On Repeat offers an in-depth inquiry into music's repetitive nature. Drawing on a diverse array of fields, it sheds light on a range of issues from repetition's use as a compositional tool to its role in characterizing our behavior as listeners, and considers related implications for repetition in language, learning, and communication.
Music has been examined from multiple perspectives: as a product of human history, for example, or a product of human culture. But there is also a long tradition, intensified in recent decades, of thinking about music as a product of the human mind. Whether considering composition, performance, listening, or appreciation, the constraints and capabilities of the human mind play a formative role. The field that has emerged around this approach is known as the psychology of music. Written in a lively and accessible manner, this volume connects the science to larger questions about music that are of interest to practicing musicians, music therapists, musicologists, and the general public alike. For example: Why can one musical performance move an audience to tears, and another compel them to dance, clap, or snap along? How does a "hype" playlist motivate someone at the gym? And why is that top-40 song stuck in everyone's head? ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
The Routledge Companion to Popular Music Analysis: Expanding Approaches widens the scope of analytical approaches for popular music by incorporating methods developed for analyzing contemporary art music. This study endeavors to create a new analytical paradigm for examining popular music from the perspective of developments in contemporary art music. "Expanded approaches" for popular music analysis is broadly defined as as exploring the pitch-class structures, form, timbre, rhythm, or aesthetics of various forms of popular music in a conceptual space not limited to the domain of common practice tonality but broadened to include any applicable compositional, analytical, or theoretical concept that illuminates the music. The essays in this collection investigate a variety of analytical, theoretical, historical, and aesthetic commonalities popular music shares with 20th and 21st century art music. From rock and pop to hip hop and rap, dance and electronica, from the 1930s to present day, this companion explores these connections in five parts: Establishing and Expanding Analytical Frameworks Technology and Timbre Rhythm, Pitch, and Harmony Form and Structure Critical Frameworks: Analytical, Formal, Structural, and Political With contributions by established scholars and promising emerging scholars in music theory and historical musicology from North America, Europe, and Australia, The Routledge Companion to Popular Music Analysis: Expanding Approaches offers nuanced and detailed perspectives that address the relationships between concert and popular music.
'Benjamin Hardy is one of the leading voices on well-being and productivity. Willpower Doesn't Work is an insightful guide to help us thrive in today's world.' - Arianna Huffington 'If you only read one book in 2018, make it this one . . .' - Inc. If you're relying on willpower alone to help you lose weight, improve your relationships or achieve more at work, you're doomed to fail. The environment around us is far too powerful, stimulating, addicting and stressful to overcome it through sheer determination. Willpower, grit, being positive - basically, all the tools you've been told are the keys to creating lasting change in your life - are insufficient in this high-paced, information-overloaded world we live in. The only way to stop just surviving and learn to truly thrive in today's world is to proactively shape your environment. That's the premise of Willpower Doesn't Work, by organizational psychologist and Medium's most-read self-help guru Benjamin Hardy. Building on copious existing research, as well as his own experience of growing up in a broken family afflicted by addiction and drug use, Hardy explains how people can change their lives on every level by making small, impactful changes in their environment like: * Creating "enriched environments" - using tougher challenges and self-imposed deadlines to force yourself to rise to the occasion. * Growing into your goals - using radical personal accountability to keep yourself on target and on track. * Becoming the teacher - stepping into a leadership role (even before you think you're ready) to accelerate your skills. * Rotating your environments - getting out of your rut by literally changing your physical surroundings throughout the day or week. From simple steps like removing things that conflict with your values from your environment (like junk food, junk media, even junk people), to incorporating new tools (like fasting or adding "positive triggers" to your world), these lessons make it possible to consciously shape your surroundings so you can lead a more productive and happier life. Hardy leans on his own story of making the decision to foster three young children to illustrate how any shift, no matter how huge, can become "the new normal" if you support that change with a productive environment.
Mind & Music: Tips and Lessons from the Guy in the Back Row is a book filled with relevant and enlightening anecdotes to help people find their own “voice.” Watching life from the back row - close enough to see, hear and feel the vibe - but not too close to mess up the flow... makes all the difference! Insights, tips, life lessons and stories collected by Farrell through decades of working with singers, songwriters, performing artists, live presenters and television personalities are shared to inspire you.
Following her distinguished earlier career as a concert pianist and later as a music theorist, Jeanne Bamberger conducted countless case studies analysing musical development and creativity the results of which were published in important scientific journals. Discovering musical mind draws together in one source these classic studies, offering the chance to revisit and reconsider some of her conclusions. Reviewing the data in light of current theories of cognitive development, she discusses how some of the conclusions she drew stand up to scrutiny, whilst in other cases, anomalies turn out to have greater significance than expected. The book is a collection of Bamberger's papers from 1975 to 2011. It includes her first study of Beethoven's original fingerings, her beginning work with children's invented notations, close observations and analysis of children in the Laboratory for Making Things, studies of musically gifted children, and the emergent musical development of students in elementary-secondary school and university undergraduate and graduate studies. The observations and research lead to the development of an interactive, computer-based music environment that uses her pragmatic theory of musical development as the basis for a project-oriented program for teaching and learning. Unlike other collections, the book is both interdisciplinary and strongly practical. It brings together and integrates Bamberger's background in music theory, research in music perception and music education, performance, cognitive development, artificial intelligence, and procedural music composition. Her multi-faceted approach to music theory and music pedagogy is guided throughout by her commitment to an understanding and respect for an individual's natural, creative musical intelligence. This natural competence becomes the formative ground on which to help people of all ages build an ever growing understanding and engagement with the evolving structures of the world's music. Bringing together a body of research currently scattered across a range of journals, or simply no longer available, the book will make fascinating reading for those in the fields of musical developmental and educational psychology.
In this study, Erin Minear explores the fascination of Shakespeare and Milton with the ability of music–heard, imagined, or remembered–to infiltrate language. Such infected language reproduces not so much the formal or sonic properties of music as its effects. Shakespeare's and Milton's understanding of these effects was determined, she argues, by history and culture as well as individual sensibility. They portray music as uncanny and divine, expressive and opaque, promoting associative rather than logical thought processes and unearthing unexpected memories. The title reflects the multiple and overlapping meanings of reverberation in the study: the lingering and infectious nature of musical sound; the questionable status of audible, earthly music as an echo of celestial harmonies; and one writer's allusions to another. Minear argues that many of the qualities that seem to us characteristically 'Shakespearean' stem from Shakespeare's engagement with how music works-and that Milton was deeply influenced by this aspect of Shakespearean poetics. Analyzing Milton's account of Shakespeare's 'warbled notes,' she demonstrates that he saw Shakespeare as a peculiarly musical poet, deeply and obscurely moving his audience with language that has ceased to mean, but nonetheless lingers hauntingly in the mind. Obsessed with the relationship between words and music for reasons of his own, including his father's profession as a composer, Milton would adopt, adapt, and finally reject Shakespeare's form of musical poetics in his own quest to 'join the angel choir.' Offering a new way of looking at the work of two major authors, this study engages and challenges scholars of Shakespeare, Milton, and early modern culture.
Fifteen pieces arranged for any combination of 3 or more stringed instruments. All 3 parts are included in each book allowing all students to gain experience playing both melody and harmony parts. The "mileage" of each selection is also increased as it never has to be played with the same instrumentation twice.