Whether the vocalizer is heard over the radio or the phone, as part of a movie soundtrack or in person—positioned far away and therefore hard to see or speaking right in front of the listener—the foundational question asked in the act of listening to a human voice is Who is this? Who is speaking? Regardless of whether the vocalizer is visible or invisible to the l…
In July 1992, Seattle rapper Sir Mix-a-Lot topped the Billboard “Hot 100” chart with his insatiably catchy hit “Baby Got Back.” His ode to ladies who “look like those rap guys’ girlfriends” wasn’t anywhere near the only rap song that year to do well on the “Hot 100,” which recorded the most popular songs in the United …
Organizing this book into chapters that read like magazine profiles makes it more digestible for readers and allows them to read the chapters in whichever order they prefer. Goldberg’s book was structured that way, as was series editor Martin Williams’s similarly readable Jazz Masters of New Orleans (1967). More challenging was deciding which artists to include. I made a…
The arts are organised expressions of ideas, feelings and experiences in images, in music, in language, in gesture and in movement. They provide for sensory, emotional, intellectual and creative enrichment and contribute to the child’s holistic development. Much of what is finest in society is developed through a variety of art forms which contribute to cultural ethos and to a sense of well-b…
“Music and its Narrative Potential” is a book about musical stories. It is a collection of thoughts on how music evokes narratives through its own medium-specific strategies. This book is a versatile consideration of narratives expressed through music. There are several threads that flow and recur through its different chapters, namely contemporary music, interdisciplinary approaches, conte…
In recent research, there has been growing emphasis on the collaborative, social, and collective nature of musical behaviour and practices. Among the emerging hypotheses in this connection are the idea that listening to music is always listening together and being with the other; that music making is a matter of intercorporeality, mutuality, and emphatic attunement; and that creative agency in …
fter more than 60 years, the term performance practice in the context of elec-troacoustic music seems to be established in professional circles.1 However, the notion of the interpretation of electroacoustic music, at least of its purely electronic, non-instrumental parts, is not self-evident for experienced audiences and even for professional musicians who are not familia…
Music notation is a symbolic language that is designed to illustrate the melodic, harmonic, and rhythmic elements of music. Pitch refers to the relative highness or lowness of a performed sound. In western tonal music, these pitches have designated note names C, D, E, F, G, A and B that occur in ascending and descending fashion. In music notation, note symbols are used to describe the particula…
The Musical Heritage of Al-Andalus is a critical account of the history of Andalusian music in Iberia from the Islamic conquest of 711 to the final expulsion of the Moriscos (Spanish Muslims converted to Christianity) in the early 17th century. This volume presents the documentation that has come down to us, accompanied by critical and detailed analyses of the sources written in Arabic, Old Cat…