Music: Music history

Since the early transformation of European music practice and theory in the cultural centres of Asia, Latin America, and Africa around 1900, music history has to be conceived globally. This book discusses the effects of cultural globalisation on processes of composition and distribution of 20th and 21st century art music and the relationship between music and broader changes in society.

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 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 collaborations 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.

In Music Is History, bestselling author and Sundance award-winning director Questlove harnesses his encyclopedic knowledge of popular music and his deep curiosity about history to examine America over the past fifty years. Choosing one essential track from each year, Questlove unpacks each song's significance, revealing the pivotal role that American music plays around issues of race, gender, politics, and identity. Music Is History focuses on the years 1971 to the present, not only the country's most complex and rewarding half-century when it comes to the ways that pop culture and culturally diverse history intersect and interact, but also the years that overlap with Questlove's own life. Music Is History moves fluidly from the personal to the political, examining events closely and critically, to unpeel and uncover previously unseen dimensions, and encouraging readers to do the same. Whether he is exploring how Black identity reshaped itself during the blaxploitation era, analyzing the assembly-line nature of disco and its hostility to Black genius, or remembering his own youth as a pop fan and what it taught him about America, Questlove finds the hidden connections in the American tapestry. Complete with playlists organized around personal, playful themes that touch on everything from the relationship of hip-hop to music's past to the secret ingredient in all funk songs, Music Is History is filled with and informed by Questlove's preferences, perspectives, and particularities. It feels like both a popular history of contemporary America and a conversation with one of music's most influential and unique voices.

Historical introduction (to A.D. 1000) -- Christian liturgy to A.D. 1000 -- Gregorian chant: general characteristics -- The music of the offices -- The Roman mass -- Expansion of the liturgy in the later middle age: tropes and sequences -- Further expansion and embellishment of the liturgy -- The rise of polyphony -- The School of Notre Dame, I: organum -- The School of Notre Dame, II: conductus and motet -- Secular monophonic song, I: Latin and Provencal lyrics -- Secular monophonic song, II: the music of the Trouveres -- Secular monophonic song, III: diffusion of vernacular song in other countries of western Europe -- Sacred and secular polyphony in the thirteenth century -- The ars nova in France -- Liturgical polyphony in the fourteenth century -- Guillaume de Machaut -- The Italian ars nova -- Transition to the renaissance -- An English epilogue -- Appendices.

Abstract: "Research in the 20th and 21st centuries into historical performance practice has changed not just the way performers approach music of the 17th and 18th centuries but, eventually, the way audiences listen to it. This volume, beginning with a 1915 Saint-Sa? lecture on the performance of old music, sets out to capture musicological discussion that has actually changed the way Baroque music can sound. The articles deal with historical instruments, pitch, tuning, temperament, the nexus between technique and style, vibrato, the performance implications of musical scores, and some of the vexed questions relating to rhythmic alteration.

This is an expanded edition of the most important book on the classical style in music. The first edition of this book won the 1972 National Book Award in America and now the author adds a 14-page preface answering some of his friendly critics and a 26-page essay on Beethoven that emphasizes the composer's indebtedness to Haydn and Mozart. The new chapter is a fascinating examination of Beethoven's retention of conventional compositional procedures in the midst of the innovations of his later years.

Introduction: The nineteenth-century musical background -- 1. Beyond tonality: From 1900 to World War I: The historical context: Europe at the turn of the century - Some transitional figures - The atonal revolution - New tonalities - Other European currents - Beyond the continent -- 2. Reconstruction and the new systems: between the wars: The historical context: Europe after World War I - Neo-classicism - The twelve-tone system - The influence of politics - Other Europeans - Engalnd after World war I - The United States - Latin America -- 3. Innovation and fragmentation: from World War II to the present: The historical context: the world after World War II - Integral serialism - Indeterminacy - Innovations in form and texture - The new pluralism - A return to simplicity: minimalism and the new tonality - Music and the external world - Developments in technology: electronic music - Epilogue: Music today.

David Stubbs charts the evolution of electronic music from the earliest mechanical experiments in the late nineteenth century to the pre-World War I inventions of the Futurist Luigi Russolo, author of the "Art Of Noises" manifesto. He takes us through the musique concrète of radical composers such as Edgard Varèse, Pierre Schaeffer, and Karlheinz Stockhausen, to the gradual absorption of electronic instrumentation into the mainstream: be it through the BBC Radiophonic Workshop and the work of pioneers like Delia Derbyshire, grandiose prog rock, or the more DIY approach of electronica, house, and techno. It's a tale of mavericks and future dreamers overcoming Luddite resistance, malfunctioning devices, and sonic mayhem. Its beginnings are in the world of avant-classical composition, but the book also encompasses the cosmic funk of Stevie Wonder, Giorgio Moroder, and unforgettable 80s electronic pop from the likes of Depeche Mode, Pet Shop Boys, and Laurie Anderson - right up to present day innovators on the underground scene. But above all, it's an essential story of authenticity: is this music? Is it legitimate? What drew its creators to make it? Where does it stand, in relation to rock and pop, classical and jazz music, to the modern society that generated it? And why does it resonate more strongly than ever in our own postmodern, seemingly post-futurist times?

This Companion presents a new understanding of the relationship between music and culture in and around the nineteenth century, and encourages readers to explore what Romanticism in music might mean today. Challenging the view that musical 'romanticism' is confined to a particular style or period, it reveals instead the multiple intersections between the phenomenon of Romanticism and music. Drawing on a variety of disciplinary approaches, and reflecting current scholarly debates across the humanities, it places music at the heart of a nexus of Romantic themes and concerns.