＜p＞＜em＞The Recording, Mixing, and Mastering Reference Handbook＜/em＞ provides an easy-to-read guide for music-making in the studio setting, from equipment fundamentals to recording and mixing almost any instrument. In six sections, lessons give a comprehensive introduction to microphone settings and techniques, audio processing and effects, controlling acoustics, and history lessons on songs recorded with a given technique. The second half of the handbook delves into background theory on microphones, EQ-filters, compressors, and acoustics to give the reader a general understanding of practical recording techniques before acquiring deeper comprehension of the tools and the recording processes. Throughout the chapters, lessons on recording methods gradually build complexity and detail to keep readers engaged and challenged. Whether a university student in an audio recording course, a novice audio engineer who needs to build technique, or a busy professional who requires a quick refresh on specific techniques, any reader will find an essential resource in ＜em＞The Recording, Mixing, and Mastering Reference Handbook.＜/em＞＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Carousel＜/em＞ (1945), with music by Richard Rodgers and the book and lyrics by Oscar Hammerstein II, was their second collaboration following the surprising success of ＜em＞Oklahoma!＜/em＞ (1943). They worked again with Theresa Helburn and Lawrence Langner of the Theatre Guild (producers), Rouben Mamoulian (director), and Agnes de Mille (choreographer). But with ＜em＞Oklahoma!＜/em＞ still running to sell-out houses, they needed to do something quite different. Based on a play, ＜em＞Liliom＜/em＞ (1909), by the Hungarian playwright Ferenc Moln?r, ＜em＞Carousel＜/em＞ took Broadway musical theater in far darker directions because of its subject matter-the protagonist, Billy Bigelow, is wholly an anti-hero-and also given its extensive music that some claimed came close to opera. The action is shifted from a gritty working-class suburb of Budapest to the New England coast (Maine), but the themes remain the same as two social misfits try to survive harsh economic times. Billy Bigelow is unemployed, prone to domestic violence, and dies in the course of committing a robbery; Julie Jordan sticks by him through thick and thin; and the show seeks some manner of redemption for both of them as Billy is given a day back on earth to do some good for his wife and their daughter. Troubling though these matters are nowadays, they fit squarely in the context of a country moving through the end of World War II to an uncertain future. Not for nothing had composers such as Giacomo Puccini and Kurt Weill already tried to persuade Moln?r to release his play. It also led Rodgers and Hammerstein to new heights: songs such as "If I Loved You," Billy's "Soliloquy," and "You'll Never Walk Alone" transformed the American musical. In this book, we discover how and why they came about, and exactly what ＜em＞Carousel＜/em＞ was trying to achieve.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞In early 2005, an engineer at the Library of Congress accidentally discovered, in an unmarked box, the recording of Thelonious Monk's and John Coltrane's performance at a 1957 benefit concert at Carnegie Hall. Long considered one of the most important musical meetings in modern jazz, Monk's and Coltrane's work together during a scant few months in 1957 had, until this discovery, been thought to be almost entirely undocumented. In this book, Gabriel Solis provides an historical, cultural, and analytical study of this landmark recording, which was released by Blue Note records later in 2005. Taking a wide-ranging approach to the recording, Solis addresses issues of "liveness," jazz teaching and learning, enculturation, and historiography. Because nearly a half century passed between when the recording was made and its public release, it is a particularly interesting lens through which to view jazz both as a historical tradition and as a contemporary cultural form. Most importantly Solis accounts for the music itself. Offering in depth analytical discussions of each composition, as well as Monk's and Coltrane's improvisational performances he provides insight into Monk's impact on Coltrane as he developed his signature "sheets of sound" style, as well as into the influence of a strong side-man, like Coltrane, on Monk at his creative and professional peak. The first study of one of the most significant jazz releases of the twenty-first century, ＜em＞Thelonious Monk Quartet with John Coltrane at Carnegie Hall＜/em＞ is essential reading for all jazz scholars, students, musicians, and fans.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Everywhere you look in 1970s American cinema, you find white working-class men. They bring a violent conclusion to ＜em＞Easy Rider＜/em＞, murdering the film's representatives of countercultural alienation and disaffection. They lurk in the Georgia woods of ＜em＞Deliverance＜/em＞, attacking outsiders in a manner that evokes the South's recent history of racial violence and upheaval. They haunt the singles nightclubs of ＜em＞Looking for Mr. Goodbar＜/em＞, threatening the film's newly liberated heroine with patriarchal violence. They strut through the disco clubs of ＜em＞Saturday Night Fever＜/em＞, dancing to music whose roots in post-Stonewall homosexuality invite ambiguity that the men ignore. ＜em＞Hard Hats, Rednecks, and Macho Men＜/em＞ argues that the persistent appearance of working-class characters in these and other films of the 1970s reveals the powerful role class played in the key social and political developments of the decade, such as the decline of the New Left and counterculture, the re-emergence of the South as the Sunbelt, and the rise of the women's and gay liberation movements. Examining the "youth cult" film, the neo-Western "southern," and the "new nightlife" film, Nystrom shows how these cinematic renderings of white working-class masculinity actually tell us more about the crises facing the middle class during the 1970s than about working-class experience itself. ＜em＞Hard Hats＜/em＞ thus demonstrates how these representations of the working class serve as fantasies about a class Other-fantasies that offer imaginary resolutions to middle-class anxieties provoked by the decade's upheavals. Drawing on examples of iconic films from the era-＜em＞Saturday Night Fever, Cruising, Five Easy Pieces＜/em＞, and ＜em＞Walking Tall＜/em＞, among others-Nystrom presents an incisive, evocative study of class and American cinema during one of the nation's most tumultuous decades.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞A vastly influential form of filmmaking seen by millions of people, educational films provide a catalog of twentieth century preoccupations and values. As a medium of instruction and guidance, they held a powerful cultural position, producing knowledge both inside and outside the classroom. This is the first collection of essays to address this vital phenomenon. The book provides an ambitious overview of educational film practices, while each essay analyzes a crucial aspect of educational film history, ranging from case studies of films and filmmakers to broader generic and historical assessments. Offering links to many of the films, ＜em＞Learning With the Lights Off＜/em＞ provides readers the context and access needed to develop a sophisticated understanding of, and a new appreciation for, a much overlooked film legacy.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞In recent years, music theorists have been increasingly eager to incorporate findings from the science of human cognition and linguistics into their methodology. In the culmination of a vast body of research undertaken since his influential and award-winning ＜em＞Conceptualizing Music＜/em＞ (OUP 2002), Lawrence M. Zbikowski puts forward ＜em＞Foundations of Musical Grammar＜/em＞, an ambitious and broadly encompassing account on the foundations of musical grammar based on our current understanding of human cognitive capacities. Musical grammar is conceived of as a species of construction grammar, in which grammatical elements are form-function pairs. Zbikowski proposes that the basic function of music is to provide sonic analogs for dynamic processes that are important in human cultural interactions. He focuses on three such processes: those concerned with the emotions, the spontaneous gestures that accompany speech, and the patterned movement of dance. Throughout the book, Zbikowski connects cognitive research with music theory for an interdisciplinary audience, presenting detailed musical analyses and summaries of the basic elements of musical grammar.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Music for Life: Music Participation and Quality of Life of Senior Citizens＜/em＞ presents a fresh, new exploration of the impact of musical experiences on the quality of life of senior citizens, and charts a new direction in the facilitation of the musical lives of people of all ages. Authors Fung and Lehmberg clearly define the issues surrounding music education, music participation, quality of life, and senior citizens, discussing the most relevant research from the fields of music education, adult learning, lifelong learning, gerontology, medicine, music therapy, and interdisciplinary studies. At the heart of the book is Evergreen Town, a retirement community in the southeastern U.S.A., that serves as the backdrop for three original research studies. The first of these is in two phases, a survey and a focus group interview, that examines the histories and rationales for the music participations and non-participations of community residents. The second and third case studies take an in-depth look at a church choir and a bluegrass group, two prominent musical groups in the community, and include the perspectives of the authors themselves as group members and participant-observers. Fung and Lehmberg conclude with a challenge for the profession of music education: to act on this research and on the current advances in the field, to enable all people to benefit from the richness of music as a substantial contributor to quality of life.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞The turbulent decade of the 60s CE brought Rome to the brink of collapse. It began with Nero's ruthless elimination of Julio-Claudian rivals and ended in his suicide and the civil wars that followed. Suddenly Rome was forced to confront an imperial future as bloody as its Republican past and a ruler from outside the house of Caesar. The anonymous historical drama ＜em＞Octavia＜/em＞ is the earliest literary witness to this era of uncertainty and upheaval. In ＜em＞Staging Memory, Staging Strife＜/em＞, Lauren Donovan Ginsberg offers a new reading of how the play intervenes in the contests over memory after Nero's fall. Though Augustus and his heirs had claimed that the Principate solved Rome's curse of civil war, the play reimagines early imperial Rome as a landscape of civil strife with a ruling family waging war both on itself and on its people. In doing so, the ＜em＞Octavia＜/em＞ shows how easily empire becomes a breeding ground for the passions of discord. In order to rewrite the history of Rome's first imperial dynasty, the ＜em＞Octavia＜/em＞ engages with the literature of Julio-Claudian Rome, using the words of Rome's most celebrated authors to stage a new reading of that era and its ruling family. In doing so, the play opens a dialogue about literary versions of history and about the legitimacy of those historical accounts. Through an innovative combination of intertextual analysis and cultural memory theory, Ginsberg contextualizes the roles that literature and the literary manipulation of memory play in negotiating the transition between the Julio-Claudian and Flavian regimes. Her book claims for the Octavia a central role in current debates over both the ways in which Nero and his family were remembered as well as the politics of literary and cultural memory in the early Roman empire.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Looking back on her career in 1977, Bette Davis remembered with pride, "Women owned Hollywood for twenty years." She had a point. Between 1930 and 1950, over 40% of film industry employees were women, 25% of all screenwriters were female, one woman ran MGM behind the scenes, over a dozen women worked as producers, a woman headed the Screen Writers Guild three times, and press claimed Hollywood was a generation or two ahead of the rest of the country in terms of gender equality and employment. The first comprehensive history of Hollywood's high-flying career women during the studio era, ＜em＞Nobody's Girl Friday＜/em＞ covers the impact of the executives, producers, editors, writers, agents, designers, directors, and actresses who shaped Hollywood film production and style, led their unions, climbed to the top during the war, and fought the blacklist. Based on a decade of archival research, author J.E. Smyth uncovers a formidable generation working within the American film industry and brings their voices back into the history of Hollywood. Their achievements, struggles, and perspectives fundamentally challenge popular ideas about director-based auteurism, male dominance, and female disempowerment in the years between First and Second Wave Feminism. ＜em＞Nobody's Girl Friday＜/em＞ is a revisionist history, but it's also a deeply personal, collective account of hundreds of working women, the studios they worked for, and the films they helped to make. For many years, historians and critics have insisted that both American feminism and the power of women in Hollywood declined and virtually disappeared from the 1920s through the 1960s. But Smyth vindicates Bette Davis's claim. The story of the women who called the shots in studio-era Hollywood has never fully been told-until now.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Teaching Music to Students with Special Needs: A Practical Resource b＜/em＞rings together theory, policy, and planning for instruction in K-12 classrooms. The resource is a result of collaboration between K-12 teachers, outstanding undergraduate and graduate music education students, and professionals in the field. The lesson ideas, lesson plans, and unit plans are organized according to the six domains posited by Alice Hammel and Ryan Hourigan in their book, ＜em＞Teaching Music to Students with Special Needs: A Label-free Approach, Second Edition.＜/em＞ This book equips music educators with understanding necessary to implement teaching ideas into the domains of cognition, communication, behavior, emotions, and physical and sensory needs. Classroom-tested lesson plans include procedure outlines and assessments as well as guides for adaptation, accommodation, and modification needed for successful implementation in K-12 classrooms. As such, this eminently useful guide provides teachers with enough practical ideas to allow them to begin to create and adapt their own lesson plans for use with students of differing needs and abilities.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Richard Strauss is an outlier in the context of twentieth century music. Some consider him a composer of the late romantic period, while others declare him a traitor of modernity for his role in National Socialism. Despite the controversy surrounding him, Strauss's works--even beyond his most well-known operas ＜em＞Elektra＜/em＞ and ＜em＞Rosenkavalier＜/em＞--are present in the repertories of concert halls worldwide and continue to enjoy large audiences. The details of the composer's life, however, remain shrouded in mystery and gossip. Laurenz L?tteken's ＜em＞Strauss＜/em＞ presents a fresh approach to understanding this elusive composer's life and works. Dispensing with stereotypes and sensationalism, it reveals Strauss to be a sensitive intellectual and representative of modernity, with all light and shade of the turn of the twentieth century.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Through the Looking Glass＜/em＞ examines John Cage's interactions and collaborations with avant-garde and experimental filmmakers, and in turn seeks out the implications of the audiovisual experience for the overall aesthetic surrounding Cage's career. As the commercially dominant media form in the twentieth century, cinema transformed the way listeners were introduced to and consumed music. Cage's quest to redefine music, intentionality, and expression reflect the similar transformation of music within the larger audiovisual experience of sound film. This volume examines key moments in Cage's career where cinema either informed or transformed his position on the nature of sound, music, expression, and the ontology of the musical artwork. The examples point to moments of rupture within Cage's own consideration of the musical artwork, pointing to newfound collision points that have a significant and heretofore unacknowledged role in Cage's notions of the audiovisual experience and the medium-specific ontology of a work of art.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞The Relentless Pursuit of Tone: Timbre in Popular Music＜/em＞ assembles a broad spectrum of contemporary perspectives on how "sound" functions in an equally wide array of popular music. Ranging from the twang of country banjoes and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume bridges the gap between ＜em＞timbre＜/em＞, our name for the purely acoustic characteristics of sound waves, and ＜em＞tone＜/em＞, an emergent musical construct that straddles the borderline between the perceptual and the political. Essays engage with the entire history of popular music as recorded sound, from the 1930s to the present day, under four large categories. "Genre" asks how sonic signatures define musical identities and publics; "Voice" considers the most naturalized musical instrument, the human voice, as racial and gendered signifier, as property or likeness, and as raw material for algorithmic perfection through software; "Instrument" tells stories of the way some iconic pop music machines-guitars, strings, synthesizers-got (or lost) their distinctive sounds; "Production" then puts it all together, asking structural questions about what happens in a recording studio, what is produced (sonic cartoons? rockist authenticity? empty space?) and what it all might mean.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Providing essential tools to transform college piano students into professional piano teachers, Courtney Crappell's ＜em＞Teaching Piano Pedagogy＜/em＞ helps teachers develop pedagogy course curricula, design and facilitate practicum-teaching experiences, and guide research projects in piano pedagogy. The book grounds the reader in the history of the domain, investigates course materials, and explores unique methods to introduce students to course concepts and help them put those concepts into practice. To facilitate easy integration into the curriculum, Crappell provides example classroom exercises and assignments throughout the text, which are designed to help students understand and practice the related topics and skills. ＜em＞Teaching Piano Pedagogy＜/em＞ is not simply a book about teaching piano--it is a book about how piano students learn to teach.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Purcell's Dido and Aeneas stands as the greatest operatic achievement of seventeenth-century England, and yet, despite its global renown, it remains cloaked in mystery. The date and place of its first performance cannot be fixed with precision, and the absolute accuracy of the surviving scores, which date from almost 100 years after the work was written, cannot be assumed. In this thirtieth-anniversary new edition of her book, Ellen Harris closely examines the many theories that have been proposed for the opera's origin and chronology, considering the opera both as political allegory and as a positive exemplar for young women. Her study explores the work's historical position in the Restoration theater, revealing its roots in seventeenth-century English theatrical and musical traditions, and carefully evaluates the surviving sources for the various readings they offer-of line designations in the text (who sings what), the vocal ranges of the soloists, the use of dance and chorus, and overall layout. It goes on to provide substantive analysis of Purcell's musical declamation and use of ground bass. In tracing the performance history of Dido and Aeneas, Harris presents an in-depth examination of the adaptations made by the Academy of Ancient Music at the end of the eighteenth century based on the surviving manuscripts. She then follows the growing interest in the creation of an "authentic" version in the nineteenth and early twentieth centuries through published editions and performance reviews, and considers the opera as an important factor in the so-called English Musical Renaissance. To a significant degree, the continuing fascination with Purcell's Dido and Aeneas rests on its apparent mutability, and Harris shows this has been inherent in the opera effectively from its origin.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Making quality moving pictures has never been easier or more affordable, and the proliferation and ease of access to digital recording devices has prompted scores of amateurs to record and post videos to YouTube and its ilk. Paradoxically, however, scoring and arranging music for motion pictures is, in many ways, more complicated now than ever before, requiring extensive knowledge of notation, arranging, recording, and mixing software and multi-component DAW workstations. In ＜em＞Composing for Moving Pictures: The Essential Guide＜/em＞, author Jason Gaines offers practical tools with which to navigate the increasingly complex environment of movie music composition. He addresses both the principles of composition for moving pictures and the technologies which drive music composition, performance, and recording in an integrated and comprehensive fashion. The guide takes readers from square one - how technology can facilitate, rather than hinder, creativity in scoring - and then moves into the basics of working with MIDI files and on to more advanced concepts such as arranging and mixing. Gaines illustrates each step of the process with screen shots and explanations in the form of program tutorials. ＜em＞Composing for Moving Pictures＜/em＞ fills a hole in literature on film scoring in the digital age and will prove to be an invaluable resource for music educators at the university and secondary level. Amateur composers will also delight in this easy-to-use guidebook.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞The first book of its kind, ＜em＞Gender & Rock＜/em＞ introduces readers to how gender operates in multiple sites within rock culture, including its music, lyrics, imagery, performances, instruments, and business practices. Additionally, it explores how rock culture, despite a history of regressive gender politics, has provided a place for musicians and consumers to experiment with alternate identities and ways of being. Drawing on feminist and queer scholarship in popular music studies, musicology, cultural studies, sociology, performance studies, literary analysis, and media studies, ＜em＞Gender & Rock＜/em＞ provides readers with a survey of the topics, theories, and methods necessary for understanding and conducting analyses of gender in rock culture. Via an intersectional approach, the book examines how the gendering of particular roles, practices, technologies, and institutions within rock culture is related to discourses of race, sexuality, age, and class.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Contemporary worship music shapes the way evangelical Christians understand worship itself. Author Monique M. Ingalls argues that participatory worship music performances have brought into being new religious social constellations, or "modes of congregating". Through exploration of five of these modes--concert, conference, church, public, and networked congregations--＜em＞Singing the Congregation＜/em＞ reinvigorates the analytic categories of "congregation" and "congregational music." Drawing from theoretical models in ethnomusicology and congregational studies, ＜em＞Singing the Congregation＜/em＞ reconceives the congregation as a fluid, contingent social constellation that is actively performed into being through communal practice--in this case, the musically-structured participatory activity known as "worship." "Congregational music-making" is thereby recast as a practice capable of weaving together a religious community both inside and outside local institutional churches. Congregational music-making is not only a means of expressing local concerns and constituting the local religious community; it is also a powerful way to identify with far-flung individuals, institutions, and networks that comprise this global religious community. The interactions among the congregations reveal widespread conflicts over religious authority, carrying far-ranging implications for how evangelicals position themselves relative to other groups in North America and beyond.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞From the dance floor of a tango club to group therapy classes, from ballet to community theatre, improvised dance is everywhere. For some dance artists, improvisation is one of many approaches within the choreographic process. For others, it is a performance form in its own right. And while it has long been practiced, it is only within the last twenty years that dance improvisation has become a topic of critical inquiry. With ＜em＞The Oxford Handbook of Improvisation in Dance＜/em＞, dancer, teacher, and editor Vida L. Midgelow provides a cutting-edge volume on dance improvisation in all its facets. Expanding beyond conventional dance frameworks, this handbook looks at the ways that dance improvisation practices reflect our ability to adapt, communicate, and respond to our environment. Throughout the handbook, case studies from a variety of disciplines showcase the role of individual agency and collective relationships in improvisation, not just to dancers but to people of all backgrounds and abilities. In doing so, chapters celebrate all forms of improvisation, and unravel the ways that this kind of movement informs understandings of history, socio-cultural conditions, lived experience, cognition, and technologies.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞This new second edition of ＜em＞Enchanted Evenings＜/em＞ offers theater lovers an illuminating behind-the-scenes tour of some of America's best loved, most admired, and most enduring musicals. Readers will find such all-time favorites as ＜em＞Show Boat, Carousel, Kiss Me, Kate, Guys and Dolls, My Fair Lady, West Side Story, Sweeney Todd, Sunday in the Park with George＜/em＞, and ＜em＞Phantom of the Opera＜/em＞. Geoffrey Block provides a documentary history of each of the musicals, showing how each work took shape and revealing, at the same time, how the American musical evolved from the 1920s to today, both on stage and on screen. The book's particular focus is on the ＜em＞music＜/em＞, offering a wealth of detail about how librettist, lyricist, composer, and director work together to shape the piece. Block also includes trenchant social commentary and lively backstage anecdotes. Jerome Kern, Cole Porter, the Gershwins, Rodgers and Hart, Kurt Weill, Rodgers and Hammerstein, Lerner and Loewe, Frank Loesser, Leonard Bernstein, Stephen Sondheim, Andrew Lloyd Webber, and other luminaries emerge as hardworking craftsmen under enormous pressure to sell tickets without compromising their dramatic vision. The second edition includes a greatly expanded chapter on Sondheim, a new chapter on Lloyd Webber, and two new chapters on the film adaptations of the main musicals featured in the text (including such hard to find films as the original 1936 version of ＜em＞Anything Goes＜/em＞ and the 1959 film adaptation of ＜em＞Porgy and Bess＜/em＞). Packed with information, including a complete discography and plot synopses and song-by-song scenic outlines for each of the fourteen shows, ＜em＞Enchanted Evenings＜/em＞ is an essential reference as well as a riveting history. ＜strong＞"A solid and fascinating work that should become a model of how to investigate and report on the evolution of a musical. Block's research is persuasive and his writing vivid. . . Indispensable for anyone who cares to know more about Broadway musicals than＜/strong＞ ＜em＞＜strong＞Playbill＜/strong＞＜/em＞ ＜strong＞can provide."＜/strong＞ --Steven Bach, ＜em＞The Los Angeles Times Book Review＜/em＞＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞In the twenty-first century, Senegalese hip hop--"Rap Galsen"--has reverberated throughout the world as an exemplar of hip hop resistance in its mobilization against government corruption during a series of tumultuous presidential elections. Yet Senegalese hip hop's story goes beyond resistance; it is a story of globalization, of diasporic movement and memory, of imagined African pasts and contemporary African realities, and of urbanization and the banality of socio-economic struggle. At particular moments in Rap Galsen's history, origin narratives linked hip hop to a mythologized Africa through the sounds of indigenous oralities. At other times, contrasting narratives highlighted hip hop's equally mythologized roots in the postindustrial U.S. inner city and African American experience. As Senegalese youth engage these globally circulating narratives, hip hop performance and its stories negotiate their place in a rapidly changing world. ＜em＞In Hip Hop Time＜/em＞ explores this relationship between popular music and social change, framing Senegalese hip hop as a musical movement deeply tied to both indigenous performance practices and changing social norms in urban Africa. Author Catherine Appert takes us from Senegalese hip hop's beginnings among cosmopolitan youth in Dakar's affluent neighborhoods in the 1980s, to its spread throughout the city's ghettoized working class neighborhoods in the mid- to late-'90s, and into the present day, where political activism and hip hop musicality vie for position in local and global arenas. An ethnography of the inextricability of musical and social meaning in hip hop practice, ＜em＞In Hip Hop Time＜/em＞ charts new intellectual territory in the scholarship of African and global hip hop.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Since the mid-twentieth century, Zolt?n Kod?ly's child-developmental philosophy for teaching music has had significant positive impact on music education around the world, and is now at the core of music teaching in the United States and other English speaking countries. ＜em＞Kod?ly in the Kindergarten Classroom＜/em＞ is the first comprehensive handbook to update and apply the Kod?ly concepts to teaching music in early childhood classrooms. ＜em＞Kod?ly in the Kindergarten Classroom＜/em＞ provides teachers with a step-by-step road map for developing children's performance, creative movement, and literacy skills in an organic and thoughtful manner. Through six years of field-testing with music kindergarten teachers in the United States, Great Britain, and Hungary (the home country of Zolt?n Kod?ly), authors Miche?l Houlahan and Philip Tacka have developed a methodology specifically for 21st century classrooms. Houlahan and Tacka use the latest research findings in cognition and perception to create a system not only appropriate for kindergarteners' particular developmental stages but also one which integrates vertically between kindergarten and elementary music classes. The methods outlined in this volume encourage greater musical ability and creativity in children by teaching kindergarteners to sing, move, play instruments, and develop music literacy skills. In addition, ＜em＞Kod?ly in the Kindergarten Classroom＜/em＞ promotes critical thinking, problem solving, and collaboration skills. Although the book uses the Kod?ly philosophy, its methodology has also been tested by teachers certified in Orff and Dalcroze, and has proven an essential guide for teachers no matter what their personal philosophy and specific training might be. Over 100 children's books are incorporated into ＜em＞Kod?ly in the Kindergarten Classroom＜/em＞, as well as 35 detailed lesson plans that demonstrate how music and literacy curriculum goals are transformed into tangible musical objectives. Scholarly yet practical and accessible, this volume is sure to be an essential guide for kindergarten and early childhood music teachers everywhere.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞William Faulkner at Twentieth Century-Fox: The Annotated Screenplays＜/em＞ presents for the first time and in one volume the five screenplays Faulkner wrote while under contract to Twentieth Century-Fox in the mid 1930s and a sixth he wrote in 1952. An informative introduction describes Faulkner's screenwriting practices, such as adaptation and collaboration, and contextualizes these within a broader genealogy of Hollywood screenwriting and within one of the most important moments in the history of American cinema. Each of the six screenplays appears in full with scholarly annotations, and brief prefatory essays elucidate their evolution over various drafts and with various co-writers. The edition makes available for the first time and in one volume Faulkner's Fox screen writings, and, with its scholarly apparatus, thus makes a valuable contribution to recent scholarship across a number of fields: Faulkner and film; literature and film/adaptation studies; cinematic modernism; and screenplay studies. It also foregrounds Faulkner's many significant collaborators, such as Zanuck and Howard Hawks, and therefore makes an important contribution to the history of Twentieth Century-Fox under Zanuck.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞There is often a dichotomy between the academic approach to singing that voice students learn in the studio and what professional singers do on the operatic and concert stage. Great singers at the top of the performing profession achieve their place with much analysis and awareness of their technique, art, interpretation and stagecraft that goes far beyond academic study and develops over years of experience, exposure, and the occasional embarrassing error. ＜em＞Master Singers＜/em＞ brings these insights to the student, teacher, and emerging professional singer, giving them many needed signs and signals along the road to achieving their own artistry and established career. Through interviews with some of today's most accomplished and renowned concert and operatic singers, including Stephanie Blythe, David Daniels, Joyce DiDonato, Denyce Graves, Thomas Hampson, Jonas Kaufmann, Simon Keenlyside, and Ewa Podles', ＜em＞Master Singers＜/em＞ provides vocalists making the transition from student to professional with indispensable advice on matters ranging from technique and its practical application for effective stage projection to the practicalities of the business of professional singing and maintaining a career to recommendations for vocal hygiene and longevity in singing. Rather than relying on a traditional one-singer-at-a-time structure, Donald George and Lucy Mauro distill answers to a range of essential, probing questions into a thematic approach, creating not a standard interview book but a true reference for emerging professional singers. An indispensable resource and reliable guide, ＜em＞Master Singers＜/em＞ will find its place on the bookshelf of singers of this generation and the next.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞With the ongoing development of algorithmic composition programs and communities of practice expanding, algorithmic music faces a turning point. Joining dozens of emerging and established scholars alongside leading practitioners in the field, chapters in this ＜em＞Handbook＜/em＞ both describe the state of algorithmic composition and also set the agenda for critical research on and analysis of algorithmic music. Organized into four sections, chapters explore the music's history, utility, community, politics, and potential for mass consumption. Contributors address such issues as the role of algorithms as co-performers, live coding practices, and discussions of the algorithmic culture as it currently exists and what it can potentially contribute society, education, and ecommerce. Chapters engage particularly with post-human perspectives - what new musics are now being found through algorithmic means which humans could not otherwise have made - and, in reciprocation, how algorithmic music is being assimilated back into human culture and what meanings it subsequently takes. Blending technical, artistic, cultural, and scientific viewpoints, this ＜em＞Handbook＜/em＞ positions algorithmic music making as an essentially human activity.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Arduino, Teensy, and related microcontrollers provide a virtually limitless range of creative opportunities for musicians and hobbyists who are interested in exploring "do it yourself" technologies. Given the relative ease of use and low cost of the Arduino platform, electronic musicians can now envision new ways of synthesizing sounds and interacting with music-making software. In ＜em＞Arduino for Musicians＜/em＞, author and veteran music instructor Brent Edstrom opens the door to exciting and expressive instruments and control systems that respond to light, touch, pressure, breath, and other forms of real-time control. He provides a comprehensive guide to the underlying technologies enabling electronic musicians and technologists to tap into the vast creative potential of the platform. ＜em＞Arduino for Musicians＜/em＞ presents relevant concepts, including basic circuitry and programming, in a building-block format that is accessible to musicians and other individuals who enjoy using music technology. In addition to comprehensive coverage of music-related concepts including direct digital synthesis, audio input and output, and the Music Instrument Digital Interface (MIDI), the book concludes with four projects that build on the concepts presented throughout the book. The projects, which will be of interest to many electronic musicians, include a MIDI breath controller with pitch and modulation joystick, "retro" step sequencer, custom digital/analog synthesizer, and an expressive MIDI hand drum. Throughout ＜em＞Arduino for Musicians＜/em＞, Edstrom emphasizes the convenience and accessibility of the equipment as well as the extensive variety of instruments it can inspire. While circuit design and programming are in themselves formidable topics, Edstrom introduces their core concepts in a practical and straightforward manner that any reader with a background or interest in electronic music can utilize. Musicians and hobbyists at many levels, from those interested in creating new electronic music devices, to those with experience in synthesis or processing software, will welcome ＜em＞Arduino for Musicians＜/em＞.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Theater music directors must draw on a remarkably broad range of musical skills. Not only do they conduct during rehearsals and performances, but they must also be adept arrangers, choral directors, vocal coaches, and accompanists. Like a record producer, the successful music director must have the flexibility to adjust as needed to a multifaceted job description, one which changes with each production and often with each performer. In ＜em＞Music Direction for the Stage＜/em＞, veteran music director and instructor Joseph Church demystifies the job in a book that offers aspiring and practicing music directors the practical tips and instruction they need in order to mount a successful musical production. Church, one of Broadway's foremost music directors, emerges from the orchestra pit to tell how the music is put into a musical show. He gives particular attention to the music itself, explaining how a music director can best plan the task of learning, analyzing, and teaching each new piece. Based on his years of professional experience, he offers a practical discussion of a music director's methods of analyzing, learning, and practicing a score, thoroughly illustrated by examples from the repertoire. The book also describes how a music director can effectively approach dramatic and choreographic rehearsals, including key tips on cueing music to dialogue and staging, determining incidental music and underscoring, making musical adjustments and revisions in rehearsal, and adjusting style and tempo to performers' needs. A key theme of the book is effective collaboration with other professionals, from the production team to the creative team to the performers themselves, all grounded in Church's real-world experience with professional, amateur, and even student performances. He concludes with a look at music direction as a career, offering invaluable advice on how the enterprising music director can find work and gain standing in the field.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞The Oxford Handbook of Musical Repatriation＜/em＞ is a significant edited volume that critically explores issues surrounding musical repatriation, chiefly of recordings from audiovisual archives. The ＜em＞Handbook＜/em＞ provides a dynamic and richly layered collection of stories and critical questions for anyone engaged or interested in repatriation or archival work. Repatriation often is overtly guided by an ethical mandate to "return" something to where it belongs, by such means as working to provide reconnection and Indigenous control and access to cultural materials. Essential as these mandates can be, this remarkable volume reveals dimensions to repatriation beyond those which can be understood as simple acts of "giving back" or returning an archive to its "homeland." Musical repatriation can entail subjective negotiations involving living subjects, intangible elements of cultural heritage, and complex histories, situated in intersecting webs of power relations and manifold other contexts. The forty-eight expert authors of this book's thirty-eight chapters engage with multifaceted aspects of musical repatriation, situating it as a concept encompassing widely ranging modes of cultural work that can be both profoundly interdisciplinary and embedded at the core of ethnographic and historical scholarship. These authors explore a rich variety of these processes' many streams, making the volume a compelling space for critical analysis of musical repatriation and its wider significance. The Handbook presents these chapters in a way that offers numerous emergent perspectives, depending on one's chosen trajectory through the volume. From retracing the paths of archived collections to exploring memory, performance, research goals, institutional power, curation, preservation, pedagogy and method, media and transmission, digital rights and access, policy and privilege, intellectual property, ideology, and the evolving institutional norms that have marked the preservation and ownership of musical archives-＜em＞The Oxford Handbook of Musical Repatriation＜/em＞ addresses these key topics and more in a deep, richly detailed, and diverse exploration.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Drawing on a passion for music, a remarkably diverse interdisciplinary toolbox, and a gift for accessible language that speaks equally to scholars and the general public, Jann Pasler invites us to read as she writes "through" music, unveiling the forces that affect our sonic encounters. In an extraordinary collection of historical and critical essays, some appearing for the first time in English, Pasler deconstructs the social, moral, and political preoccupations lurking behind aesthetic taste. Arguing that learning from musical experience is vital to our understanding of past, present, and future, Pasler's work trenchantly reasserts the role of music as a crucial contributor to important public debates about who we can be as individuals, communities, and nations. The author's wide-ranging and perceptive approaches to musical biography and history challenge us to rethink our assumptions about important cultural and philosophical issues including national identity and postmodern musical hybridity, material culture, the economics of power, and the relationship between classical and popular music. Her work uncovers the self-fashioning of modernists such as Vincent d'Indy, Augusta Holm?s, Jean Cocteau, and John Cage, and addresses categories such as race, gender, and class in the early 20th century in ways that resonate with experiences today. She also explores how music uses time and constructs narrative. Pasler's innovative and influential methodological approaches, such as her notion of "question-spaces," open up the complex cultural and political networks in which music participates. This provides us with the reasons and tools to engage with music in fresh and exciting ways. In these thoughtful essays, music--whether beautiful or cacophonous, reassuring or seemingly incomprehensible--comes alive as a bearer of ideas and practices that offers deep insights into how we negotiate the world. Jann Pasler's ＜em＞Writing through Music＜/em＞ brilliantly demonstrates how music can be a critical lens to focus the contemporary critical, cultural, historical, and social issues of our time.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Through the rise and fall of the Hollywood studio system, David O. Selznick reigned as Hollywood's preeminent producer. His reputation depended in large part on music. The orchestral cacophony of ＜em＞King Kong＜/em＞, the pulsing electronic sonorities of ＜em＞Spellbound＜/em＞, and the Tara theme from ＜em＞Gone with the Wind＜/em＞ made music a distinguishing feature of the Selznick experience. By flaunting music's role in film and overseeing its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated a fascination with film scores. But he did not do it alone. In ＜em＞Making Music in Selznick's Hollywood＜/em＞, Nathan Platte brings to light the men and women whose work sounds throughout Selznick's many films. The cast includes familiar composers like Max Steiner, Franz Waxman, and Dimitri Tiomkin, but extends to overlooked contributors, including music editor Audray Granville, orchestrator Hugo Friedhofer, harpist Louise Klos, choral director Jester Hairston, publicist Ted Wick, and many others. Novelists, studio writers, and directors like Alfred Hitchcock also influenced the soundscapes of Selznick's films. Whether working with the producer directly or managing his presence from a distance, all had to reckon with Selznick's musical preoccupations. Rarely was it easy. Rewritten scores, fired personnel, and other skirmishes reflect the troubles-and uneven compromises-that shaped music for films like ＜em＞Gone with the Wind, Duel in the Sun＜/em＞, and ＜em＞Rebecca＜/em＞. Even Selznick anticipated that such problems would "go down in the history of Hollywood as the last wild fling of people who really fiddled-and how!-while Hollywood burned." Drawing on extensive archival research, Platte recounts those stories here, tracing Selznick's musical labors during the silent era through his work at the major studios and his culminating efforts at Selznick International Pictures. Taken together, Selznick's films provide a sweeping vista of the relationships among musicians and filmmakers that defined the Hollywood sound.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Through the rise and fall of the Hollywood studio system, David O. Selznick reigned as Hollywood's preeminent producer. His reputation depended in large part on music. The orchestral cacophony of ＜em＞King Kong＜/em＞, the pulsing electronic sonorities of ＜em＞Spellbound＜/em＞, and the Tara theme from ＜em＞Gone with the Wind＜/em＞ made music a distinguishing feature of the Selznick experience. By flaunting music's role in film and overseeing its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated a fascination with film scores. But he did not do it alone. In ＜em＞Making Music in Selznick's Hollywood＜/em＞, Nathan Platte brings to light the men and women whose work sounds throughout Selznick's many films. The cast includes familiar composers like Max Steiner, Franz Waxman, and Dimitri Tiomkin, but extends to overlooked contributors, including music editor Audray Granville, orchestrator Hugo Friedhofer, harpist Louise Klos, choral director Jester Hairston, publicist Ted Wick, and many others. Novelists, studio writers, and directors like Alfred Hitchcock also influenced the soundscapes of Selznick's films. Whether working with the producer directly or managing his presence from a distance, all had to reckon with Selznick's musical preoccupations. Rarely was it easy. Rewritten scores, fired personnel, and other skirmishes reflect the troubles-and uneven compromises-that shaped music for films like ＜em＞Gone with the Wind, Duel in the Sun＜/em＞, and ＜em＞Rebecca＜/em＞. Even Selznick anticipated that such problems would "go down in the history of Hollywood as the last wild fling of people who really fiddled-and how!-while Hollywood burned." Drawing on extensive archival research, Platte recounts those stories here, tracing Selznick's musical labors during the silent era through his work at the major studios and his culminating efforts at Selznick International Pictures. Taken together, Selznick's films provide a sweeping vista of the relationships among musicians and filmmakers that defined the Hollywood sound.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。