Listening to Music
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|Editor||: A&C Black|
The Listening to Music series actively engages children inlistening to music so that they can perform it and compose itthemselves. Each pack comprises a visually exciting book, a CD of allthe recordings, and a CD-ROM of interactive whiteboard activities andprintouts. The first title in the Listening to Music series brings together musicfrom China, West Africa, India, South America and Europe - an eclecticmix of traditional, historical and contemporary music. Through the activities, children recognise and use the building blocksof music: long and short sounds, high and low, loud and quiet, fast andslow. They perform their own versions of some of the recordings andthey compose others - always listening perceptively to their own andothers music. Teachers will find this title a useful accompaniment to Music ExpressYears 1 and 2 and and an enjoyable source of alternative activities fortheir primary music scheme of work.
|Author||: Ben Ratliff|
|Editor||: Farrar, Straus and Giroux|
What is music in the age of the cloud? Today, we can listen to nearly anything, at any time. It is possible to flit instantly across genres and generations, from 1980s Detroit techno to 1890s Viennese neo-romanticism. This new age of listening brings with it astonishing new possibilities--as well as dangers. In Every Song Ever, the veteran New York Times music critic Ben Ratliff reimagines the very idea of music appreciation for our times. In the age of the cloud, the genre of the recording and the intention of the composer matter less and less. Instead, we can savor our own listening experience more directly, taking stock of qualities like repetition, speed, density, or loudness. The result is a new mode of listening that can lead to unexpected connections. When we listen for slowness, we may detect surprising affinities between the drone metal of Sunn O))), the mixtape manipulations of DJ Screw, and the final works of Shostakovich. And if we listen for more elusive qualities like closeness, we might notice how the tight harmonies of bluegrass vocals illuminate the virtuosic synchrony of John Coltrane's quartet. Encompassing the sounds of five continents and several centuries, Ratliff's book is a definitive field guide to our musical habitat, and a foundation for the new aesthetics our age demands.
|Author||: Helen MacGregor|
|Editor||: A&C Black|
A new interactive whiteboard CD-ROM and photocopiable printouts introduce children to 12 complete pieces of music with extra supporting tracks.
|Author||: Elliott Schwartz|
"Music: Ways of Listening" is intended for use in introductory college courses for students with little or no prior background in music, and is focused upon the development of perceptive listening skills and a broad survey of the Western concert literature. -- From preface.
|Author||: Erik Wallrup|
Listening according to mood is likely to be what most people do when they listen to music. We want to take part in, or even be part of, the emerging world of the musical work. Using the sources of musical history and philosophy, Erik Wallrup explores this extremely vague and elusive phenomenon, which is held to be fundamental to musical hearing. Wallrup unfolds the untold musical history of the German word for ’mood’, Stimmung, which in the 19th century was abundant in the musical aesthetics of the German-Austrian sphere. Martin Heidegger’s much-discussed philosophy of Stimmung is introduced into the field of music, allowing Wallrup to realise fully the potential of the concept. Mood in music, or, to be more precise, musical attunement, should not be seen as a peculiar kind of emotionality, but that which constitutes fundamentally the relationship between listener and music. Exploring mood, or attunement, is indispensable for a thorough understanding of the act of listening to music.
|Author||: Jay D. Zorn,June August|
|Editor||: Prentice Hall|
Written in a lively and appealing style, Listening to Music provides the foundation for acquiring a lifelong knowledge and appreciation of music. It concentrates on the effective listening skills needed to identify composers and to recognize their styles and some of their representative works. Readers are encouraged to become informed consumers of music and active supporters of the arts. This comprehensive book covers the musical process, the materials of music, the common style periods of concert music (from the Baroque period to the present), and adjunct music, including North American popular music, broadway musical theater, and music in the movies. A useful reference work for those in the music industry. This is the standalone book if you want the book and CD's(4CD's) you need to order 0132233789 / 9780132233781 Listening to Music and Compact Disc Set (4 CD's) Package consists of: 0131733397 / 9780131733398 Listening to Music 0131733400 / 9780131733404 Compact Disc Set (4 CD's)
|Author||: Martyn Evans|
In this book the author argues that human musical understanding is rooted in the traditions of culture and that experience of music depends crucially on what the individual brings to it.
|Author||: Mary Butterton|
|Editor||: CRC Press|
Evidence-based change is central to many recent developments in the NHS. This book brings together practical and personal experiences from a wide range of externally evaluated healthcare projects. It demonstrates how to facilitate and promote evidence-based change by drawing on realistic advice on what is, and is not, effective. It enables readers to benefit from lessons learned and provides a comprehensive insight into implementing changes based on research evidence, across broad range of settings in the NHS. 'An important book. It has many exciting insights, enjoy it.' Jenny Simpson in the Foreword 'A unique collection. There are some brave admissions and this is probably the best attempt yet to capture the nitty-gritty of the evidence-into-practice agenda in UK healthcare. I hope you find it a gripping read'. Trisha Greenhalgh in the Foreword
|Author||: James Deaville|
Music in Television is a collection of essays examining television’s production of meaning through music in terms of historical contexts, institutional frameworks, broadcast practices, technologies, and aesthetics. It presents the reader with overviews of major genres and issues, as well as specific case studies of important television programs and events. With contributions from a wide range of scholars, the essays range from historical-analytical surveys of TV sound and genre designations to studies of the music in individual programs, including South Park and Dr. Who.
|Author||: W. A. Mathieu|
|Editor||: Shambhala Publications|
The Listening Book is about rediscovering the power of listening as an instrument of self-discovery and personal transformation. By exploring our capacity for listening to sounds and for making music, we can awaken and release our full creative powers. Mathieu offers suggestions and encouragement on many aspects of music-making, and provides playful exercises to help readers appreciate the connection between sound, music, and everyday life.
|Author||: Stephen C. Meyer|
As both a distinct genre and a particular mode of filmmaking, the idea of the epic has been central to the history of cinema. Including contributions from both established and emerging film music scholars, the ten essays in Music in Epic Film: Listening to Spectacle provide a cross-section of contemporary scholarship on the subject. They explore diverse topics, including the function of music in epic narratives, the socio-political implications of cinematic music, and the use of pre-existing music in epic films. Intended for students and scholars in film music, film appreciation, and media studies, the wide range of topics and the diversity of the films that the authors discuss make Music in Epic Film: Listening to Spectacle an ideal introduction to the field of music in epic film.
|Author||: Aaron Copland|
Now in trade paperback: “The definitive guide to musical enjoyment” (Forum). In this fascinating analysis of how to listen to both contemporary and classical music analytically, eminent American composer Aaron Copland offers provocative suggestions that will bring readers a deeper appreciation of the most viscerally rewarding of all art forms.
|Author||: Michael P. Steinberg|
|Editor||: Princeton University Press|
This pathbreaking work reveals the pivotal role of music--musical works and musical culture--in debates about society, self, and culture that forged European modernity through the "long nineteenth century." Michael Steinberg argues that, from the late 1700s to the early 1900s, music not only reflected but also embodied modern subjectivity as it increasingly engaged and criticized old regimes of power, belief, and representation. His purview ranges from Mozart to Mahler, and from the sacred to the secular, including opera as well as symphonic and solo instrumental music. Defining subjectivity as the experience rather than the position of the "I," Steinberg argues that music's embodiment of subjectivity involved its apparent capacity to "listen" to itself, its past, its desires. Nineteenth-century music, in particular music from a north German Protestant sphere, inspired introspection in a way that the music and art of previous periods, notably the Catholic baroque with its emphasis on the visual, did not. The book analyzes musical subjectivity initially from Mozart through Mendelssohn, then seeks it, in its central chapter, in those aspects of Wagner that contradict his own ideological imperialism, before finally uncovering its survival in the post-Wagnerian recovery from musical and other ideologies. Engagingly written yet theoretically sophisticated, Listening to Reason represents a startlingly original corrective to cultural history's long-standing inhibition to engage with music while presenting a powerful alternative vision of the modern.
|Author||: Gianmario Borio|
It is undeniable that technology has made a tangible impact on the nature of musical listening. The new media have changed our relationship with music in a myriad of ways, not least because the experience of listening can now be prolonged at will and repeated at any time and in any space. Moreover, among the more striking social phenomena ushered in by the technological revolution, one cannot fail to mention music’s current status as a commodity and popular music’s unprecedented global reach. In response to these new social and perceptual conditions, the act of listening has diversified into a wide range of patterns of behaviour which seem to resist any attempt at unification. Concentrated listening, the form of musical reception fostered by Western art music, now appears to be but one of the many ways in which audiences respond to organized sound. Cinema, for example, has developed specific ways of combining images and sounds; and, more recently, digital technology has redefined the standard forms of mass communication. Information is aestheticized, and music in turn is incorporated into pre-existing symbolic fields. This volume - the first in the series Musical Cultures of the Twentieth Century - offers a wide-ranging exploration of the relations between sound, technology and listening practices, considered from the complementary perspectives of art music and popular music, music theatre and multimedia, composition and performance, ethnographic and anthropological research.
|Author||: Craig Wright|
|Editor||: Cengage Learning|
Combining a student-friendly presentation with cutting-edge digital resources, LISTENING TO WESTERN MUSIC equips you with the tools to actively listen to and inspire a lifelong appreciation for music. Known for his clear, conversational style, Professor Wright helps you immediately find connections to music by comparing pop and classical music concepts. His text is organized chronologically and discusses musical examples from each era in its social context -- describing the construction and culture of each piece. LISTENING TO WESTERN MUSIC is fully integrated with MindTap to better help you develop your listening skills and maximize your course success. Online resources include interactive exercises, streaming music, Active Listening Guides, chapter and critical thinking quizzes, iAudio lectures, YouTube videos, Beat the Clock games, and more. You also can download all music directly to a music library. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.
|Author||: Timothy Day|
|Editor||: Yale University Press|
Looks at the history of recording technology and its effect on music, including artistic performance, listening habits, and audience participation.
|Author||: Elena Mannes|
|Editor||: Bloomsbury Publishing USA|
The award-winning creator of the acclaimed documentary "The Music Instinct: Science & Song," explores the power of music and its connection to the body, the brain, and the world of nature. Only recently has science sought in earnest to understand and explain this impact. One remarkable recent study, analyzing the cries of newborns, shows that infants' cries contain common musical intervals, and children tease each other in specific, singsong ways no matter where in the world they live. Physics experiments show that sound waves can physically change the structure of a material; musician and world-famous conductor Daniel Barenboim believes musical sound vibrations physically penetrate our bodies, shifting molecules as they do. The Power of Music follows visionary researchers and accomplished musicians to the crossroads of science and culture, to discover: how much of our musicality is learned and how much is innate? Can examining the biological foundations of music help scientists unravel the intricate web of human cognition and brain function? Why is music virtually universal across cultures and time-does it provide some evolutionary advantage? Can music make people healthier? Might music contain organizing principles of harmonic vibration that underlie the cosmos itself?
|Author||: Jay D. Zorn|
Written in a lively and appealing style, Listening to Music provides the foundation for acquiring a lifelong knowledge and appreciation of music. It concentrates on the effective listening skills needed to identify composers and to recognize their styles and some of their representative works. Readers are encouraged to become informed consumers of music and active supporters of the arts. An accompanying 4 CD set provides selections that will reinforce the book's written material. This comprehensive book covers the musical process, the materials of music, the common style periods of concert music (from the Baroque period to the present), and adjunct music, including North American popular music, broadway musical theater, and music in the movies. A useful reference work for those in the music industry.
|Author||: Dr Ruth Herbert|
|Editor||: Ashgate Publishing, Ltd.|
In what ways does listening to music shape everyday perception? Is music particularly effective in promoting shifts in consciousness? Is there any difference perceptually between contemplating one's surroundings and experiencing a work of art? Everyday Music Listening is the first book to focus in depth on the detailed nature of music listening episodes as lived mental experiences. Ruth Herbert uses new empirical data to explore the psychological processes involved in everyday music listening scenarios, charting interactions between music, perceiver and environment in a diverse range of real-world contexts. Findings are integrated with insights from a broad range of literature, including consciousness studies and research into altered states of consciousness, as well as ideas from ethology and evolutionary psychology, suggesting that a psychobiological capacity for trancing is linked to the origins of making and receiving of art. The term 'trance' is not generally associated with music listening outside ethnomusicological studies of strong experiences, yet 'hypnotic-like' involvements in daily life have long been recognized by hypnotherapy researchers. The author argues that multiply distributed attention - prevalent in much contemporary listening- does not necessarily indicate superficial engagement. Music emerges as a particularly effective mediator of experience. Absorption and dissociation, as manifestations of trancing, are self-regulatory processes, often operating at the level of unconscious awareness, that support individuals' perceptions of psychological health. This fascinating study brings together research and theory from a wide range of fields to provide a new framework for understanding the phenomenology of music listening in a way that will appeal to both specialist academic audiences and a broad general readership.