeker. Bloomsbury Publishing Plc, 2005. http://dx.doi.org/10.5040/9781501383335.

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-One of very few books on religion and popular music -Covers a wide range of musical styles, from heavy metal and rap to country, jazz and Broadway musicals -The essays are written by academics and informed by their enthusiasm for the music Many books have explored the relationship between religion and film, but few have yet examined the significance of religion to popular music. Call Me The Seeker steps into that gap. Michael Gilmour’s introductory essay gives a state-of-the-discipline overview of research in the area. He argues that popular songs frequently draw from and “interpret” themes found in the conceptual and linguistic worlds of the major religions and reveal underlying attitudes in those who compose and consume them. He says these “texts” deserve more serious study. The essays in the book start an on-going conversation in this area, bringing a variety of methodologies to bear on selected artists and topics. Musical styles covered range from heavy metal and rap to country, jazz, and Broadway musicals.
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47

Meyer, Stephen C., and Kirsten Yri, eds. The Oxford Handbook of Music and Medievalism. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780190658441.001.0001.

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Medievalism—broadly construed as the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages—has left a powerful mark in both art music and popular music culture of the past two centuries. The Oxford Handbook of Music and Medievalism provides a snapshot of the growing field of medievalism in music by bringing together international scholars to explore a wide variety of past and present genres in which medievalism is present. The handbook is organized into six sections and takes up musical topics in the nineteenth, twentieth, and twenty-first centuries, in genres as far reaching as opera, orchestral music, film, musicals, heavy metal, folk rock, and video games.
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48

Browning, Birch P. Meaningful Curriculum. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199928200.003.0008.

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This chapter describes the many possible definitions of the term curriculum, including the series of courses needed to complete a program or the educational materials for a topic of study. From a wider perspective, curriculum encompasses all the decisions about the goals, content, and methods and materials of instruction that are directly related to the intentional outcomes of instruction. The decisions about what is included reflect the values and philosophy of education held by those who make curricular decisions. The programs and methods of the well-known childhood music educators Dalcroze, Kodály, Orff, Suzuki, and Gordon are discussed. The author also covers the Comprehensive Musicianship Through Performance (CMP) series for secondary students in depth and discusses various scholars’ visions for music curriculum. Effective music curriculum must prepare students for musical independence via authentic music-making: listening, performing, composing, and improvising.
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49

Topics In Jazz And Musical Creativity For The Classical Pianist. Hal Leonard Corporation, 1989.

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50

Yust, Jason. Hypermeter, Form, and Closure. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696481.003.0008.

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Closural strength of cadences is an important syntactic feature of tonal music, and is traditionally defined by means of harmonic and melodic, but not rhythmic, features. This chapter discusses the importance of hypermeter to the effect of closure, focusing especially on the important role of cadential elision in preventing closure. The denial of closure via elision is important at the end of the sonata form expositions. Separation of rhythmic, formal, and tonal closure as distinct phenomena informs recent debates on this topic. Beethoven’s use of hypermetrical means to deny closure was an important stage in his development of new approaches to musical form in his middle period, specifically the method of open expositions.
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