Music

A step-by-step resource on forging one's own pathway to improvise music, this book guides the musician through a clear and simple method that will easily translate to the reader's genre of choice

In the first book to examine the overlooked relationship between musical improvisation and philosophical hermeneutics, Sam McAuliffe asks: what exactly is improvisation? And how does it relate to our being-in-the-world? Improvisation in Music and Philosophical Hermeneutics answers these questions by investigating the underlying structure of improvisation. McAuliffe argues that improvising is best understood as attending and responding to the situation in which one find itself and, as such, is essential to how we engage with the world. Working within the hermeneutic philosophical tradition - drawing primarily on the work of Martin Heidegger, Hans-Georg Gadamer, and Jeff Malpas - this book provides a rich and detailed account of the ways in which we are all already experienced improvisers. Given the dominance of music in discussions of improvisation, Part I of this book uses improvised musical performance as a case study to uncover the ontological structure of improvisation: a structure that McAuliffe demonstrates is identical to the structure of hermeneutic engagement. Exploring this relationship between improvisation and hermeneutics, Part II offers a new reading of Gadamer's philosophical hermeneutics, examining the way in which Gadamer's accounts of truth and understanding, language, and ethics each possess an essentially improvisational character. Working between philosophy and music theory, Improvisation in Music and Philosophical Hermeneutics unveils the hermeneutic character of musical performance, the musicality of hermeneutic engagement, and the universality of improvisation

Drawing on original interviews with improvising musicians, on critical pedagogy and cultural studies, and on the authors' personal histories with improvised music as a form of activism, community-based pedagogy, Jamming the Classroom examines how the teaching and learning of improvisational musical practices can be understood as vital and publicly resonant acts that generate new forms of knowledge, new understandings of identity and community, and new imaginative possibilities. The book takes its cue not just from the learning in conventional classrooms and credentialing institutions but also from the work that happens in and through broader communities of practice. Heble and Stewart ask how the improvisational practices of artists and the internal educational endeavors within community groups model--and enact--new forms of community-making and critical thinking, as well as what it means to theorize the pedagogy of improvised music in relation to public programs of action, debate, and critical practice and the context of material practices and struggles for institutional authority.

Improvising Across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument (AUMI) brings together scholars, musicians, and family members of people with disabilities to collectively recount years of personal experiences, research, and perspectives on the societal and community impact of inclusive musical improvisation. One of the lesser-known projects of composer, improviser, and humanitarian, Pauline Oliveros (1932-2016), the AUMI was designed as a liberating and affordable alternative to the constraints of instruments created only for normative bodies, thus opening a doorway for people of all ages, genders, abilities, races, and socioeconomic backgrounds to access artistic practice with others. More than a book about AUMI, this book is an invitation to readers to use AUMI in their own communities. This book, which contains wisdom from many who have been affected by their work with the instrument and the people who use it, is a representation of how music and extemporized performance have touched the lives and minds of scholars and families alike. Not only has AUMI provided the opportunity to grow in listening to others who may speak differently (or not at all), but it has been used as an avenue for a diverse set of people to build friendships with others whom they may have never otherwise even glanced at in the street. By providing a space for every person who comes across AUMI to perform, listen, improvise, and collaborate, the continuing development of this instrument contributes to a world in which every person is heard, welcomed, and celebrated.

Innovation in Music: Adjusting Perspectives brings together cutting-edge research on new innovations in the field of music production, technology, performance, and business. with contributions from a host of well-respected researchers and practitioners, this volume provides crucial coverage on the relationship between innovation and rebellion. Including chapters on generative AI, gender equality, live music, quantisation, and composition, this book is recommended reading for music industry researchers working in a range of fields, as well as professionals interested in industry innovations

For 100 years and more, musicians have been drawn to the potential of musical processes and relationships to embody democratic principles. This book is the first extended study of this 'musical modelling of democracy', as manifested in modern and experimental music of the global North. Four different approaches are surveyed in turn. In the music of Elliott Carter, democratic principles shape the textural relationships inscribed in the musical score. The indeterminate music of John Cage and his associates sought to democratise the composer-performer relationship by leaving open fundamental decisions about the realisation of a piece. Musicians have involved audiences in active participation, as a means to liberate them from a passive spectatorship. Free improvisation groups have experimented with new kinds of egalitarian relationship between ensemble members, in an effort to reject old hierarchies

Relational Improvisation explores the creative exchanges that occur between artistic disciplines through the practice of improvisation in performance. Building upon the growing research into improvisation, the book explores contemporary transdisciplinary collaborations between improvised music and other fields including dance and visual arts, offering insights from a wide range of practitioners. Author Simon Rose takes a ground-up approach that places value on lived experience and reflects the value of collaboration. Mirroring improvisation's relationality, chapters are co-authored by musicians, dancers and visual artists from diverse backgrounds who are engaged in active artistic collaborations with the author. The relational approach allows for the inclusion of improvisation's scope and many levels. Showcasing a range of different voices, the chapters address topics in artistic improvisation including cybernetics, interspecies work, working with light, phenomenology, sympoiesis, and identity, and utilise a range of approaches including autoethnography and philosophical analysis. Considering the relationships of improvisation to emotion, space, embodiment and philosophy, this book shows how improvisation, collaboration, and transdisciplinary artistic practices combine to generate new creative possibilities. It provides vital insights for practicing artists, arts researchers, philosophy and pedagogy, and all those studying improvisation and collaborative creativity in contemporary music, dance, and visual arts

Pulse and Syncopation -- Horizontal and Vertical Approaches to Improvisation -- Introduction to Charlie Parker : Rhythm and Pitch -- Rhythmic Shapes -- "Groovin' High" : The Upsurge -- Descending Pathways and Underlying Thirds -- Techniques for Connecting and Expanding Melodies -- Cross Rhythms -- "Klaunstance" and "Ko Ko" : the Vocabulary of bebop -- Vertical Approaches : Harmonic Spaces -- Flexibility of Harmonic Rhythm -- Hard Bop Approaches -- Soloing with Comping Rhythms -- Practical Applications (online only) -- Learning Tunes, Harmonic Progressions, and Lines in 12 Transpositions (online only) -- Other Bop Players (online only) -- Rhythm Changes Routines (online only) -- John Coltrane and Harmonic Third Relations (online only)

The theatre of home and the Zoomesphere -- The evolution of digital music approaches in practice and care -- Opening up opportunities : the shape of things to come -- Experimentation : habits, habituation, expertise and augmentation -- Virtual foam : performing, recording, and remixing ensemble improvisation in the Zumwelt -- "I love lemons" : negotiating endings -- New virtuosities : this is our music -- An improvising life : implications for identity, education, therapy, and beyond -- New insights into understanding improvisation -- Beyond the theatre of home : towards Improvisational hybridity

Moore, Burridge and the contributors explore the multifaceted role of improvisation, from rehearsal to performance, teaching to learning within the Southeast Asian performing arts scene. they feature a vital overview of how contemporary Southeast Asian artists use improvisation in their practice through diverse theoretical perspectives, innovative methods and idiosyncratic strategies. the book highlights the strength of improvisation as a connective tissue facilitating collaboration and interdisciplinarity across the performing arts. it shows how artists and practitioners navigate the dynamic landscape of Southeast Asian arts, blurring taxonomical boundaries to embrace change and innovation. from interrogative full-length chapters to insightful personal case narratives, each contribution showcases the practical application of improvisation in real-world projects. the chapters affirm improvisation as both a creative process and a performance strategy, unlocking new possibilities in performing arts and providing an inspired snapshot of contemporary Southeast Asian creative practice. with discourse extending beyond conventional disciplinary confines, this book is a valuable read for graduate and postgraduate students, educators and researchers in diverse fields encompassing dance, music, theatre studies, performance studies, aesthetics, and interdisciplinary arts. it is also a viable resource for professionals in the performing arts industry as it provides invaluable insights into the transformative power of improvisation

This book presents the recent positions, theories, and methods of artistic research in jazz, inviting readers to critically engage in and establish a sustained discourse regarding the theoretical, methodological, and analytic perspectives in the field of artistic practice-as-research. This edited collection presents an in-depth discourse on shared and specific approaches to practice-as-research in jazz and popular music. A panel of eleven international contributors provide an understanding of the specificity of current practice in jazz and popular music, both improvisational and composed. The topics addressed throughout consider the cultural, institutional, epistemological, philosophical, ethical, and practical aspects of the discipline, as well as the influence of race, gender and politics. The book is structured in three parts: first, on topics related to improvisation, theory and history; second, on institutional and pedagogical positions; and third, on methodical approaches in four specific research projects conducted by the authors. In thinking outside established theoretical frameworks, this book invites further exploration and participation, and encourages practitioners, scholars, students and teachers at all academic levels to shape the future of jazz research collectively. It will be of interest to students in jazz and popular music studies, performance studies, improvisation studies, music philosophy, music aesthetics, and Western art music research

With a focus on music, this book outlines what improvisation is and why it is an important creative and social activity. Drawing on the emerging psychological literature in this area, as well as evidence from authors' research with musicians, this text outlines innovative ideas on what defines improvisation and the psychological, creative and social processes involved. It explores the role of specialist skills, the importance of musical identities and the nature of understanding in improvised interaction and between improvisers. It discusses how we develop as improvisers and the role of improvisation within therapeutic applications of music. Each chapter proceeds from discussion of an illustrative instance of musical improvisation. Providing fresh and provocative insights for anyone interested in playing, studying, teaching or listening to improvised music, the authors offer suggestions for approaching this practice in new ways at any level, and identify potential developments in cross-disciplinary improvising. Asserting that everyone can and should improvise, the book provides a resource for courses teaching improvisation in contemporary practice, and has strong relevance for those applying musical improvisation in community and therapeutic contexts. The book deals with such questions as: What constitutes improvisation? Do all forms of improvisation represent the same thing? Faced with myriad possibilities, how do improvisers decide what to play? How does an improviser in a group know what the others will do? How might improvisation influence our wellbeing? In response to such questions, a definition of improvisation based on its unique behavioural features is set out as an exciting context for psychological investigation

Lawrence D. Butch Morris (1947-2013) was an American jazz cornetist, composer and conductor, internationally considered one of the great musical innovators of our times. His interests in ensemble music--from avant-garde jazz to contemporary classical--crystallized into a unique method of real-time orchestral composition, which he called Conduction®, designed to enable conductors to direct an ensemble. Morris toured the world, introducing Conduction to a varied community of musicians, and his influence extended into art, dance, poetry and cinema. 'The Art of Conduction' is a theoretical introduction and practical guide to Conduction. During the last 10 years of his life, Morris worked to document his method in this book form; his untimely death left it near finished. Finally Daniela Veronesi, a linguist and longtime collaborator, brings his manuscript to completion

Introduction: Collaborative and distributed processes in contemporary music-making / Richard Glover and Lauren Redhead -- I, Perspectives on collaboration in aspects of contemprary composition: Colourful interactions : composers, theatrical scores, and music as performance / Louis d'Heudieres. A common method? : distributed creativity in composition and/as practice research / Lauren Redhead. Interaction and game design in Build-a-chord workshop / Richard Glover -- II, Distributed group processes: The body orchestral / Cayenna Ponchione-Bailey. Group Entremeios : collective creativity and technology / Rogério Costa, Felipe Merker Castallani, Alessandra Bochio, and Alexandre Zamith Almeida. Adaptive Markov network : a music game piece for free improvisers / Stefano Kalonaris --- III, Examples of composer-performer collaborative relationships. Multiple roles and forms of entertainment in the multimedia works of Adam de la Cour / Zubin Kanga and Adam de la Cour. Unreal-time improv / Panos Ghikas. This is not a ... / Catherine Laws -- IV, An invitation. Taking nothing for granted / Maya Verlaak.

Introduction -- Questions, questions, questions! -- A pedagogy for musicianship -- Music making ... for whom? -- The basics of CMM ... just do it! -- Improvisation -- Creative music making -- CMM step 1 -- playing -- CMM step 2 -- recording -- CMM step 3 -- listening -- CMM step 4 -- questioning -- CMM sessions at the university of Missouri-Kansas city conservatory of music -- Track 4 -- Duet improvisation -- Track 5 -- Trio improvisation A -- Tracks 6 and 7 -- Trio improvisations B and C -- Track 8 and 9 -- Trio improvisations D and E -- Tracks 10 and 11 -- Trio improvisation F and G -- Track 12 -- Expanding quartet improvisation -- CMM in grade school classrooms -- Outcomes -- Improvisation in concerts

Creative practice in music takes place in a distributed and interactive manner embracing the activities of composers, performers and improvisers-despite the sharp division of labour between these roles that traditional concert culture often presents. Two distinctive features of contemporary music are the greater incorporation of improvisation and the development of integrated and collaborative working practices between composers and performers. By blurring the distinction between composition and performance, improvisation and collaboration provide important perspectives on the distributed creative processes that play a central role in much contemporary concert music. This volume explores how collaboration and improvisation enable and constrain these creative processes.

Expanding the Space for Improvisation Pedagogy in Music is a critical, research-based anthology exploring improvisation in music pedagogy. The book broadens the understanding of the potentials and possibilities for improvisation in a variety of music education contexts and stimulates the development of knowledge and reflection on improvisation. The book critically examines the challenges, cultural values, aims and methods involved in improvisation pedagogy. Written by international contributors representing a variety of musical genres and research methodologies, it takes a transdisciplinary approach and outlines a way ahead for improvisation pedagogy and research, by providing a space for the exchange of knowledge and critique.

Expanding the Space for Improvisation Pedagogy in Music is a critical, research-based anthology exploring improvisation in music pedagogy. The book broadens the understanding of the potentials and possibilities for improvisation in a variety of music education contexts and stimulates the development of knowledge and reflection on improvisation.

The book critically examines the challenges, cultural values, aims and methods involved in improvisation pedagogy. Written by international contributors representing a variety of musical genres and research methodologies, it takes a transdisciplinary approach and outlines a way ahead for improvisation pedagogy and research, by providing a space for the exchange of knowledge and critique.

This book will be of great interest to scholars, researchers, and postgraduate students in the fields of arts education, music education, improvisation, music psychology, musicology, ethnomusicology, artistic research and community music. It will also appeal to music educators on all levels in the field of music education and music psychology.

Experimentation in Improvised Jazz: Chasing Ideas challenges the notion that in the twenty-first century, jazz can be restrained by a singular, static definition. The worldwide trend for jazz to be marginalized by the mainstream music industry, as well as conservatoriums and schools of music, runs the risk of stifling the innovative and challenging aspects of its creativity. The authors argue that to remain relevant, jazz needs to be dynamic, proactively experimental, and consciously facilitate new ideas to be made accessible to an audience broader than the innovators themselves.　Experimentation in Improvised Jazz explores key elements of experimental jazz music in order to discern ways in which the genre is developing. The book begins with an overview of where, when and how new ideas in free and improvised jazz have been created and added to the canon, developing the genre beyond its initial roots. It moves on to consider how and why musicians create free and improvised jazz; the decisions they make while playing. What are they responding to? What are they depending on? What are they thinking? The authors analyse and synthesise the creation of free jazz by correlating the latest research to the reflections provided by some of the world’s greatest jazz innovators for this project. Finally, the book examines how we respond to free and improvised jazz: artistically, critically and personally. Free jazz is, the book argues, an environment that develops through experimentation with new ideas.

Sounding truth to power : improvisation, black mobility, and resources for hope -- Improvisation and encounter: rights in the key of rifference -- Improvising community : rights and improvisation as encounter narratives -- Improvisation, social movements, and rights in New Orleans -- Art to find the pulse of the people : we know this place -- "The fierce urgency of now" : improvisation, social practice, and togetherness-in-difference

The dialectical eroticism of improvisation / Tord Gustavsen -- Jazz as classical music / Andy Hamilton -- On the spontaneity of jazz improvisation / Gabriele Tomasi -- Improvisation as phenomenon and tool for communication, interactive action and learning / Bjørn Alterhaug -- Improvisational creativity as a model for effective learning / Keith Sawyer -- Cultivating an attunement to unfolding : Improvisation and the discovery of identity / Frank J. Barrett

Why don't classical musicians improvise? Why do jazz players get to have all the fun? And how do they develop such fabulous technique and aural skills? With these words, Jeffrey Agrell opens the door to improvisation for all non-jazz musicians who thought it was beyond their ability to play extemporaneously. Step-by-step, Agrell leads through a series of games, rather than exercises. The game format takes the pressure off of classically trained musicians, steering them away from their fixation on mistake-free performance and introducing the basic concepts of playing with music itself instead of obsessing over a perfect rendition of a written score. Agrell draws an analogy with sports that illustrates the absurdity of the traditional approach to classically-oriented music performance

Between composition and performance -- Composing : from Ursprung to Fassung letzter Hand -- Performing : the improvisation of preservation -- The Ergon with Energeia -- Being musical with the other

Introduction #1 : a night at Stengade 30, CPH -- Introduction #2 : Who? And what to call it? -- Essay #1 : freely improvised music, jazz and other influences -- Essay #2 : improvisation within genres and the musical idiom -- Essay #3 : free improvisation and musical skills -- Photos -- Essay #4 : reflects and improvisation -- Essay #5 : theatre, dance and abstract painting -- Essay #6 : the acceptance and the reactor -- Interview #1 : BodaBoda Duo and Swedish Raymond Strid -- Interview #2 : noise-music and improvisation : correspondence with Torben Sangild -- Interview #3 : interview with Danish master (Peter Ole Jørgensen) -- Interview #4 : Vagn E. Olsson, December 2010 -- Essay #7 : feeling and listening

How do we define improvised music? What is the relationship of highly improvised performances to the work they are performances of? How do we decide what are the important parts of an improvised musical work? In Intents and Purposes, Eric Lewis uses a series of case studies to challenge assumptions about what defines a musical work and musical performance, seeking to go beyond philosophical and aesthetic templates from Western classical music to foreground the distinctive practices and aesthetics of jazz. Pushing aside the assumption that composition and improvisation are different (or even opposed) musical practices, Lewis’s philosophically informed approach revisits key topics in musical ontology, such as how to define the triangle of composer-performer-listener, and the status of live performances in relation to scores and recordings. Drawing on critical race theory, feminist theory, new musicology, sociology, cognitive science, and genre theory, Lewis opens up new questions about agency in performance, as well as new ways of considering the historical relationships between improvisational practices with roots in different cultural frameworks. By showing how jazz can be both art, idea, and action all at the same time, Lewis offers a new way of seeing any improvised musical performance in a new culturally and aesthetically rich context.

An art neglected in scholarship / Bruno Nettl -- Recognizing improvisation / Stephen Blum -- Psychological constraints on improvisational expertise and communication / Jeff Pressing -- Do Javanese gamelan musicians really improvise? / R. Anderson Sutton -- Improvisation, ecstasy, and performance dynamics in Arabic music / Ali Jihad Racy -- Go on, girl!:Improvisation in Afican-American girls' singing games / Eve Harwood -- Improvisation in Latin American dance music: history and style / Peter Manuel -- Oh freedom: George Russel, John Coltrane, and modal jazz / Ingrid Monson --Improvisation and group interaction in Italian lyrical singing / Tulla Magrini -- Exploding the belly: improvisation in Cantonese opera / Sau Y. Chan -- Melodic improvisation in Karṇāṭak music: the manifestations of Rāga / T. Viswanathan and Jody Cormack -- Setting the stage: Clara Schumann's preludes / Valerie Woodring Goertzen -- A sense of the possible: Miles Davies and the semiotics of improvised performance / Chris Smith -- The improvisation of Louis Armstrong / Lawrence Gushee -- Keeping it going: terms, practices, and processes of improvisation in Hindustānī instrumental music / Stephen Slawek -- Taqsim Nahawand revisited: the musicianship of Jihad Racy / Bruno Nettl and Ronald Riddle

A descent -- Free bodies -- Collective subjectivities 1 -- Overture to dawn -- Collective subjectivities 2 -- Into the hot -- Solitary subjectivities -- Troubled sea of noises and hoarse disputes -- Collective objectivities -- Imaginary birds said to live in paradise -- Postscript : The ballad of John and Yoko -- Rain falling down on old Gods

Blending the insights of musicians and psychologists from D.W. Winnicott to Gregory Bateson to Ornette Coleman, Jazz and Psychotherapy is a groundbreaking exploration of improvisation that reveals its potential to transform our experience of ourselves and the challenges we face as a species. What we all share with the professional improvisers known as "psychotherapists" and "jazz musicians" is the reality of not knowing what those around us-or even we ourselves-are going to do next. Rather than avoiding it, however, these practitioners have learned to revere our inherent unpredictability as precisely the feature of human living that makes transformative change possible, fully incorporating it into the theories and practices that constitute their disciplines. Jazz and Psychotherapy provides a sophisticated but accessible overview of the revolutionary approaches to human development and creative expression embodied in these two seemingly disparate twentieth-century cultural traditions. Readers interested in music, psychotherapy, social psychology and contemporary theories of complexity will find Jazz and Psychotherapy engaging and useful. Its colorful synthesis of perspectives and multidimensional scope make it an essential contribution to our understanding of improvisation in music and in life

Jazz Improvisation Using Simple Melodic Embellishment teaches fundamental concepts of jazz improvisation. Written as a textbook for an introductory college-level courses on improvisation, it is meant to be completely practical to the aspiring improviser. Musical examples are sung, played and incorporated throughout. This book is not specifically on jazz theory, but it does teach some theory and assumes the reader will have knowledge of basic musicianship, including reading music, key signatures, triads and basic 7th chords. Traditional embellishment techniques are common to classical music and folk melodies. But jazz and popular musics have utilized additional embellishment techniques such as blue notes and chromatic enclosures that add rich color and deep beauty

Jazz on the Line: Improvisation in Practice presents an ethnographic reflection on improvisation as performance, examining how musicians think and act when negotiating improvisational frameworks. This multidisciplinary discussion-guided by a focus on recordings, composition, authenticity, and venues-explores the musical choices made by performers, emphasizing how these choices can be logically understood within the context of controlled, musical outputs. Throughout the text, the author engages directly with musicians and their varied practices-from canonized dogmas to innovative experimentalism-offering interviews both planned and spontaneous. Musical agency is posited as a tightrope balancing act, signifying the skill and excitement of improvisational performativity and exemplifying the life of a jazzaerialist. With a travel journal approach as a backdrop, Jazz on the Line provides concepts and theories that demystify the creative processes of improvisation

Proceedings of a workshop which took place at the University of Rennes 2 on 24 February 2009, organized by the "Arts: pratiques et poétiques" research group

Joe Harriott and Bernie McGann: flying without Ornette -- Michael Hurley: Jocko's lament -- Mayo Thompson: genre of one -- John Stevens: unpopular populists -- Peter Brötzmann Tentet: freeways -- Steve Lacy: sojourner saxophone -- David Grubbs: postcards from the edge -- Voice Crack: from nothing to everything -- Milford Graves: pulseology -- Out of nowhere: Deleuze, Gräwe, Cadence -- Carla Bley and steve Swallow: feeding quarters to the nonstop mental jukebox -- Misha Mengelberg: no simple calculations for life -- Misha Mengelberg and Han Bennink: natural inbuilt contrapuncto -- Form follows faction?: ethnicity and creative music -- Anthony Braxton: ism vs. is -- Anthony Braxton: Bildungsmusik thoughts on composition 171 -- Paul Lovens: Lo our Lo -- Clark Coolidge: the improvised line -- Nathaniel Mackey: steep incumbencies -- Sun Ra: from the Windy City to the omniverse: Chicago life as a street priest of D.I.Y. jazz -- Fred Anderson: the house that Fred built -- Sun Ra: queer voice -- Jaap Blonk: uncommon tongue -- PJ Harvey: mother's tongue -- Aural sex: the female orgasm in popular sound (coauthored with Terri Kapsalis) -- Liz Phair and Lou Barlow: on music, sex, TV, and beyond -- Liz Phair and Kim Gordon: exile in Galville? -- Koko Taylor: the blue queen cooks -- Brion Gysin and Steve Lacy: nothing is true, everything is permuted -- Ornette Coleman: doing is believing -- Roscoe Mitchell: citizen of sound -- Fred Anderson and Von Freeman: tenacity -- George Lewis: interactive imagination -- Mats Gustafsson: mg at half-c -- Ken Vandermark: six dispatches from the memory bank -- Ken Vandermark and Joe McPhee: mutual admiration society -- Peter Brötzmann and Evan Parker: bring something to the table -- Oncology of the record album -- Discaholic or vinyl freak? Mats Gustafsson interrogates John Corbett -- Enthusiasms: a spontaneous listening session -- A very visual kind of music: the cartoon soundtrack beyond the screen -- R.L. Burnside and Jon Spencer: fattening frogs for snake drive -- Before and after punk: the comp as teaching tool -- Raymond scott: cradle of electronica -- Peter Brötzmann: graphic equalizer -- Albert Oehlen: bionic painting -- Albert Oehlen: mangy a conversation and a playlist -- Christopher Wool: impropositions? improvisation, dub painting -- Christopher Wool: into the woods- six meditations on the interdisciplinary -- Sun Ra: an Afro-space-jazz imaginary- the printed record of El Saturn -- Helmut Lachenmann: Hellhörig, or the intricacies of perceptiveness -- Guillermo Gregorio: Madi music -- Experimental Oriental: new music and other others -- Afterword: a concise history of music -- Grooving on: selected listening

Society. Jazz as political and musical practice / Ingrid Monson -- John Cage and improvisation : an unresolved relationship / Sabine M. Feisst -- When traditional improvisation is prohibited : contemporary Ukrainian funeral laments and burial practices / Natalie Kononenko -- The juncture between creation and re-creation among Indonesian reciters of the Qur'an / Anne K. Rasmussen -- Genius, improvisation, and the narrative of jazz history / Gabriel Solis -- Formulas and improvisation in participatory music / Thomas Turino -- Education. Learning to improvise music, improvising to learn music / Patricia Shehan Campbell -- Improvising Mozart / Robert Levin ; Keyboard improvisation in the baroque period / Charlotte Mattax Moersch -- Beyond the improvisation class : learning to improvise in a university jazz studies program / John P. Murphy -- On learning the radif and improvisation in Iran / Bruno Nettl -- Hindustani sitar and jazz guitar music : a foray into comparative improvology / Stephen Slawek -- Music improvisation in the modern dance class : techniques and approaches in fulfilling a multi-layered role / John Toenjes -- Creation. Representations of music making / Stephen Blum -- Improvisation and related terms in middle-period jazz / Lawrence Gushee -- Opening the museum window : improvisation and its inscribed values in canonic works by Chopin and Schumann / Robert S. Hatten -- Improvisation in Beethoven's creative process / William Kinderman -- Why do they improvise? Reflections on meaning and experience / Ali Jihad Racy -- Preluding at the piano / Nicholas Temperley

Introduction. Improvising at the nexus of discursive and material bodies / Gillian Siddall and Ellen Waterman -- Improvisation within a scene of constraint : an interview with Judith Butler / Tracy McMullen --
Listening, place, and space. "How am I to listen to you"? : soundwalking, intimacy, and improvised listening / Andra McCartney -- Community sound [e]scapes : improvising bodies and site/space/place in new media audio art / Rebecca Caines --
Technology and embodiment. Improvising composition : how to listen in the time between / Pauline Oliveros -- The networked body : physicality, embodiment, and latency in multisite performance / Jason Robinson -- Openness from closure : the puzzle of interagency in improvised music and a neocybernetic solution / David Borgo -- Mediating the improvising body : Art Tatum's postmortem performance in a posthuman world / Andrew Raffo Dewar -- Banding encounters : embodied practices in improvisation / introduction and conclusion by Tomie Hahn ; essays by Louise Campbell, Lindsay Vogt, Simon Rose, George Blake, Catherine Lee, Sherrie Tucker, François Mouillot, Jovana Milović, and Pete Williams -- Learning to go with the flow : David Rokeby's Very nervous system and the improvising body / Jesse Stewart -- Stretched boundaries : improvising across abilities / introduction and conclusion by Sherrie Tucker ; essays by Pauline Oliveros, Neil Rolnick, Christine Sun Kim, Clara Tomaz, David Whalen, Leaf Miller, and Jaclyn Heyen --
Gender, trauma, and memory. The erotics of improvisation in Ann-Marie MacDonald's Fall on your knees / Gillian Siddall -- Corregidora : corporeal archaeology, embodied memory, improvisation / Mandy-Suzanne Wong and Nina Sun Eidsheim -- Theorizing the saxophonic scream in free jazz improvisation / Zachary Wallmark -- Extemporaneous genomics : Nicole Mitchell, Octavia Butler, and Xenogenesis / Kevin McNeilly and Julie Dawn Smith --
Representation and identity. Faster and louder : heterosexist improvisation in North American taiko / Deborah Wong -- Improvisation and the audibility of difference : safa, Canadian multiculturalism, and the politics of recognition / Ellen Waterman -- Performing the national body politic in twenty-first-century Argentina / Illa Carrillo Rodríguez and Berenice Corti

Compositional imperatives: Mondrian and boogie-woogie -- What is the body supposed to be doing? John Cage and Rahsaan Roland Kirk -- Now's the time: temporalities of Louis Armstrong and Le Corbusier -- Function, flexibility, and improvisation: the AACM and Mies Van Der Rohe -- Diagrams, conduction, and the contemporary city

Introduction : the sense of a beginning -- Scrap yard challenge : junkyard wars -- Freedom, origination, and irony -- Mimesis and cruelty -- Improvisation, origination, and re-novation -- Conclusion : improvisation, thinking, writing

PLAYING FOR KEEPS is an edited volume of essays exploring the global dimensions of musical improvisation. The editors are interested in what they call the "aftermaths" associated with improvisational music practices: the various ways musical improvisation can respond in the aftermath of trauma, and the imagined possibilities that lie in the wake of improvisatory performance. The volume is presented as global case studies, each offering an example of how musical improvisation can foster communal responses to the realities of colonialism, imperialism, and war. By turning its attention to the global scale, this volume seeks to complicate the notion, popular within North American contexts, that improvisation necessarily leads to liberation. Instead, the editors seek to situate improvisation within local contexts, and, by examining how improvisational music practices are enmeshed in local and global power structures, point to improvisation as a site of potentiality. The volume is comprised of twelve chapters, with an introduction by the editors. Chapter One, Matana Roberts's poem "manifesto," stages improvisatory practice on the page in the form of a response to the Preamble of the United States Constitution. In chapter 2, Stephanie Vos examines the communal response to the burglary of the Zimology Institute in South Africa-an institute dedicated to educational programs about musical improvisation-which itself took the form of an improvisational music performance. Chapter 4, an interview with jazz musician and composer Vijay Iyer, examines Iyer's collaborative project Holding it Down, a performance of poetry and music that explores the experiences of US veterans of color. This chapter, in particular, complicates notions of improvisation, as Iyer claims that both oppressed people and their oppressors use improvisatory practices to accomplish their respective goals. In Chapter 8 Darci Sprengel documents the use of Tarab, a practice of "deep listening" that dissolves the distinction between self and other, by Mini Mobile Concerts (MMC), an improvisational concert group active in post-Mubarak Egypt. In particular, Sprengel focuses on how the improvisational practices of MMC addressed the topic of sexual assault, thereby renegotiating the gendered public space of the street. Chapter 9, an interview with Reem Abdul Hadi and Odej Turjman of the Al Mada Association for Art-Based Community, examines how Palestinians in the Occupied West Bank and Palestine use music improvisation to negotiate the erasure of their land, culture, and identity. Other locations explored in the volume include Afro/Canarian jazz in the Canary Islands; indigenous music practices in Canada; jazz and civil rights in the United States; and popular music in Israel. This volume will be of interest to scholars of jazz, music studies, performance theory, and cultural studies, as well as colonial and postcolonial studies

Foundations and prehistory -- New music, New York -- The development of the experimental band -- Founding the collective -- First fruits -- The AACM takes off -- Americans in Paris -- The AACM's next wave -- The AACM in New York -- The new regime in Chicago -- Into the third decade -- Transition and reflections

Starting an Improvisation -- The Mental State During an Improvisation -- Listening to the Other Musicians, the Human Factor, the Strategies -- Memory and Form -- Process vs. Aesthetic Result, Improvisation as a Tool to Make Music vs. Music as a Tool to Improvise, Improvisation vs. Composition -- Talking about Improvisation and Music in General -- Non-idiomatic Improvisation, Experimental Music, Genre Labels -- Silence and Dynamics -- Sounds as Material -- Instrument and Technique -- Solo improvisation -- The Concert Situation, the Audience, the Published Recordings -- Some Political Issues -- How I Came to Play This Music -- How I Listen to Music, the Music I Listen to, Some Hidden Hardens -- Miscellaneous -- List of the Musicians Interviewed -- An Ear for Discord: Improvise, They Say -- Diagrams

Along with twentieth-century developments in playing techniques, technologies, and concepts of musical sound, the notations employed by composers have also changed. Composers of what Umberto Eco calls 'open works' often employ intentionally ambiguous music notations. These open notations ask the performer to play a radical and active role in co-creating the musical work. Scores that feature open notations have been part of the Western classical music landscape since the mid-twentieth century, and continue to have a vibrant community of practitioners today. In this Element, Tristan McKay considers intersections of ambiguity, authority, and identity in works with open notations. He develops a semiotic approach to open notation analysis and puts it into practice with in-depth analyses of openly notated works by Earle Brown, Will Redman, and Leah Asher.

Sound Changes responds to a need in improvisation studies for more work that addresses the diversity of global improvisatory practices and argues that by beginning to understand the particular, material experiences of sonic realities that are different from our own, we can address the host of other factors that are imparted or sublimated in performance. These factors range from the intimate affect associated with a particular performer's capacity to generate a distinctive "voicing," or the addition of an unexpected sonic intervention only possible with one particular configuration of players in a specific space and time. Through a series of case studies drawn from Africa, Asia, the Americas, and Oceania, Sound Changes offers readers an introduction to a range of musical expressions across the globe in which improvisation plays a key role and the book demonstrates that improvisation is a vital site for the production of emergent social relationships and meanings. As it does this work, Sound Changes situates the increasingly transcultural dimensions of improvised music in relation to emergent networks and technologies, changing patterns of migration and immigration, shifts in the political economy of music, and other social, cultural, and economic factors. Improvisation studies is a recently developed, but growing, interdisciplinary field of study. The discipline-which has only truly come into focus in the early part of the twenty-first century-has been building a lexicon of key terms and developing assumptions about core practices. Yet, the full breadth of improvisatory practices has remained a vexed, if not impossibly ambitious, subject of study. This volume offers a step forward in the movement away from critical tendencies that tend to homogenize and reduce practices and vocabularies in the name of the familiar

Steps to an ecology of improvisation / Marcel Cobussen -- What the music wants / David Borgo -- Encountering musical objects : object oriented philosophy, improvisation and an ethics of listening / Adam Parkinson -- Free improvisation and the uncertainty principle / Justin Yang -- The molecular imagination : John Stevens, the spontaneous music ensemble and free group improvisation / Richard Scott -- Breath and improvisation / Jeff R. Warren -- Indeterminacy and game-mediated participation in network music performance / Felipe Hickmann and Pedro Rebelo -- Improvisation and the self : to listen to the other / Henrik Frisk

The revised edition of Sync or Swarm promotes an ecological view of musicking, moving us from a subject-centered to a system-centered view of improvisation. It explores cycles of organismic self-regulation, cycles of sensorimotor coupling between organism and environment, and cycles of intersubjective interaction mediated via socio-technological networks. Chapters funnel outward, from the solo improviser (Evan Parker), to nonlinear group dynamics (Sam Rivers trio), to networks that comprise improvisational communities, to pedagogical dynamics that affect how individuals learn, completing the hermeneutic circle. Winner of the Society for Ethnomusicology's Alan Merriam prize in its first edition, the revised edition features new sections that highlight electro-acoustic and transcultural improvisation, and concomitant issues of human-machine interaction and postcolonial studies.

The sound and science of surprise -- Reverence for uncertainty -- The embodied mind -- Rivers of consciousness -- The edge of chaos -- Sync and swarm -- Harnessing complexity
Compact disc contents: Evan Parker -- The Sam Rivers Trio with George Lewis -- Surrealestate

This research monograph explores the rapidly expanding field of networked music making and the ways in which musicians of different cultures improvise together online. It draws on extensive research to uncover the creative and cognitive approaches that geographically dispersed musicians develop to interact in displaced tele-improvisatory collaboration. It presents a multimodal analysis of three tele-improvisatory performances that examine how cross-cultural musician’s express and perceive intentionality in these interactions, as well as their experiences of distributed agency and tele-presence.
Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session will provide essential reading for musician’s, postgraduate students, researchers and educators, working in the areas of telematic performance, musicology, music cognition, intercultural communication, distance collaboration and learning, digital humanities, Computer Supported Cooperative Work and HCI.

Bringing together a diverse group of world leading professionals across Post-Production Film Sound and Electroacoustic Music, Art of Sound explores the creative principles that underpin how sonic practitioners act to compose, tell stories, make us feel, and communicate via sound. Revealing new understandings through analysis of interdisciplinary exchanges and interviews, this book investigates questions of aesthetics, perception, and interpretation, unveiling opportunities for a greater appreciation of the artistry in sound practice which underpins both experimental electronic music and the world's leading film and television productions. It argues that we can better understand and appreciate the creative act if we regard it as a constantly unfolding process of inspiration, material action, and reflection. In contrast to traditional notions, which imagine outputs as developed to reflect a preconceived creative vision, our approach recognises that the output is always emerging as the practitioner flows with their materials in search of their solution, constantly negotiating the rich networks of potential. This enables us to better celebrate the reality of the creative process, de-centring technologies and universal rules, and potentially opening up the ways in which we think about sonic practices to embrace more diverse ideas and approaches. Art of Sound provides insight into the latest developments and approaches to sound and image practice for composers, filmmakers, directors, scholars, producers, sound designers, sound editors, sound mixers, and students who are interested in understanding the creative potential of sound.

Electronic Visual Music is a comprehensive guide to the composition and performance of visual music, and an essential text for those wanting to explore the history, current practice, performance strategies, compositional methodologies and practical techniques for conceiving and creating electronic visual music. Beginning with historical perspectives to inspire the reader to work creatively and develop their own individual style, visual music theory is then discussed in an accessible form providing a series of strategies for implementing ideas. Including interviews with current practitioners, Electronic Visual Music provides insight into contemporary working methods and a gives a snapshot of the state of the art in this ever-evolving creative discipline. This book is a valuable resource for artists and practitioners, as well as students and researchers working in disciplines such as music composition, music production, video arts, animation and related media arts, who are interested in informing their own work and learning new strategies and techniques for exploration and creative expression of electronic visual music

This SpringerBrief provides a unique insight into the practice and research of the connections between voice, HCI and embodiment. Specifically, it explores how the voice can be embodied and mediated by means of gestural communication through sensor interfaces and aims to situate and contextualise various aspects that generate meaningful connections in such interactive interface performance. The author offers an approach for understanding creative practices between humans and computers in gestural live music performance, from the perspective of the embodied relationships created within such systems. Underlying practices, principles and sensor technologies that support creativity in embodied human-computer interaction in vocal music performance are examined and a dynamic framework and tools for anyone wishing to engage with this subject in depth are presented. The book is essential reading not only for musicians, composers, researchers, application developers, musicologists and educators but also for students and tertiary institutions as well as actors and dramaturgs in a music context

In 'Experimenting the Human', G. Douglas Barrett argues that experimental music speaks to the contemporary posthuman, a condition in which science and technology decenter human agency amid the uneven temporality of postwar global capitalism.

Live Looping in Musical Performance offers a diverse range of interdisciplinary perspectives on the application of live looping technology by lusophone performers and composers. This book explores various aspects, including the aesthetic component, instrumentation, and setup, highlighting the versatility of this technology in music-making. Written by musicians and researchers from Portuguese-speaking countries, this book comprises eleven chapters that delve into various musical contexts, genres, and practices. The novelty of including collaborative texts written alongside non-professional researchers offers the possibility of drawing from real experience to consider how live looping has been changing and "cyborguising" the concept of music, the ritual of the performance, the identity of the musicians, and the public's expectations. Live Looping in Musical Performance provides cutting-edge reading for composers and performers, as well as ethnomusicologists, students, and researchers working in the areas of music production, technology, and performance. This book addresses a broader audience, both academic and non-academic, who are interested in new processes of musical creativity in a post-human world.

Networked Music Performance (NMP) is the essential guide to both playing music online and ensemble music through networks. Offering a range of case studies, from highly technical solutions to inclusive community projects, this book provides inspiration to musicians to try NMP whatever their level of technical expertise. Drawing upon recent research to examine the background and history of the practice as well as specific practical approaches, technical and musical considerations are included for readers, as are ideas around accessibility and creativity. Accessibility is considered in the context of the opportunities that NMP gives to musicians working remotely, as well as some of the barriers to participation in NMP and how these can be overcome. Synchronous and asynchronous approaches to NMP are explored in detail, examining the technical and musical affordances and challenges of working remotely for musicians. Networked Music Performance will appeal to music and music technology students as well as professional musicians and technicians who have started working online and wish to improve their practice. As NMP in the context of music education and community music are also explored, this book supplies educators and community leaders with knowledge and practical guidance on how to move their practice online

Foreword: New music and science / John Chowning -- Part I. Digital audio. History of digital audio ; Basics of sound signals ; Theory of sampling / Curtis Roads with John M. Strawn ; Sample quantization, Conversion, and audio formats -- Part II. Introduction to sound synthesis. History of digital sound synthesis ; Wavetable-lookup synthesis ; Time-varying waveform synthesis ; Software synthesis -- Part III. Sound synthesis. Sampling ; Additive synthesis ; Multiple wavetable synthesis ; Wave terrain synthesis ; Granular synthesis ; Subtractive synthesis ; Modulation I : RM, SSM, and AM ; Modulation II : FM, PM, PD, and GM ; Waveshaping synthesis ; Physical modeling synthesis ; Virtual analog ; Formant synthesis ; Pulsar synthesis ; Waveform segment synthesis ; Concatenative synthesis / Bob L. T. Sturm with Curtis Roads ; Graphic sound synthesis ; Noise, chaotic, and stochastic synthesis -- Part IV. Mixing and signal processing. Sound mixing ; Dynamic range processing ; Digital filtering / Bob L. T. Sturm with Curtis Roads ; Convolution / Curtis Roads with Bob L. T. Sturm ; Time delay effects ; Pitch-time changing ; Sound spatialization ; Reverberation -- Part V. Sound analysis. Pitch estimation ; Rhythm recognition and automatic transcription ; Introduction to spectrum analysis ; Spectrum analysis by Fourier methods ; Spectrum analysis by alternative methods ; Spectrum analysis by atomic decomposition / Bob L. T. Sturm -- Part VI. The musician's interface. Musical input devices ; Interactive performance software ; Sequence editors ; Sound editors, DAWs, and audio middleware ; Spectrum editors ; Common music notation editors ; Unconventional score editors ; Instrument and patch editors ; Languages for sound synthesis ; Languages for composition ; Algorithmic composition -- Part VII. Interconnections. MIDI ; Open sound control (OSC) / Curtis Roads with Matthew J. Wright -- Appendix A. Machine learning / Bob L. T. Sturm with Curtis Roads.

Music is shaped by the science of sound. How can music - an artform - have anything to do with science? Yet there are myriad ways in which the two are intertwined, from the basics of music theory and the design of instruments to hi-fi systems and how the brain processes music. Science writer Andrew May traces the surprising connections between science and music, from the theory of sound waves to the way musicians use mathematical algorithms to create music. The most obvious impact of science on music can be seen in the way electronic technology has revolutionised how we create, record and listen to music. Technology has also provided new insights into the effects that different music has on the brain, to the extent that some algorithms can now predict our reactions with uncanny accuracy, which raises a worrying question: how long will it be before AI can create music on a par with humans?

Designed to support computer-based learning in tonal harmony, musicianship, and music theory, Constructing Music avoids the lens of Western music notation and instead explains music content through analogies with toy bricks and references ideas from creative technology, engineering, and design. Students also engage directly with the components of musical structure using editable short code "patches" developed in Max, a visual coding environment for interactive music, audio, and media. Dozens of patches accompany the book and allow readers to play with the building blocks of sound, reinforcing each topic by tinkering, modifying, and creating their own versions of the material. Each chapter explains core music theory concepts in detail and supports every description through code simulations, progressing through the topics with increasing complexity. In the final chapter, Nakra explores the questions and theories that emerge from the lessons, considering the role of music as a proto-form of AI and its impacts on emotion, wellness, and creativity.

Providing an essential and unique bridge between the theories of signal processing, machine learning and artificial intelligence (AI) in music, this book provides a holistic overview of foundational ideas in music, from the physical and mathematical properties of sound to symbolic representations. Combining signals and language models in one place, this book explores how sound may be represented and manipulated by computer systems, and how our devices may come to recognize particular sonic patterns as musically meaningful or creative through the lens of information theory. Introducing popular fundamental ideas in AI at a comfortable pace, more complex discussions around implementations and implications in musical creativity are gradually incorporated as the book progresses. Each chapter is accompanied by guided programming activities designed to familiarise readers with practical implications of discussed theory, without the frustrations of free-form coding. Surveying state of the art methods in applications of deep neural networks to audio and sound computing, as well as offering a research perspective that suggests future challenges in music and AI research, this book appeals to both students of AI and music, as well as industry professionals in the fields of machine learning, music and AI

Dive into the world of computer music and physical computing and stay ahead of the melodic curve. This book is aimed at adventurous musicians who want to learn about music programming with Arduino, sensors, and Pure Data, and how to make new interfaces and instruments with that knowledge. In this updated version, you can expect a wave of updates that bring the content in sync with the latest tech trends. The book now features revamped code and visuals throughout, all tailored to match the cutting-edge versions of Pure Data, Arduino IDE, and the powerful Raspberry Pi 5. What's even more thrilling is the integration of the Bela platform for audio enthusiasts, alongside an expanded wireless toolkit that includes both Wi-Fi and the trusty XBee. To ensure a smoother journey, there are more project-enhancing images to guide you, and a brand-new chapter dedicated to AI, based on the author's innovative neuralnet object for Pure Data, as showcased in the AIMC conference proceedings. You’ll start with the basics of the Pure Data and Arduino languages, how to incorporate sensors into your musical projects, and how to use embedded computers, like the Raspberry Pi, to create stand-alone projects. Along the way, you’ll learn how to create a variety of innovative musical projects, including an interactive glove that can be used bystringed instrumentalists or other musicians, an interactive drum set, a patch-bay matrix synthesizer, a guitar looper, a DIY theremin, and even DIY instruments that incorporate AI. If you are a musician or tinkerer who wants to explore the world of electronic and electroacoustic music, then Digital Electronics for Musicians, Second Edition is the book for you. You will: Incorporate sensors into your musical projects. Combine Arduino and Pure Data to bring the physical world to computers. Use additional libraries that extend the capabilities of the Arduino.

From Xenakis’s UPIC to Graphic Notation Today sheds light on the revolutionary UPIC system, developed by composer Iannis Xenakis in the late 1970s. This digital innovation enables the transformation of drawings into musical compositions and continues to shape the world of contemporary music notation. Freely available in open access, this book provides unrestricted access to the historical origins of UPIC and its evolution into modern notation techniques. Richly illustrated, it reveals the unique fusion of image and sound. Through QR codes, readers can experience the compositions interactively.IANNES XENAKIS (1922–2001) was not only a composer but also a visionary and a bridge-builder between music, mathematics, and architecture. Originally trained as an engineer in Athens, he developed innovative compositional techniques that integrate geometric and mathematical principles with music. His creation of the UPIC system established him as a pioneer of computer-assisted music, with an influence that extends into today’s musical landscape. Often described as a "sound architect," Xenakis’s unique approach and interdisciplinary works remain groundbreaking. From Xenakis’s UPIC to Graphic Notation Today sheds light on the revolutionary UPIC system, developed by composer Iannis Xenakis in the late 1970s. This digital innovation enables the transformation of drawings into musical compositions and continues to shape the world of contemporary music notation. Freely available in open access, this book provides unrestricted access to the historical origins of UPIC and its evolution into modern notation techniques. Richly illustrated, it reveals the unique fusion of image and sound. Through QR codes, readers can experience the compositions interactively.

Innovation in Music: Technology and Creativity is a groundbreaking collection, bringing together contributions from instructors, researchers and professionals. Split into two sections, covering composition and performance, and technology and innovation, this volume offers truly international perspectives on ever-evolving practices. Including chapters on audience interaction, dynamic music methods, AI and live electronics performances, this is recommended reading for professionals, students and researchers looking for global insights into the fields of music production, music business and music technology

Leadership in Music Technology Education examines the pedagogical, socio-cultural, and philosophical issues that affect curriculum, research, and decision-making in music technology in higher education. This book considers a range of cutting-edge topics, including the impact of the Covid-19 pandemic, professional development concepts, partnerships between higher education and the creative and cultural industries, and the effects technology has on sustainability and the global climate crisis among other topics. Drawing on Leadership theories, including Transformational, Situational, Servant, and Social Change Model Theory, the book puts forward a new model, Creative Industry Leadership, which considers the sociocultural aspects of Music Technology Education, and interrogates biased ideologies that limit opportunities for a broad range of learners and practitioners in education and beyond. Additionally, Leadership in Music Technology Education examines educators' informal leadership capacities during the Covid-19 pandemic and how inclusive pedagogy expands the creative boundaries of teaching, learning, and music-making for all. Leadership in Music Technology Education is crucial reading for instructors teaching audio engineering and music technology, as well as researchers in education, music pedagogy and related fields. This is also a valuable read for anyone with an interest in music technology and its many potentialities

Music, Technology, Innovation: Industry and Educational Perspectives draws upon cutting-edge practice in the use of technology from both a pedagogical and industry perspective. Situated within the latest research, this edited volume explores technological innovation from a musical perspective, examine current trends within the industry, and carefully consider them from an educational perspective. Noted throughout history, music education is responsive to industry innovations. However, emerging technologies often begin with over-hyped promises before they move through various phases of development and then repurposed for learning and teaching. Educators can adopt an innovation and develop a framework that are pedagogically-sound and learner-centred. Based on these ideas, the authors together highlight industry innovations that have potential outcomes for engaging students in music learning within research-informed practices, build upon these ideas and identify proactive mechanisms for teaching music education, and work towards developing a framework for understanding these phenomena. the chapters address key topics including the ethics of technology, AI and music, online performance and teaching, gamification, big data, teaching audio production, acoustic ecology, and more. the examination of areas in contemporary innovation can further support the potential to empower teachers and students to understand the opportunities for teaching, sustainability, and growth in music education

Sound in human-robot interaction currently encompasses a wide range of approaches and methodologies not easily classified, analyzed or compared among projects. This edited book covers the state of the art in sound and robotics, aiming to gather existing approaches in a combined volume. Collecting chapters from world-leading academic and industry authors, Sound and Robotics: Speech, Non-Verbal Audio and Robotic Musicianship explores how robots can communicate through speech, non-verbal audio and music. The first set of chapters explores how robots use verbal communication, considering the possibilities of speech for human-robot interaction. The second section shifts to roles of non-verbal communication in HRI, including consequential sound, sonification and audio cues. The third and final section describes current approaches to robotic musicianship and their evaluation. This book is primarily aimed at HRI researchers, ranging from those who have never used sound to those very experienced with sound. Alongside robotic researchers, this book will present avenues for a diverse range of musicians, composers and sound designers to become introduced to the world of HRI and learn of potential creative directions in robotics.

Fundamentals. Core programming concepts ; Essentials of making sound -- Creative techniques. Synthesis ; Sampling ; Sequencing ; Signal processing ; External control ; Graphical user interfaces -- Large-scale projects. Considerations for large-scale projects ; An event-based structure ; A state-based structure ; Live coding.

Moving beyond blockchain's financial applications, this book presents various perspectives on how this technology plays an important role in a creative, conceptual and philosophical rethinking of the current modes of artistic creation. Including contributions from leading researchers in music, arts, and technology, the chapters of the book address blockchain's capacity to reconfigure notions of agency, authorship, authenticity, provenance, and ownership in music. Taken together, these chapters challenge conventional centralized mechanisms in music creation and dissemination. They advocate for new forms of musical expression and stress the need for the artistic community to engage with blockchain technology. This book is essential reading for artists, musicians, researchers, and policymakers curious to know more about the implications of blockchain for the future of music. More than an academic exploration, it is a call to the artistic community to critically engage with blockchain technology and its consequences for creative practices.

This book explores the intersection of data sonification (the systematic translation of data into sound) and musical composition. Section 1 engages with existing discourse and offers an original model (the sonification continuum) which provides perspectives on the practice of sonification for composers, science communicators and those interested in this rapidly emerging field. Section 2 engages with the sonification process itself, exploring techniques, models of translation, data fidelity, analogic and symbolic data mapping, temporality and the listener experience. In Section 3 these concepts and techniques are all made concrete in the context of a selection of the author's projects (2004-2023). Finally, some reasons are offered on how sonification as a practice might enrich composition, communication, collaboration, and a sense of connection.

Challenging current music making approaches which have traditionally relied on the repetition of fixed forms when played, this book provides a new framework for musicians, composers, and producers wanting to explore working with music that can be represented by data and transformed by interactive technologies. Beginning with an exploration into how current interactive technologies, including VR and AR, are affecting music, the book goes on to create an accessible compositional model which articulates the emerging field of transmutable music.' It then shows how to compose and produce transmutable music for platforms like video games, apps and interactive works, employing tutorials which use a range of inputs from sensors, data, and compositional approaches. The book also offers technical exercises on how to transform data into usable forms (including machine learning techniques) for mapping musical parameters, and discussion points to support learning. This book is a valuable resource for industry professionals wanting to gain an insight into cutting edge new practice, as well as for assisting musicians, composers, and producers with professional development. It is also suitable for students and researchers in the fields of music/audio composition and music/audio production, computer game design, and interactive media.

Artificial Intelligence and Music Ecosystem highlights the opportunities and rewards associated with the application of AI in the creative arts. Featuring an array of voices, including interviews with Jacques Attali, Holly Herndon and Scott Cohen, this book offers interdisciplinary approaches to pressing ethical and technical questions associated with AI. Considering the perspectives of developers, students and artists, as well as the wider themes of law, ethics and philosophy, Artificial Intelligence and Music Ecosystem is an essential introduction for anyone interested in the impact of AI on music, including those studying and working in the creative arts.

The origins of electronic music / Andrew Hugill -- Electronic music and the studio / Margaret Schedel -- Live electronic music / Nicolas Collins -- A history of programming and music / Ge Wang -- Interactivity and live computer music / Sergi Jordà -- Algorithmic composition / Karlheinz Essl -- Live audiovisuals / Amy Alexander and Nick Collins -- Network music / Julian Rohrhuber -- Electronic music and the moving image / Julio d'Escriván -- Computer generation and manipulation of sounds / Stefania Serafin -- Trends in electroacoustic music / Natasha Barrett -- Electronic sound art and aesthetic experience / Adinda van 't Klooster -- DIY and maker communities in electronic music / John Richards -- Extending the instrumental sound world using electronics / Monty Adkins -- The analysis of electronic music / Mary Simoni.

Code Musicology opens a conduit between musicology and software studies. It extends an ethnomusicology of technoculture from the world of hardware and the hardwired to software, code, and algorithms and directs attention to IT industries and software-centered transnational commerce as a result of sectorial transformation

This book is divided into three elements. Part I provides a broad introduction to the foundations of computer music instruments, covering some key points in digital signal processing, with rigorous but approachable mathematics, and programming examples, as well as an overview of development environments for computer instruments. In Part II, the author presents synthesis and processing, with chapters on source-filter models, summation formulae, feedback and adaptive systems, granular methods, and frequency-domain techniques. In Part III he explains application development approaches, in particular communication protocols and user interfaces, and computer music platforms. All elements are fully illustrated with programming examples using Csound, Python, and Faust. The book is suitable for advanced undergraduate and postgraduate students in music and signal processing, and for practitioners and researchers

Foreword / Christian Wolff -- Introduction / Michelle Fillion -- Preamble. Gordon Mumma: a short biography / Michelle Fillion -- Unmarked interchange : Ann Arbor and the ONCE years (1960-66). Editor's introduction ; Music's avant-garde: what's new? ; Manifestations: light and sound: Milton Cohen's Space Theatre ; An electronic music studio for the independent composer ; The ONCE Festival and how it happened ; The ONCE Group's Unmarked interchange and Night train -- Cybersonics and the sonic arts (1966-75). Editor's introduction ; Creative aspects of live-performance electronic music technology ; Alvin Lucier's Music for solo performer 1965 ; Two cybersonic works: Horn and Hornpipe ; Music in America 1970: points of view ; A brief introduction to the sound-modifier console and Sun(flower) burst ; What we did last summer: a commentary on ICES 1972 ; Two decades of live-electronic music, 1950-70 ; Witchcraft, cybersonics, and folkloric virtuosity -- In the Cunningham circle. Editor's introduction ; A day on the road with the Cunningham Dance Company ; From where the circus went ; Robert Rauschenberg in the creative fields of the Cunningham Dance Company ; With Tudor the organist ; David Tudor the composer along the path to Rainforest -- Not wanting to say anything about John (Cage). Editor's introduction ; Cage as performer ; John Cage, electronic technology, and live-electronic music ; Twenty-five minutes with John Cage -- Latin America. Editor's introduction ; Innovation in Latin American electro-acoustical music ; Briefly about Conlon Nancarrow's Studies for player piano ; Uruguayan diary: the Cuarto Curso Latinoamericano de Música Contemporánea, Cerro del Toro, Uruguay -- An American gallery. Editor's introduction ; Nelson mix for Gordon Mumma ; Gordon Mumma's Stovepipe for Richard Nelson ; Good times up on the farm ; Merce and Ludwig ; On the Ives Railroad ; A visit to Mount Olympus with David Tudor ; On George Cacioppo ; Earle's worlds ; Three Sonic Arts Union sketches: Speaking Robert Ashley; Crossings with David Behrman; Becoming Alvin Lucier ; Working with Pauline Oliveros -- Mumma on Mumma. Editor's introduction ; Notes on my creative procedures -- Appendix. Selective list of Gordon Mumma's musical compositions

The author presents Probatio, a toolkit for building functional DMI (digital musical instruments) prototypes, artifacts in which gestural control and sound production are physically decoupled but digitally mapped. He uses the concept of instrumental inheritance, the application of gestural and/or structural components of existing instruments to generate ideas for new instruments. To support analysis and combination, he then leverages a traditional design method, the morphological chart, in which existing artifacts are split into parts, presented in a visual form and then recombined to produce new ideas. And finally he integrates the concept and the method in a concrete object, a physical prototyping toolkit for building functional DMI prototypes: Probatio. The author's evaluation of this modular system shows it reduces the time required to develop functional prototypes. The book is useful for researchers, practitioners, and graduate students in the areas of musical creativity and human-computer interaction, in particular those engaged in generating, communicating, and testing ideas in complex design spaces

Designing Interactions for Music and Sound presents multidisciplinary research and case studies in electronic music production, dance-composer collaboration, AI tools for live performance, multimedia works, installations in public spaces, locative media, AR/VR//MR/XR and health. As the follow-on volume to Foundations in Sound Design for Interactive Media, the authors cover key practices, technologies and concepts such as: classifications, design guidelines and taxonomies of programs, interfaces, sensors, spatialization and other means for enhancing musical expressivity; controllerism-the techniques of non-musician performers of electronic music who utilize MIDI, OSC and wireless technologies to manipulate sound in real time; artificial intelligence tools used in live club music, soundscape poetics and research creation based on audio walks, environmental attunement and embodied listening; new sound design techniques for VR/AR/MR/XR that express virtual human motion; and the use of interactive sound in health contexts, such as designing sonic interfaces for users with dementia. Collectively the chapters illustrate the robustness and variety of contemporary interactive sound design research, creativity and its many applied contexts for students, teachers, researchers and practitioners

Digital Sampling is the first book about the design and use of sampling technologies that have shaped the sounds of popular music since the 1980s. Written in two parts, Digital Sampling begins with an exploration of the Fairlight CMI and how artists like Kate Bush and Peter Gabriel used it to sample the sounds of everyday life. It also focuses on E-mu Systems and the use of its keyboards and drum machines in hip-hop. The secondpart follows users across a range of musical worlds, including US/UK garage, indie folk music, and electronic music madefrom the sounds ofsewers, war zones, and crematoriums. Using material from interviews and concepts from the field of Science and Technology Studies (STS), Digital Sampling provides a new and alternative approach to the study of sampling and is crucial reading for undergraduates, postgraduates, and researchers from a wide range of disciplines, including music technology, media, communication, and cultural studies.

Part I. Early history : predecessors and pioneers (1874 to 1960). Electronic music before 1945 ; Early electronic music in Europe ; Early electronic music in the United States and Latin America ; Early electronic music in Japan, Southeast Asia, and China -- Part II. Analog synthesis and instruments. Tape composition and fundamental concepts of electronic music ; Early synthesizers and experimenters ; Principles of analog synthesis and voltage control ; The voltage-controlled synthesizer -- Part III. Digital synthesis and computer music. Early computer music (1953-85) ; The microprocessor revolution (1975-2011) ; The principles of computer music -- Part IV. The music. Classical and experimental music ; Jazz, live electronic music and ambient music ; Rock, space age pop, and turntablism -- Pioneering works of electronic music. Appendix I: The evolution of analog synthesizers ; Appendix II: The evolution of computer music -- Glossary

The Evolution of Music through Culture and Science aims to recognise the impact of science on music, why it occurs, how we respond, and even to tentatively see if we can predict future developments. Technology has played an immense role in the development of music as it has enabled the production of new sounds, introduced new instruments and continuously improved and modified existing ones. Printing, musical notation, and modern computer aids to composition, plus recordings and electronic transmission have equally enabled us to have access to music from across the world. Such changes, whether just more powerful pianos, or new sounds as from the saxophone, have inspired composers and audiences alike. Acoustics and architecture play similar roles as they changed the scale and performance of concert halls, and with the advent of electronics, they enabled vast pop music festivals. No aspect of modern music making has been untouched by the synergy with scientific innovation. This is not a one-way interaction as the early attempts to make recordings were a major motivating force to design the electronics for amplifiers and these in turn inspired and enabled the designs of semiconductor electronics and modern computer technology. To appreciate the impact of technology on music does not require any prior scientific background as the concepts are invariably extremely simple and are presented here without technical detail. Understanding music and why we like different genres is far more complex, as this involves our personal background and taste. Both aspects change with time, and there is no contradiction in enjoying items as diverse as baroque madrigals, symphonies, jazz or pop music, or music from totally different cultures

Electronics: a prehistory -- Futurism and the birth of noise -- Poème électronique: the long wait of Edgard Varèse -- Un homme seul: Pierre Schaeffer and the art of scissors -- Stockhausen: beyond the cosmos -- 4' 33" of everything: John Cage and other concrète solutions -- Distant galaxies, deep oceans: Sun Ra and Miles Davis -- Deux femmes seules: Derbyshire and Oram -- Stevie Wonder and the electrification of soul -- From Suicide to the Pet Shop Boys: the art of the duo -- They were the robots: Kraftwerk and pop automata -- Substance: from Joy Division to New Order, the Human League to the Human League, Depeche Mode to Depeche Mode -- Brian Eno, the Aphex Twin and ambient's late arrival -- Cutting up the world: from Cabaret Voltaire to J Dilla -- Reverberation and decay -- Legitimacy: from Castlemorton to Skrillex -- Conclusion -- Nineteenth- and twentieth-century musical technology: a timeline -- A Future sounds playlist.

This book explores the fundamentals of computer music and functional programming through the Haskell programming language. Functional programming is typically considered difficult to learn. This introduction in the context of creating music will allow students and professionals with a musical inclination to leverage their experience to help understand concepts that might be intimidating in more traditional computer science settings. Conversely, the book opens the door for programmers to interact with music by using a medium that is familiar to them. Readers will learn how to use the Euterpea library for Haskell (http://www.euterpea.com) to represent and create their own music with code, without the need for other music software. The book explores common paradigms used in algorithmic music composition, such as stochastic generation, musical grammars, self-similarity, and real-time interactive systems. Other topics covered include the basics of signal-based systems in Haskell, sound synthesis, and virtual instrument design

Introduction to Digital Music with Python provides a foundation in music and code for the beginner and shows how coding empowers new forms of creative expression while simplifying and automating many of the tedious aspects of production and composition. With the help of online, interactive examples on Digital Audio Workstation (DAW) platforms called TunePad and EarSketch, this book covers the fundamentals of rhythm, chord structure and melodic composition alongside the basics of digital production. Each new concept is anchored in a real-world musical example that will have you making beats in a matter of minutes. Including core programming concepts such as loops, variables, lists and functions, Introduction to Digital Music with Python is designed for beginners of all backgrounds, requiring no previous experience with music or code, including undergraduates and aspiring professionals.

Artikelverzeichnis -- Einleitung / Jörn Peter Hiekel, Christian Utz -- Themen -- Die Avantgarde der 1950er Jahre und ihre zentralen Diskussionen / Ulrich Mosch -- Ein Sonderweg? Aspekte der amerikanischen Musikgeschichte im 20. und 21. Jahrhundert / Wolfgang Rathen -- Auf der Suche nach einer befreiten Wahrnehmung : Neue Musik als Klangorganisation / Christian Utz -- Angekommen im Hier und Jetzt? Aspekte des Weltbezogenen in der Neuen Musik / Jörn Peter Hiekel -- Ästhetische Pragmatiken analoger und digitaler Musikgestaltung im 20. und 21. Jahrhundert / Elena Ungeheuer -- Raumkomposition und Grenzüberschreitungen zu anderen Kunstbereichen / Christa Brüstle -- Zwischenklänge, Teiltöne, Innenwelten : Mikrotonales und spektrales Komponieren / Lukas Haselböck -- Geistliche, spirituelle und religiöse Perspektiven in der Musik seit 1945 / Jörn Peter Hiekel -- Verflechtungen und Reflexionen : Transnationale Tendenzen neuer Musik seit 1945 / Christian Utz -- Lexikon / Artikel von A bis Z -- Anhang : Siglenverzeichnis -- Autorinnen und Autoren -- Personen- und Werkregister -- Sachregister

"We live in an electronic world. Electronic sounds and electronic music have long permeated our sonic landscape. What began as the otherworldly sounds of the film score for the 1956 film Forbidden Planet and the rarefied, new timbres of Stockhausen's Kontakte a few years later, is now a common soundscape in technology, media and an array of musical genres and subgenres. More people than ever before can produce and listen to electronic music, from isolated experimenters, classical and jazz musicians, to rock musicians, sound recordists and the newer generations of electronic musicians making hip-hop, house, techno and ambient music. Increasingly we are listening to electronic sounds, finding new meanings in them, experimenting with them and rehearing them as listeners and makers. Live Wires explores how the five key electronic technologies - the tape recorder, circuit, computer, microphone and turntable - revolutionized musical thought. Featuring the work of major figures from Schaeffer, Varese, Xenakis, Babbitt and Oliveros to Eno, Keith Emerson, Grandmaster Flash, Juan Atkins and Holly Herndon, Live Wires presents many of the powerful musical ideas that are being recycled, rethought and remixed by some of the most electrifying composers and musicians today."

Preface -- Problems of beginning -- Problems of progressing -- Problems of finishing

The MIDI Manual 4e: A Practical Guide to MIDI within Modern Music Production is a complete reference on MIDI. Written by David Miles Huber (a 4X Grammy-nominated musician, producer and author), this best-selling guide provides a clear explanation of what MIDI 1.0 and 2.0 is, acting as a guide for electronic instruments, the DAW, MIDI sequencing and how to make best use of them. You will learn how to set up an efficient MIDI system and how to get the most out of your production room and ultimately ... your music. Packed full of useful tips and practical examples on sequencing and mixing techniques, The MIDI Manual 4e also covers in-depth information on system interconnections, controllers, groove tools, the DAW, synchronization and more. For the first time, the MIDI 2.0 spec is explained in light of the latest developments and is accompanied with helpful guidelines for the long-established MIDI 1.0 spec and its implementation chart. Illustrated throughout with helpful photos and screenshots, this is the most readable and clearly explained book on MIDI available

This Open Access book offers an original interdisciplinary overview of the role of haptic feedback in musical interaction. Divided into two parts, part I examines the tactile aspects of music performance and perception, discussing how they affect user experience and performance in terms of usability, functionality and perceived quality of musical instruments. Part II presents engineering, computational, and design approaches and guidelines that have been applied to render and exploit haptic feedback in digital musical interfaces. Musical Haptics introduces an emerging field that brings together engineering, human-computer interaction, applied psychology, musical aesthetics, and music performance. The latter, defined as the complex system of sensory-motor interactions between musicians and their instruments, presents a well-defined framework in which to study basic psychophysical, perceptual, and biomechanical aspects of touch, all of which will inform the design of haptic musical interfaces. Tactile and proprioceptive cues enable embodied interaction and inform sophisticated control strategies that allow skilled musicians to achieve high performance and expressivity. The use of haptic feedback in digital musical interfaces is expected to enhance user experience and performance, improve accessibility for disabled persons, and provide an effective means for musical tuition and guidance

Author's preface -- A sense of possibility. Tangled chaos and the blank page ; Modern, modernism, modernity ; Becoming a "possibilist" ; New possibilities and perspectives ; For further reading -- Part I: From the turn of the twentieth century through World War I. Expanding musical worlds : New inner and outer landscapes ; Modernism, modernity, and "systems of happiness and balance" ; Gustav Mahler and the symphony as world ; Alma Mahler and the new woman ; Debussy, symbolism, exoticism, and the century of aeroplanes ; For further reading -- Making new musical languages : Atonality, post-tonality, and the emancipation of the dissonance ; Busoni's new aesthetic of music ; Futurism and The art of noises ; Strauss and referential tonality ; Skryabin's new harmonic structures ; Schoenberg, Berg, and Webern ; For further reading -- Folk sources, the primitive, and the search for authenticity : Locating the folk ; Sibelius: creating Finnishness ; Ives's America ; Primitivism and the folk ; Bartók and the search for a mother tongue ; Stravinsky, Russianness, and the folk estranged ; For further reading -- Part II: The interwar years. New music taking flight : Europe and America after the War ; Radio, recording, and film ; Music for use ; New instruments, the sounds of the city, and machine art ; Jazz, race, and the new music ; For further reading -- Paris, neoclassicism, and the art of the everyday : Neoclassicism ; Musical high life and low life ; Music and cultural politics ; Antiquity and ritual ; Eighteenth-century sources ; Tonality defamiliarized ; The art of the everyday ; Jazz and "the primitive" ; For further reading -- The search for order and balance : Cultural politics of the search for order ; The twelve-tone method ; New approaches to rhythm, texture, and form ; New tonalities ; For further reading -- Inventing traditions : Villa-Lobos and Brasilidade ; Vaughan Williams and "Englishness" ; The borders of American music ; Copland and the American landscape ; Still and the African-American experience ; McPhee's imaginary homeland in Bali ; For further reading -- Part III: World War II and its aftermath. Rebuilding amid the ruins : Social transformations ; Britten's war requiem ; Musical ramifications of the Cold War ; Shostakovich's string quartet no. 8 ; For further reading -- Trajectories of order and chance : Post-World War II contexts ; Twelve-tone composition after World War II ; Integral serialism ; Chance, indeterminacy, and the blank page ; For further reading -- Electronic music from the Cold War to the computer age : Music, science, and technology in the Cold War ; Manipulating sound in the studio ; Musique concrète ; Notating, analyzing, and listening to electronic music ; Synthesizers ; Computer music ; For further reading -- Part IV: From the 1960s to the present. Texture, timbre, loops, and layers : Origins of texture music ; Ligeti's sonorous textures and micropolyphony ; Textual approaches in the music of Stockhausen and Boulez ; Mathematical models ; Timbre and extended techniques ; Composing with layers ; For further reading -- Histories recollected and remade : The past in the present ; Quotation, protest, and social change ; Postmodernism ; Remaking traditions ; For further reading -- Minimalism and its repercussions : Origins and locales ; Minimalist art and musical processes ; Minimalist sources ; Pathways of postminimalism ; For further reading -- Border crossings : Global encounters ; Music in-between ; Multimedia and sound art ; Music, science, and technology ; Artist and audience

Representing and storing sound -- A studio overview -- Synthesiser, samplers, and drum machines -- Live music technology (the FAQs) -- Select, remix, mashup -- The producer -- Music, sound, and visual media -- The studio as experimental lab -- Controllers : new creative possibilities in performance -- Hacking electronics for music -- Further avenues for exploration

Introduction: Taking note of music games / Michael Austin -- SIMON : the prelude to modern music video games / William Knoblauch -- Mario Paint Composer and musial (re)play on YouTube / Dana M. Plank -- Active interfaces and thematic events in The legend of Zelda : ocarina of time / Stephanie Lind -- Sample, cycle, sync: the music sequencer and its influence on music video games / Michael Austin -- Consumerism hero : the "selling out" of Guitar hero and Rock band / Mario A. Dozal -- Beat it! : playing the "King of Pop" in video games / Melanie Fritsch -- Virtual jam : a critical analysis of virtual music game environments / David Arditi -- Guitar heros in the classroom : the creative potential of music games / David Roesner, Anna Paisley, and Gianna Cassidy -- Rocksmith and the shaping of player experience / Daniel O'Meara -- Rhythm sense : modality and enactive perception in Rhythm Heaven / Peter Shultz -- Pitching the rhythm : music games for the iPad / Nathan Fleshner -- Afterword: Toadofsky's music lessons / William Cheng

Computing is transforming how we interact with music. New theories and new technologies have emerged that present fresh challenges and novel perspectives for researchers and practitioners in music and human-computer interaction (HCI). In this collection, the interdisciplinary field of music interaction is considered from multiple viewpoints: designers, interaction researchers, performers, composers, audiences, teachers and learners, dancers and gamers. The book comprises both original research in music interaction and reflections from leading researchers and practitioners in the field. It explores a breadth of HCI perspectives and methodologies: from universal approaches to situated research within particular cultural and aesthetic contexts. Likewise, it is musically diverse, from experimental to popular, classical to folk, including tango, laptop orchestras, composition and free improvisation.

This handbook examines how electrical technologies and their corresponding economies of scale have rendered music and sound increasingly mobile - portable, fungible, and ubiquitous

The Oxford Handbook of Mobile Music Studies; Copyright; Contents; Preface to Volume 2; Contributors; The Oxford Handbook of Mobile Music Studies; Chapter 1 The Mobilization of Performance: An Introduction to the Aesthetics of Mobile Music; Part IFrequency-Range Aesthetics; Chapter 2 Treble Culture; Chapter 3 Of Sirens Old and New; Part IISounding Transport; Chapter 4 "Cars with the Boom": Music, Automobility, and Hip-hop "Sub" Cultures; Chapter 5 Ding, Ding!: The Commodity Aesthetic of Ice Cream Truck Music
Chapter 6 There Must Be Some Relation Between Mushrooms and Trains: Alvin Curran's Boletus Edulis-Musica PendolarePart IIIWalking and Bodily Choreography; Chapter 7 Creative Sonification of Mobility and Sonic Interaction with Urban Space: An Ethnographic Case Study of a GPS Sound W; Chapter 8 Soundwalking: Creating Moving Environmental Sound Narratives; Chapter 9 Gestural Choreographies: Embodied Disciplines and Digital Media; Part IVDance and Dance Musics; Chapter 10 (In)Visible Mediators: Urban Mobility, Interface Design, and the Disappearing Computer in Berlin-Based Laptop Perfor
Chapter 11 Turning the Tables: Digital Technologies and the Remixing of DJ CultureChapter 12 Dancing Silhouettes: The Mobile Freedom of iPod Commercials; Part VPopular Music Production; Chapter 13 Music, Mobility, and Distributed Recording Production in Turkish Political Music; Chapter 14 Rhythms of Relation: Black Popular Music and Mobile Technologies; Part VIGaming Aesthetics; Chapter 15 A History of Handheld and Mobile Video Game Sound; Chapter 16 The Chiptuning of the World: Game Boys, Imagined Travel, and Musical Meaning
Chapter 17 Rhythm Heaven: Video Games, Idols, and Other Experiences of PlayPart VIIMobile Music Instruments; Chapter 18 The Mobile Phone Orchestra; Chapter 19 Creative Applications of Interactive Mobile Music; Chapter 20 The World Is Your Stage: Making Music on the iPhone; Index

Remixing one's self : ontologies of the provisional work -- Performing performance : interface design, liveness, and listener orientation -- Making it up and breaking it down : improvisation in performance -- Looking for the perfect loop : musical technologies of mediated improvisation

This volume seeks to offer a new approach to the study of music through the lens of recent works in science and technology studies (STS), which propose that facts are neither absolute truths, nor completely relative, but emerge from an intensely collective process of construction. Applied to the study of music, this approach enables us to reconcile the human, social, factual, and technological aspects of the musical world, and opens the prospect of new areas of inquiry in musicology and sound studies. Rethinking Music through Science and Technology Studies draws together a wide range of both leading and emerging scholars to offer a critical survey of STS applications to music studies, considering topics ranging from classical music instrument-making to the ethos levaux, christopheof DIY in punk music. The book's four sections focus on key areas of music study that are impacted by STS: organology, sound studies, music history, and epistemology. Raising crucial methodological and epistemological questions about the study of music, this book will be relevant to scholars studying the interactions between music, culture, and technology from many disciplinary perspectives.

Introduction. music practice: reaching out with technology / Simon Emmerson -- Part 1. Global reach -- local identities. Research-creation in Latin American / Ricardo Dal Farra (and others) ; Electronic music in East Asia / Marc Battier and Lin-Ni Liao ; The three paths : cultural retention in contemporary Chinese electroacoustic music / Leigh Landy ; Technologies of genre : digital distinctions in Montreal / Patrick Valiquet ; Dancing in the technoculture / Hillegonda Rietveld -- Awareness, consciousness, participation. Participatory sonic arts : the Som de Maré project -- towards a socially engaged art of sound in the everyday / Pedro Rebelo and Rodrigo Cicchelli Velloso ; The problems with participation / Atau Tanaka and Adam Parkinson ; The agency of sonic art in changing climates / Leah Barclay ; Tuning and metagesture after new natures / Sally-Jane Norman ; Music neurotechnology : a natural progression / Eduardo Miranda and Joel Eaton -- Extending performance and interaction. Where are we : extended music practice on the Internet / Simon Emmerson and Kenneth Field ; Rendering the invisible : BEAST and the performance practice of acousmatic music / Jonty Harrison ; Creative coding for audiovisual art : the CodeCircle platform / Mick Grierson.

Electric voice, latent body : plastic, malleable, inscribed : the materiality of the voice, recording technologies, cultural consumption : voice I, Trevor Wishart -- Cut and splice : vocal cuts and loops, dissected and aberrant bodies : voice II, Katharine Norman -- Voices that become machines : machines that become voices : the mechanical voice and desire : voice III, Paul Lansky -- Scratch and mix : sampling the human voice in the [metaphorical] phonograph : voice IV, Eduardo Miranda -- Quiet interiors and the pod: composing and performing vocal music for spherical listening : voice V, Bora Yoon

This research monograph explores the rapidly expanding field of networked music making and the ways in which musicians of different cultures improvise together online. It draws on extensive research to uncover the creative and cognitive approaches that geographically dispersed musicians develop to interact in displaced tele-improvisatory collaboration. It presents a multimodal analysis of three tele-improvisatory performances that examine how cross-cultural musician’s express and perceive intentionality in these interactions, as well as their experiences of distributed agency and tele-presence. Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session will provide essential reading for musician’s, postgraduate students, researchers and educators, working in the areas of telematic performance, musicology, music cognition, intercultural communication, distance collaboration and learning, digital humanities, Computer Supported Cooperative Work and HCI.

This research monograph explores the rapidly expanding field of networked music making and the ways in which musicians of different cultures improvise together online. It draws on extensive research to uncover the creative and cognitive approaches that geographically dispersed musicians develop to interact in displaced tele-improvisatory collaboration. It presents a multimodal analysis of three tele-improvisatory performances that examine how cross-cultural musician’s express and perceive intentionality in these interactions, as well as their experiences of distributed agency and tele-presence.
Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session will provide essential reading for musician’s, postgraduate students, researchers and educators, working in the areas of telematic performance, musicology, music cognition, intercultural communication, distance collaboration and learning, digital humanities, Computer Supported Cooperative Work and HCI.

This book presents a comprehensive overview of the state of the art in Networked Music Performance (NMP) and a historical survey of computer music networking. It introduces current technical trends in NMP and technical issues yet to be addressed. It also lists wireless communication protocols and compares these to the requirements of NMP. Practical use cases and advancements are also discussed

Introduction -- Precedents and pioneers -- A generation of growth and influence -- Continued promise for the future -- In the spotlight : role models rise in the mainstream -- Finding their visual voice : composers explore multimedia technology -- Where are we now?

Vorwort des Herausgebers -- Grundsätzliche Erwägungen -- Inspiration und Irritation : zum Wechselverhältnis von Komposition und Film, Video / Jörn Peter Hiekel -- Unerfüllbarkeit, Neue Musik und Neue Medien / Dieter Mersch -- Horror als Funktion, Überlegungen zu Mauricio Kagels MM51, Stanley Kubricks Shining und Christof Schlingensiefs Kirche der Angst / Wolfgang Heiniger -- Filmkunst und Musik Edgar Reitz im Gespräch mit Jörn Peter Hiekel / Edgar Reitz -- Vom "pictoresque of sound" zur "convergence culture" : das Spektrum des Musikvideos / Henry Keazor -- Beispiele -- Kommunikation zwischen disparatem Material / Carola Bauckholt -- Was macht das Bild mit dem Ton? / Cornelius Schwehr -- Klänge sehen, Bilder hören, Strategien zur Schärfung der Sinne bei Carola Bauckholt und Cornelius Schwehr / Rainer Nonnenmann -- Das Shutter-Prinzip / Johannes Kreidler -- Expanded Music oder : Dinge, die zu mehreren Kategorien gehören / Simon Steen-Andersen -- As real as it gets, Medienreflexive audiovisuelle Strategien bei Bernhard Lang und Simon Steen-Andersen / Marion Saxer -- Ohne Musik, Analytische Betrachtungen zum Dokumentarfilm Ortung (2012) / Matthias Handschick -- Alain Resnais und Hans Werner Henze / Jürg Stenzl

This book demonstrates the processes of intercultural musical collaboration and how these processes contribute to facilitating positive relationships between Indigenous and non-Indigenous peoples in Australia. Each of the 12 chapters in this edited collection examines specific examples in diverse contexts, and reflects on key issues that underpin musical exchanges, including the benefits and challenges of intercultural music making. The collection demonstrates how these musical collaboration allow Indigenous and non-Indigenous people to work together, to learn from each other, and to improve and strengthen their relationships. The metaphor of the "third space" of intercultural music making is interwoven in different ways throughout this volume. While focusing on Indigenous Australian/non-Indigenous intercultural musical collaboration, the book will be of interest globally as a resource for scholars and postgraduate students exploring intercultural musical communication in countries with histories of colonisation, such as New Zealand and Canada

This Element investigates the balance and interaction of imagination (visions) and technique (decisions) in the composition of music and includes current scientific research on dreams, the hypnagogic state, emotions, and feelings. It also includes thoughts of composers past and present, and examines how works start from visions in a range of music, comparing musical ideas and techniques to models in other creative disciplines. The Element elucidates aspects of musical discourse by imagining how Haydn, Mozart, and other composers would order falafel for takeout. This unorthodox approach emphasizes parallels between music and theater that are central to this Element.

Composing for Silent Film offers insight, information, and techniques for contemporary composition, arrangement, and live score performance for period silent film. A specialized music composition guide, this book complements existing film scoring and contemporary music composition texts. This book helps today's composers better understand and correctly interpret period silent film, and to create and perform live scores that align with films' original intentions, so that audiences notice and grasp fine points of the original film. Composing for Silent Film analyzes period silent film and its conventions - from Delsarte acting gestures to period fascinations and subtexts. As a practical composition text, it weighs varying approaches, including improvisation, through-scoring, "mickey-mousing," handling dialogue, and dividing roles amongst players. It steers composers towards informed understanding of silent film, and encourages them to deploy contemporary styles and techniques in exciting ways. For clarity and concision, examples are limited to nine canonical silents: Metropolis, Dr. Jekyll & Mr. Hyde, The Mark of Zorro, Sunrise: A Song of Two Humans, The Black Pirate, Nosferatu, The Phantom Carriage, Daisy Doodad's Dial, and The Golem

This book discusses microtonal tunings in the Arabic maqam, prevalent in the Middle East and Central Asia, which employs microtonal intervals from Pythagorean tuning by perfect fifths. the ratio 3/2, as the fifth overtone in the overtone series, is used as a multiplier leading to numeric ratios for all pitches in the tetrachords and pentachords of the maqam. Musicians today are highly curious about expanding the pitch palette and are already employing microtones in their music, from folk rock to classical music. the maqam is among the few extant analyzed systems of music from antiquity that reflect the methods of the Greek Genera, in terms of tuning and function. the book also discusses Charles Ives's use of microtones, Bach and his use of microtones, and a score of Hypercube, the seminal composition discussed in the author's first book, Polytempic Polymicrotonal Music, which was not published in its entirety in the former book. the text covers microtones philosophically, questioning the efficacy of such tunings. this book is accessible to the beginners in the field and will be beneficial to musical analyses in colleges and universities also by showing detailed analysis of Bach chorales in their original modes, and how their tuning presented complete character shifts by the microtones they contained by mean-tone temperament, an offshoot of Pythagorean tuning during the Baroque.

There are as many ways of creating music as there are composers in the world, with a vast array of possible methods and practices. This book provides essential critical and practical tools for composers as they try to navigate this complex landscape, whilst also offering provocations for practitioners discovering their own voices and solidifying their place in their musical communities. Designed to be a companion in the truest sense, the book offers practical support throughout the creative process and thought-provoking insights on technical questions for a range of compositional approaches.

This edited volume presents 27 original essays by living composers from all around the globe, reflecting on the creation of their music. Coterminous to the recent worldwide resurgence in feminist focus, the distinctive feature of this collection is the snapshots of creative processes and conceptualizing on the part of women who write music, writing in the present day, from prominent early-career composers to major figures, from a range of ethnic backgrounds in the contemporary music field. The chapters step into the juncture point at which feminism finds itself: as binary conceptions of gender are being dissolved, with critiques of the attendant gender-based historical generalizations of composers, and with the growing awareness of the rightful place of First Nations' cultural voices, the contributors explore what, actually, is being composed by women, and what they think about their world. The needs that this book serves are acutely felt: despite recent social gains, and sector initiatives and programs encouraging and presenting the work of women who compose music, their works are yet to receive commensurate exposure with that of their male counterparts. In its multi-pronged, direct response to this dire situation, this vibrant volume highlights established as well as emerging women composers on the international stage; reveals myriad issues around feminism, as broadly conceived; and gives insights, from the composers' own voices, on the inner workings of their composition process. The volume thus presents a contemporary moment in time across the generations and within developments in musical composition. With its unique insights, this book is essential for academics and practitioners interested in the illuminations of the current working landscape for creative women.

'The Oxford Handbook of Music Composition Pedagogy' presents an illuminating collection of philosophy, research, applied practice and international perspectives to highlight the practices of teaching and learning in the field of music composition. The handbook offers various strategies and approaches in composition for teachers, music teacher educators and students of music education.

The Routledge Companion to Teaching Music Composition in Schools: International Perspectives offers a comprehensive overview of teaching composing from a wide range of countries around the world. Addressing the current state of composition pedagogy from primary to secondary school levels and beyond, the volume explores issues including different curricular and extracurricular settings, cultural aspects of composing, aesthetics, musical creativity, the role of technology, and assessment. Providing a wide-ranging and detailed review of international approaches to incorporating music composition in teaching and learning, this volume will be a useful resource for teachers, music education researchers, graduate and undergraduate students, and all those working with children and young people in composing music

Artificial anuran choruses / David M. Michael -- Multi-agent modeling of complex rhythmic interactions in real-time performance / Arne Eigenfeldt -- Using coevolution in music improvisation / David Plans and Davide Morelli -- Structural coupling in a society of musical agents / Peter Beyls -- Transformation and mapping of L-systems data in the composition of a large-scale piece of music / Nigel Morgan -- Generative composition with Nodal / Jon McCormack and Peter McIlwain -- Evolutionary morphing for music composition / Andrew R. Brown, Rene Wooller, and Eduardo R. Miranda -- The evolving drum machine / Matthew J. Yee-King -- Autonomous evolution of piano pieces and performances with Ossia II / Palle Dahlstedt -- A biophysically constrained multi-agent systems approach to algorithmic composition with expressive performance / Alexis Kirke and Eduardo R. Miranda -- Artificial evolution of tuning systems / Jean-Julien Aucouturier -- Replication, parataxis, and evolution : meme journeys through the first movement of a Mozart sonata / Steven Jan -- An ontomemetic approach to musical intelligence / Marcelo Gimenes and Eduardo R. Miranda

The morphology of a global structure : John Cage's Variations II (1980) -- Spatial design in Elliott Carter's Canon for 3 (1980) -- The dialectics of structure and materials : Iannis Xenakis' Nomos alpha (1980) -- Structural pluralism : Robert Ashley's in memoriam...Esteban Gomez (1981) -- Structure as context (1981) -- Steve Reich (1981) -- Toward an art of imminence : Morton Feldman's Durations III, #3 (1983) -- The shape of sound : Alvin Lucier's Music for pure waves, bass drums and acoustic pendulums (1983) -- Structure as behavior : Christian Wolff's For one, two or three people (1984) -- A proliferation of canons : Luigi Dallapiccola's Goethe Lieder nos. 2 and 6 (1985/87) -- Structure and strategy : Iannis Xenakis' Linaia-agon (1987) -- Time transfigured : Erik Satie's Parade (1993) -- Language and form in an early atonal composition : Schoenberg's op. 19 #2 (1994) -- Morton Feldman's Last pieces #3 (1996) -- On Christian Wolff (2000)

Preface / John Zorn -- Reflections on cross-cultural composition / Christopher Adler -- Drawing densities for guitar / Mick Barr -- Crossed hands / Borah Bergman -- Where are we? - On location / Lisa Bielawa -- Theme and variation / Uri Caine -- Lunation cycle as a point of departure for musical ideas / Steve Coleman -- Extended piano / Sylvie Courvoisier -- Hyperrealism, hyperdrama, superperformers, and open palette / Noah Creshevsky -- Time-travel / Chris Dench -- Little steps / Dave Douglas -- For and against technique / Trevor Dunn -- Process and timbral transformation in 16 / Jason Eckardt -- More fun than capitalism: me and WB in nerdy-sexy commie-girlieland / Jewlia Eisenberg -- Fiddling with Sputnik: how I wrote Lost signals and Drifting Satellites / Annie Gosfield -- Book of tono-rhythmology / Milford Graves -- Confessions of a sensualist / Carla Kihlstedt -- Secret instruments, secret destinations / Lukas Ligeti -- Concept of time / Jose Maceda -- Micro-ritmia: hyper-human music / Ernesto Martinez -- Science of finding / Lawrence "Butch" Morris -- Performing director / Jim O'Rourke -- Why 211? / Evan Parker -- Nocturne meditation: the necklace eternity / Zeena Parkins -- Nine prerequisites for inspiration / Maja Solveig Kjelstrup Ratkje -- Glitch / Marina Rosenfeld -- Challenge of world music for the creative musician / Ned Rothenberg -- Ruminations on Secret Chiefs 3 / Trey Spruance -- Tinnitus: an occupational hazard / J.G. Thirlwell -- Crossover melodies: the formulation of a compositional methodology and a personal idiom / Matthew Welch -- What is music? / Yamataka Eye

Psychoacoustic phenomena in musical composition : some features of a "perceptual geography" / Maryanne Amacher -- A work in progress / Derek Bermel -- A short meditation on the art of arranging / Steven Bernstein -- The voices of my voice / Theo Bleckmann -- Where does it come from? / Gavin Bryars -- Time piece / Greg Cohen -- Hidden principles of improvisation / Jacques Coursil -- Scale and ascent / Mario Diaz de Leon -- Concerns of a rock violinist / Timb Harris -- Ramblings about music from a (not quite yet) made mastering engineer / Scott Hull -- Some approach strategies using the Dee Enochian tablet structures ; Gestures modulations of templates / Jerry Hunt -- Some thoughts on music and film / Henry Kaiser -- A self-addressed letter of belief / Ha-Yang Kim -- How to sing / Makigami Koichi -- How long did it take you to learn the theremin? / Pamelia Kurstin -- Gestural study #5 : Wuther/Pok-Poong / Okkyung Lee -- Muse or ick / Sean Lennon -- Copyright is theft : thoughts on music as individual and communal property / Frank London -- Some basic thoughts on conducting, composing, and teaching / Brad Lubman -- Conversations between Christian Marclay and David Toop / Christian Marclay -- An address from a well wisher / Kaffe Matthews -- Some ideas on composing music and visuals / Olga Neuwirth -- Cheers! / Buzz Osbourne -- Reflections on tomorrow / William Parker -- Body maps : a map to my collaborative process / Paola Prestini -- ZZ Top and meaning in music / Jamie Saft -- New musical instrument design in the 21st century / Eric Singer -- Dreamtime : the music culture of communal played multiunit musical instruments / Wadada Leo Smith -- Seizing a sound and smelling its belly to fit in a folder / Laetitia Sonami -- One perspective of music production / Hal Willner

Preface / John Zorn -- Rants / Derek Bailey -- A weakness for sound / Nels Cline -- Locality / Chris Cutler -- What would happen if I--? / Paul Dresher -- Origin and development of the "excited strings" / Arnold Dreyblatt -- The introvert endureth / Toby Driver -- In support of musical abundance / David Dunn -- A polemic / Marty Ehrlich-- Caveman/cyborg / Peter Evans -- Musical taste / Fast Forward -- When tobacco smoke smells also of the mouth which exhales it / James Fei -- Why glass? / Miguel Frasconi -- Tuning of "patterns of plants" / Mamoru Fujieda -- Locus / Kenneth Gaburo -- Indian classical ragas / Steve Gorn -- Wired that way / Shelley Hirsch -- I want you to remember things that haven't happened yet / Robin Holcomb -- The shape I'm in / Wayne Horvitz -- Improvisation : terms and conditions / Vijay Iyer -- On the agreement of difference and unity in music / John King -- ?Corporel : Vinko Globokar / Alex Lipowski -- Mastering music / Bob Ludwig -- Solo works / Keeril Makan -- Double concerto for solo tuba, solo bass and 20 musicians / Benedict Mason -- Aggregate replies to recalcitrant questions / Gordon Mumma -- The composer/improviser as activist ethnographer and teaching improvisation in the post genre era / Hankus Netsky -- Making a place to listen / Steve Peters -- Life is not a rehearsal : old cliché, new discoveries-- / Matana Roberts -- Messenger / Brandon Ross -- Total risk, freedom, discipline / Ursel Schlicht -- The cinematic contribution / David Slusser -- Music and meaning / Tyshawn Sorey -- Coming up for air / Kathleen Supové -- Solo gig / Davey Williams -- Music : you are unto me as light is unto color / Carolyn Yarnell

Preface / John Zorn -- De Harmonia mundi / William Breeze -- Ornithology for the birds / Gavin Bryars -- Regarding the sonic symbolism of when and where / Steve Coleman -- When I saw Kosugi get into a large duffel bag with his guitar / Alvin Curran -- The musician myth and the failed quest / Frank Denyer -- Walls & ladders / Jeremy Fogel -- On dirt, revelations, contradictions, and breathing through your elbows / Fred Frith -- Yoga and music / Sharon Gannon -- Music, mysticism and spirituality / Peter Garland -- Music extensions of infinite dimensions / Milford Graves -- The crazy voice / Larkin Grimm -- Holy Ghost / Tim Hodgkinson -- Sigils / Jerry Hunt -- Hyakintos and pardeh / Jessika Kenney and Eyving Kang -- Musings on the hermetic lyre / William J. Kiesel -- In the name of God the Gracious the Merciful : recognition of the Beloved / Yusef A.Lateef -- Notes (to whoever is listening) / Frank London -- The sacred power of music / Dary John Mizelle -- The soul's messenger / Meredith Monk -- Death : the father of creation / Tisziji Muñoz -- Trash / Mark Nauseef -- The collective intelligence of improvisation / Pauline Oliveros -- Thee splinter test / Genesis Breyer P-Orridge -- Music-myth / Terry Riley -- Music and mysticism, rhythm and form : a blues romance in 12 parts / Adam Rudolph -- A silence that speaks : the all-embracing unification of space and mind (with sound meditation in 3 parts) / David Chaim Smith -- Harmonie aphanes phaneres kreitton / Trey Spruance -- The dread of the knock : a ceremony of auditory hallucinations for the dead of night / David Toop -- Horn o'plenty / Greg Wall -- The perspectival lute / Peter Lamborn Wilson -- Metaphors, mythos and metaphonics / z'ev

Preface / John Zorn -- Rants / Richard "Duck" Baker -- The outcome is unforeseen : some preliminary notes / Eve Beglarian -- Music mind at the stone and beyond / Karl Berger -- In search of the new density / Claire Chase -- Blank screen / Anna Clyne & Elizabeth Tasker -- Building music / John Corigliano -- Life preserver/In the wilderness / Jeremiah Cymerman -- To [re]think of Milton Babbitt / David Fulmer -- Behind the mask, or, I didn't know what time it was / Jeff Gauthier -- Performance and interpretation / Alan Gilbert -- We are all Beethoven / Judd Greenstein -- Troubadours' dilemmas / Hilary Hahn -- The invented horizon is free / Mary Halvorson -- How I came to write a few songs / Jesse Harris -- Death speaks / David Lang -- Why do I write music the way I do? / Mary Jane Leach -- Spectral music as a framework for improvisation / Stephen Lehman -- Righting wrong notes / Steven Mackey -- "He said what?" / Rudresh Mahanthappa -- China diary / Denman Maroney -- Rock hemiolas / Brad Mehldau -- Process, creativity and planetary returns / Jessica Pavone -- Old and lost muses / Tobias Picker -- Dreamy bits / Gyan Riley -- Lines in red sand / Jon Rose -- To a gathering of percussionists / Steven Schick -- Lelewå : memoirs of a bone and voice tracer / Jen Shyu -- Flukey concatenations / David Taylor -- Some memories of John Cage / Richard Teitelbaum -- John Henry / Julia Wolfe -- Wollesonics / Kenny Wollesen -- Small, still voice / Nate Wooley -- A note on BBM / Charles Wuorinen

Preface / John Zorn -- Biodata and behavior as composition tools / Jad Atoui -- Small and medium-sized things: their importance / Steve Beresford -- On composition and literature - Pedr Solis, the author and the opera / Per Bloland -- Seven aspects / Brian Chase -- The Slightest shift / Kris Davis -- Surprise! / Robert Dick -- Finding my voice / Rinde Eckert -- The reaches of musical space / Wendy Eisenberg -- Personal possession / Harris Eisenstadt -- What new music could learn from the Sex Pistols / Suzanne Farrin -- Microtonality / David Fiuczynski -- On repetition and continuousness / David Garland -- Natural history / Michael Gordon -- So you want to write Italian soundtrack-pop / Simon Hanes -- Lulu variations / Barbara Hannigan -- Inside Drewslate / John Hollenbeck -- Dimensions of context / Matt Hollenberg -- Adaptable conviction / Jon Irabagon -- Twelve observations about the guitar / Julian Lage -- Self-help: Mendoza vs. Mendoza / Ava Mendoza -- Self-generated growth for an improvising composer / Matt Mitchell -- What was feared lost / Nicole Mitchell -- Surprise in musical composition / Vadim Neselovskyi -- A musical voice / Linda May Han Oh -- I got nothin' / Shane Parish -- Extra-musical considerations / Chris Pitsiokos -- El Gavilan: tradition, experimentation and authenticity in the work of Violeta Parra / Sofia Rei -- "Play long tones" or "Welcome to hell" / Ted Reichman -- Libero canto as an approach to singing / Sara Serpa -- On life, recording and the pursuit of quality / Marc Urselli -- Free jazz, genre and style / Ken Vandermark -- My journey with musical practice / Dan Weiss -- About the musicians -- Recommended listening

nitiated in 1997 and now in its ninth installment, John Zorn's Arcana series is a major source of new music theory and practice in the 21st century. To date, close to 300 musicians spanning three generations have contributed, addressing the inner workings of composing, improvising, teaching, living, touring and thinking about music via essays, manifestoes, interviews, notebook entries, critical papers and more. Arcana illuminates via personal vision and experience through the undiluted words and thoughts of the practitioners themselves. This ninth volume is perhaps the most varied and imaginative installment yet, with contributions from classical masters John Luther Adams, Osvaldo Golijov, Ann Cleare and Aaron Jay Kernis, jazz virtuosos Christian McBride, Chris Potter, Tomeka Reid and Joel Ross, soundtrack composers Danny Elfman and Carter Burwell, vocalist Ganavya Doraiswami, recording engineer Ryan Streber and much, much more. Essential for composers, musicians, students and fans alike, this challenging and original collection provides deep insight into the work, mind and methodologies of some of the most remarkable creative minds of our time.

nitiated in 1997 and now in its tenth and final installment, John Zorn's acclaimed Arcana series is a major source of new music theory and practice in the 21st century. Illuminating directly via the personal vision and experience of the practitioners themselves, who experience music not from a cool, safe distance, but from the white-hot center of the creative crucible itself, Arcana elucidates through essays, manifestos, scores, interviews, notebooks and critical papers. Over 25 years the ten volumes of Arcana have presented the writings of over 300 of the most extraordinary musical thinkers of our time, who address composing, performing, improvising, touring, collaborating, living and thinking about music from diverse, refreshing and often surprising perspectives. Technical, philosophical, political, artistic and mystical in nature, these writings provide direct connections to the creative processes and hidden stratagems of musicians from the worlds of classical, rock, jazz, film soundtrack, improvised music and more. Contributors include: Susan Alcorn, Oren Ambarchi, Ran Blake, Peter Blegvad, Tyondai Braxton, Patricia Brennan, John Butcher, Ben Coniguliaro, Amir Elsaffar, Kenny Grohowski, Tom Guralnick, Mark Helias, David Hertzberg, Stefan Jackiw, Dan Kaufman, Derek Keller, Richard Kessler, Pauline Kim, Ulrich Krieger, Hannah Lash, Dan Lippel, Annea Lockwood, Dave Lombardo, Charlie Looker, Thomas Morgan, Stephen O'Malley, Laura Ortman, Alex Paxton, Alexandria Smith, Conrad Tao, Pat Thomas, Henry Threadgill, Anna Webber, Fay Victor, Christian Wolff and Miguel Zenón.

pt. 1. Theories. I. Music and its others : noise, sound, silence. Noise and politics / Jacques Attali -- The art of noises : futurist manifesto / Luigi Russolo -- Sound, noise, Varèse, Boulez / Morton Feldman -- The liberation of sound / Edgard Varèse -- The joys of noise / Henry Cowell -- The future of music : credo / John Cage -- The music of the environment / R. Murray Schafer -- Listening for silence : notes on the aural life / Mark Slouka -- Rough music, futurism, and postpunk industrial noise bands / Mary Russo and Daniel Warner -- Noise / Simon Reynolds -- The beauty of noise : an interview with Masami Akita of Merzbow
II. Modes of listening. Visual and acoustic space / Marshall McLuhan -- The politics of hearing / Hanns Eisler & Theodor Adorno -- Acousmatics / Pierre Schaeffer -- Profound listening and environmental sound matter / Francisco López -- Adequate modes of listening / Ola Stockfelt -- Ambient music / Brian Eno -- The aural walk / Iain Chambers -- Some sound observations / Pauline Oliveros -- Compose yourself / J.K. Randall
III. Music in the age of electronic reproduction. The prospects of recording / Glenn Gould -- The studio as compositional tool / Brian Eno -- Bettered by the borrower : the ethics of musical debt / John Oswald -- Plunderphonia / Chris Cutler -- Operating system for the redesign of sonic reality / Kodwo Eshun
pt. 2. Practices. IV. The open work. The poetics of the open work / Umberto Eco -- Composition as process : indeterminacy / John Cage -- Visual sounds : on graphic scores / Christoph Cox -- Transformations and developments of a radical aesthetic / Earle Brown -- The game pieces / John Zorn -- Introduction to Catalog of works / Anthony Braxton
V. Experimental musics. Towards (a definition of) experimental music / Michael Nyman -- Introduction to Themes & variations / John Cage -- Generating and organizing variety in the arts / Brian Eno -- A scratch orchestra : draft constitution / Cornelius Cardew -- The generation game : experimental music and digital culture / David Toop
VI. Improvised musics. Change of the century / Ornette Coleman -- Free improvisation / Derek Bailey -- Little bangs : a nihilist theory of improvisation / Frederic Rzewski -- Improvised music after 1950 : afrological and eurological perspectives / George E. Lewis
VII. Minimalisms. Rap, minimalism and structures of time in late twentieth-century culture / Susan McClary -- Thankless attempts at a definition of minimalism / Kyle Gann -- Music as a gradual process / Steve Reich -- Basic concepts of minimal music / Wim Mertens -- LYssophobia : on Four violins / Tony Conrad -- Digital discipline : minimalism in house and techno / Philip Sherburne
VIII. DJ Culture. Production-reproduction : potentialities of the phonograph / László Moholy-Nagy -- The invisible generation / William S. Burroughs -- Record, CD, analog, digital / Christian Marclay & Yasunao Tone -- Algorithms : erasures and the art of memory / Paul D. Miller -- Replicant : on dub / David Toop -- Post-rock / Simon Reynolds
IX. Electronic music and electronica. Introductory remarks to a program of works produced at the Columbia-Princeton Electronic Music Center / Jacques Barzun -- Electronic and instrumental music / Karlheinz Stockhausen -- Stockhausen vs. the technocrats / Karlheinz Stockhausen et al. -- Breakthrough beats : rhythm and the aesthetics of contemporary electronic music / Ben Neill -- The aesthetics of failure : 'post-digital' tendencies in contemporary computer music / Kim Cascone

Earle Brown (1926-2002) was a crucial part of the seminal group of experimental composers known as the New York School, and his work intersects in fascinating ways with that of his colleagues John Cage, Morton Feldman, and Christian Wolff. This book seeks to expand our view of Brown's work, addressing his practices as a painter and composer as well as his collaborations with visual artists Alexander Calder, Robert Rauschenberg, and the American abstract expressionists. The essays collected here explore Brown's compositional methods and their historical place in depth: not only his influential experiments with open form composition and graphic notation, but his interest in collaboration, mixed media, and his engagement with the European avant-garde. The volume includes several short essays by Brown that shed new light on his relationships with colleagues and the ideas that drove his work

The origins of electronic music / Andrew Hugill -- Electronic music and the studio / Margaret Schedel -- Live electronic music / Nicolas Collins -- A history of programming and music / Ge Wang -- Interactivity and live computer music / Sergi Jordà -- Algorithmic composition / Karlheinz Essl -- Live audiovisuals / Amy Alexander and Nick Collins -- Network music / Julian Rohrhuber -- Electronic music and the moving image / Julio d'Escriván -- Computer generation and manipulation of sounds / Stefania Serafin -- Trends in electroacoustic music / Natasha Barrett -- Electronic sound art and aesthetic experience / Adinda van 't Klooster -- DIY and maker communities in electronic music / John Richards -- Extending the instrumental sound world using electronics / Monty Adkins -- The analysis of electronic music / Mary Simoni

What does the Coen Brothers' Barton Fink have in common with Norman McLaren's Synchromy? Or with audiovisual sculpture? Or contemporary music video? Composing Audiovisually interrogates how the relationship between the audiovisual media in these works, and our interaction with them, might allow us to develop mechanisms for talking about and understanding our experience of audiovisual media across a broad range of modes. Presenting close readings of audiovisual artefacts, conversations with artists, consideration of contemporary pedagogy and a detailed conceptual and theoretical framework that considers the nature of contemporary audiovisual experience, this book attempts to address gaps in our discourse on audiovisual modes, and offer possible starting points for future, genuinely transdisciplinary thinking in the field.

"Here then are my compositional notes-sequenced in five different books to delineate the five different stages of my creative and vibrational growth (evolution) to date, June 1984"--Author's preface

Digital technology is transforming the musical score as a broad array of innovative score systems have become available to musicians. From attempts to mimic the print score, to animated and graphical scores, to artificial intelligence-based options, digital scoring affects the musical process by opening up new possibilities for dynamic interaction between the performer and the music, changing how we understand the boundaries between composition, score, improvisation and performance. The Digital Score: Musicianship, Creativity and Innovation offers a guide into this new landscape, reflecting on what these changes mean for music-making from both theoretical and applied perspectives. Drawing on findings from over a decade's worth of practice-based experimentation in the field, author Craig Vear builds a framework for understanding how digital scores create meaning. He considers the interactions between affect, embodiment and digital scores, offering the first comprehensive and critical consideration of an exciting field with no agreed-upon borders. Featuring insights from interviews with over fifty musicians and composers from across four continents, this book is a valuable resource for music researchers and practitioners alike.

James Tenney -- Christian Wolff -- Robert Ashley -- Maryanne Amacher -- La Monte Young -- Steve Reich -- Meredith Monk -- Philip Glass

Creative process by design: a field guide to charting a course -- Basic counterpoint -- Harmonic strategies -- Variation methods and principles -- Analytical strategies and creative methods

What is experimental music today? Recent attempts to define or identify examples of experimental music have been cautious and subjective, offering very little guidance to anyone with an interest in this field of activity. Is experimental music a historical event that refers only to John Cage and his influence, or does it have a greater spread and longevity? The development of this musical practice over the last 45 years merits a fresh definition and discussion. An experimental approach is not identifiable in specific sounds or techniques, and its scope would be drastically limited if it were judged on the basis of social or aesthetic groupings or self-identifications of composers

Insights into Music Composition is a guide and source of inspiration for beginning students of music composition. Drawing on perspectives from a range of experienced composers, the book introduces readers to the compositional process, emphasizing how to think about creating a piece of music from beginning to end by providing not only a survey of methods but an understanding of the overarching context for composition. The authors present student composers with the tools to develop their own voice, covering topics such as: methods for harnessing inspiration and creativity; how to give shape, context, and meaning to a piece of music and create moments that audiences will remember; the value in exploring the music of other cultures and music's interdisciplinarity; atonal and 12-tone techniques and the roles of form and style; the benefits and pitfalls of student-teacher relationships and the importance of building relationships with performers Combining content from class scenarios with discussion questions, practical exercises, an annotated guide of online resources, and a glossary of terms, the text's flexible structure allows chapters to be read through in order or drawn on by topic. Clear and accessible, Insights into Music Composition is an ideal resource for all students and instructors of music composition

Foreword -- Preface -- Introduction. Preliminary concepts ; New intervals -- Part I. Altered ornaments ; Chromatic passing tones ; Quarter-tone altered chords ; Modulations to new keys -- Part II. Artificial quarter-tone scales ; The free use of quarter tones -- Appendix: Acoustic basis of the quarter-tone system

Resistance of the cell : industrial music vs. the "control machine" -- Libertines or asceticists? : a quarter-century of Whitehouse -- Re-launching the dream weapon : an unnatural histury of Coil -- Electrovegetarianism : an abridged history of Merzbow, from biomechanic to biophiliac -- Mash communication (and other symptoms of the sampling virus) -- Beyond the valley of the falsch : Mego (and friends) revitalize "computer music" -- To kick a king : the Kingdoms of Elgaland and Vargaland -- Francisco López : the big blur theory -- Vox stimuli : John Duncan's unrestrained explorations -- Uncommon sense(s) : synesthesia and electronic music -- Silence is sexy : the other "extreme" music -- Faster than light (and cheaper) : the great immaterial music debate -- Technomadism : taking electronic music beyond the mass media centers

Composer and performer Alvin Lucier brings clarity to the world of experimental music as he takes the reader through more than a hundred groundbreaking musical works, including those of Robert Ashley, John Cage, Charles Ives, Morton Feldman, Philip Glass, Pauline Oliveros, Steve Reich, Christian Wolff, and La Monte Young. Lucier explains in detail how each piece is made, unlockiing secrets of the composers' style and technique. The book as a whole charts the progress of American experimental music from the 1950s to the present, covering such topics as indeterminacy, electronics, and minimalism as well as radical innovations in music for the piano, string quartet, and opera. Music 109 is Lucier's indispensable guide to late twentieth- century composition.

Computing is transforming how we interact with music. New theories and new technologies have emerged that present fresh challenges and novel perspectives for researchers and practitioners in music and human-computer interaction (HCI). In this collection, the interdisciplinary field of music interaction is considered from multiple viewpoints: designers, interaction researchers, performers, composers, audiences, teachers and learners, dancers and gamers. The book comprises both original research in music interaction and reflections from leading researchers and practitioners in the field. It explores a breadth of HCI perspectives and methodologies: from universal approaches to situated research within particular cultural and aesthetic contexts. Likewise, it is musically diverse, from experimental to popular, classical to folk, including tango, laptop orchestras, composition and free improvisation

Featuring chapters by emerging and established scholars as well as by leading practitioners in the field, this Handbook both describes the state of algorithmic composition and also set the agenda for critical research on and analysis of algorithmic music.

The present book is the result of a three year research project which investigated the creative act of composing by means of algorithmic composition. Central to the investigation are the compositional strategies of 12 composers, which were documented through a dialogic and cyclic process of modelling and evaluating musical materials. The aesthetic premises and compositional approaches configure a rich spectrum of diverse positions, which is reflected also in the kinds of approaches and methods used. These approaches and methods include the generation and evaluation of chord sequences using genetic algorithms, the application of morphing strategies to research harmonic transformations, an automatic classification of personal preferences via machine learning, and an application of mathematical music theory to the analysis and resynthesis of musical material. The second part of the book features contributions by Sandeep Bhagwati, William Brooks, David Cope, Darla Crispin, Nicolas Donin, and Guerino Mazzola. These authors variously consider the project from different perspectives, offer independent approaches, or provide more general reflections from their respective research fields

Boulez originally composed his Notations as piano pieces in 1945, and later rewrote them as orchestral works. This book is a guide to listening to and understanding the music

This book introduces polytempic polymicrotonality as a new musical aesthetic. It proposes music with more than one microtonal tuning system and discusses examples from the literature to give an historic framework showing that this tendency has been present throughout human musical history. Polytempo is a tool for which polymicrotonal structures can function in relief from its background, and it acts as a frame, or ground structure, that is multidimensional, akin to the advancement of perspective in Renaissance art. The book has historic significance as it is the only book of its category, or genre, in music that features polymicrotonality in music composition or production. It displays examples of music literature for musical precedence in this area, focusing on Charles Ives’s Universe Symphony, unfinished since 1925

What does a one hour contemporary orchestral piece by Georg Friedrich Haas have in common with a series of glitch-noise electronic tracks by Pan Sonic? This book proposes that, despite their differences, they share a particular understanding of sound that is found across several quite distinct genres of contemporary art music: the ecstatic-materialist perspective. Sound in the ecstatic-materialist perspective is considered as a material mass or element, unfolding in time, encountered by a listener, for whom the experience of that sound exceeds the purely sonic without becoming entirely divorced from its materiality. It is "material" by virtue of the focus on the texture, consistency, and density of sound; it is "ecstatic" in the etymological sense, that is to say that the experience of this sound involves an instability; an inclination to depart from material appearance, an ephemeral and transitory impulse in the very perception of sound to something beyond - but still related to - it. By examining musical pieces from spectralism to electroacoustic domains, from minimalism to glitch electronica and dubstep, this book identifies the key intrinsic characteristics of this musical perspective. To fully account for this perspective on sonic experience, listener feedback and interviews with composers and performers are also incorporated. Sound in the ecstatic-materialist perspective is the common territory where composers, sound artists, performers, and listeners converge

Foundation or mere quotation? : conditions for applying the tonality concept to music after 1950 / Ulrich Mosch -- Total tonality or tonal totality : a compositional issue in music after 1945 / Wolfgang Rathert -- The stopped clock : tape loops, synthesizers and the transfiguration of harmony / Joseph Auner -- Pop/rock tonalities / Nicole Biamonte -- "Das Wunderland" : tonality and (political) topography in Eisler's songs around 1950 / Thomas Ahrend -- Tonality in Henze's music of the 1950s and early 1960s / Ullrich Scheideler -- "Everything we love belongs to us" : George Rochberg's adoption of tonality / Felix Meyer -- The macro- and micro-lives of sounds in Morton Feldman's The viola in my life I / Judit Frigyesi -- Harmonic progressions as a gradual process : towards an understanding of the development of tonality in the music of Steve Reich / Keith Potter -- Tonality rediscovered : Oliver Knussen and the musical "object" in the 1970s / Philip Rupprecht -- Tonality after "New tonality" : Silvestrov, Schnittke, and polystylism in the late USSR / Peter J. Schmelz -- Saariaho, timbre and tonality / Eric Drott -- Projected resonance : tonal dimensions of microtonal compositions in music by Georg Friedrich Haas / Simone Heilgendorff -- Tonality as "irrationally functional harmony" : Thomas Adès's Piano quintet / Felix Wörner -- "Hungarian tonality"? : György Kurtág's...rappel des oiseaux...from the perspective of Albert Simon's theory of Tonfelder / Volker Helbing