HUM210: Music and the Humanities

Music and sound shape the emotional content of audio-visual media and carry different meanings. This volume considers audio-visual material as a primary source for historiography. By analyzing how the same sounds are used in different media contexts at different times, the contributors intend to challenge the linear perspective of (music) history based on canonic authority. The book discusses AV-Documents (analysis in context), methodological questions (implications for research, education, and popularization of knowledge), archives of cultural memory (from the perspective of Cultural Studies) as well as digitalization and its consequences (organization of knowledge).

First published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

In The History of Music Production, Richard James Burgess draws on his experience as a producer, musician, and author. Beginning in 1860 with the first known recording of an acoustic sound and moving forward chronologically, Burgess charts the highs and lows of the industry throughout the decades and concludes with a discussion on the present state of music production. Throughout, he tells the story of the music producer as both artist and professional, including biographical sketches of key figures in the history of the industry, including Fred Gaisberg, Phil Spector, and Dr. Dre. Burgess argues that while technology has defined the nature of music production, the drive toward greater control over the process, end result, and overall artistry come from producers. The result is a deeply knowledgeable book that sketches a critical path in the evolution of the field, and analyzes the impact that recording and disseminative technologies have had on music production. A key and handy reference book for students and scholars alike, it stands as an ideal companion to Burgess's noted, multi-edition book The Art of Music Production.

The fifteen essays of Performing History glimpse the diverse ways music historians "do" history, and the diverse ways in which music histories matter. This book's chapters are structured into six key areas: historically informed performance; ethnomusicological perspectives; particular musical works that "tell," "enact," or "perform" war histories; operatic works that works that "tell," "enact," or "perform" power or enlightenment; musical works that deploy the body and a broad range of senses to convey histories; and histories involving popular music and performance. Diverse lines of evidence and manifold methodologies are represented here, ranging from traditional historical archival research to interviewing, performing, and composing. The modes of analyzing music and its associated texts represented here are as various as the kinds of evidence explored, including, for example, reading historical accounts against other contextual backdrops, and reading "between the lines" to access other voices than those provided by mainstream interpretation or traditional musicology.

This kaleidoscopic collection reflects on the multifaceted world of classical music as it advances through the twenty-first century. With insights drawn from leading composers, performers, academics, journalists, and arts administrators, special focus is placed on classical music's defining traditions, challenges and contemporary scope. Innovative in structure and approach, the volume comprises two parts. The first provides detailed analyses of issues central to classical music in the present day, including diversity, governance, the identity and perception of classical music, and the challenges facing the achievement of financial stability in non-profit arts organizations. The second part offers case studies, from Miami to Seoul, of the innovative ways in which some arts organizations have responded to the challenges analyzed in the first part. Introductory material, as well as several of the essays, provide some preliminary thoughts about the impact of the crisis year 2020 on the world of classical music. Classical Music: Contemporary Perspectives and Challenges will be a valuable and engaging resource for all readers interested in the development of the arts and classical music, especially academics, arts administrators and organizers, and classical music practitioners and audiences.

Honorable Mention, 2019 Foreword INDIES Awards - Performing Arts & Music Honorable Mention, Graphis 2021 Design Annual Competition​ Popular music has long been a powerful force for social change. Protest songs have served as anthems regarding war, racism, sexism, ecological destruction, and so many other crucial issues.   Music Is Power takes us on a guided tour through the past one hundred years of politically conscious music, from Pete Seeger and Woody Guthrie to Green Day and NWA. Covering a wide variety of genres, including reggae, country, metal, psychedelia, rap, punk, folk, and soul, Brad Schreiber demonstrates how musicians can take a variety of approaches-- angry rallying cries, mournful elegies to the victims of injustice, or even humorous mockeries of authority--to fight for a fairer world. While shining a spotlight on Phil Ochs, Gil Scott-Heron, the Dead Kennedys and other seminal, politicized artists, he also gives readers a new appreciation of classic acts such as Lesley Gore, James Brown, and Black Sabbath, who overcame limitations in their industry to create politically potent music   Music Is Power tells fascinating stories about the origins and the impact of dozens of world-changing songs, while revealing political context and the personal challenges of legendary artists from Bob Dylan to Bob Marley. Supplemental material (Artist and Title List): https://d3tto5i5w9ogdd.cloudfront.net/wp-content/uploads/2020/07/24001955/Music_Is_Power_Supplementary_Artist_Title_List.doc  

Recent music therapy advances and evidence-based practices have earned respect within the medical sciences and garnered popularity amongst users and practitioners.  While integrative medicine treats the whole patient with ayurvedic and allopathic medicine, music therapy provides a safe and effective way of managing stress, pain, unpleasant symptoms, response to illness, and treatment side effects, and has been proven to enhance patients' quality of life and general wellbeing. Exploring the ways in which these methods have been practised throughout history, the author takes readers on a journey from illness to wellness, and shows how this can be guided through music. The book instructs music therapists and other practitioners in the use of specific techniques, providing examples of clinical applications. It includes activities that prepare a music therapist physically, emotionally and musically for this journey with another, and provides case studies to explore the difficulties that might arise.

Music Therapy is making its way into the field of health sciences with evidence of its effectiveness in different disciplines. Chapter One presents considerations about social and cultural interactions that permeated the music therapy activities developed along an eight-year project hosted by a Brazilian university. Chapter Two covers a research study on the influence of 15-minute sessions of classic music therapy on physiological parameters of hospitalised premature newborns and discusses the use of music as a therapeutic tool for this population in neonatal care units. Chapter Three reviews and contrasts the results of scientific studies of music therapy made on the grounds of improving pain, physical wellness, anxiety, relaxation, mood and quality of life in cancer patients. In Chapter Four, the authors describe recent studies that have investigated the acute influence of musical auditory stimulus on autonomic heart rate control. Chapter Five considers the importance of including Music Therapy in rehabilitation programs for patients with Cerebrovascular accidents, and its potential to restore upper and lower limb movement. This book concludes with Chapter Six, a short communication that suggests an extension of the representational capabilities involved in the idea of the forms of vitality to a wider musical scope than the traditional one, which is mainly based on the parameters of rhythm, melody and harmony.

Before the nineteenth century, instrumental music was considered inferior to vocal music. Kant described wordless music as "more pleasure than culture," and Rousseau dismissed it for its inability to convey concepts. But by the early 1800s, a dramatic shift was under way. Purely instrumental music was now being hailed as a means to knowledge and embraced precisely because of its independence from the limits of language. What had once been perceived as entertainment was heard increasingly as a vehicle of thought. Listening had become a way of knowing. Music as Thought traces the roots of this fundamental shift in attitudes toward listening in the late eighteenth and early nineteenth centuries. Focusing on responses to the symphony in the age of Beethoven, Mark Evan Bonds draws on contemporary accounts and a range of sources--philosophical, literary, political, and musical--to reveal how this music was experienced by those who heard it first. Music as Thought is a fascinating reinterpretation of the causes and effects of a revolution in listening.

Music Across the Senses provides music educators with practical ideas for facilitating student music listening skill development. Written both for in-service and pre-service music educators, the book shows how to facilitate PK-12 students' listening skills using multisensory means in general music and performance ensemble classes. As a whole, Music Across the Senses helps teachers enable students to learn how to devise independent strategies for listening that they can employ and enjoy both now and throughout their lives.

With entries on topics ranging from non-Western instruments to distinctive rhythms of music from various countries, this one-stop resource on global music also promotes appreciation of other countries and cultural groups.A perfect resource for students and music enthusiasts alike, this expansive three-volume set provides readers with multidisciplinary perspectives on the music of countries and ethnic groups from around the globe. Students will find Music around the World: A Global Encyclopedia accessible and useful in their research, not only for music history and music appreciation classes but also for geography, social studies, language studies, and anthropology. Additionally, general readers will find the books appealing and an invaluable general reference on world music.The volumes cover all world regions, including the Americas, Europe, Africa and the Middle East, and Asia and the Pacific, promoting a geographic understanding and appreciation of global music. Entries are arranged alphabetically. A preface explains the scope of the set as well as how to use the encyclopedia, followed by a brief history of traditional music and important current influences of music in each particular world region.

This book uncovers how music experience-live and recorded-is changing along with the use of digital technology in the 2000s. Focussing on the Nordic region, this volume utilizes the theory of mentalization: the capacity to perceive and interpret what others are thinking and feeling, and applies it to the analysis of mediated forms of agency in popular music. The rise of new media in music production has enabled sound recording and processing to occur more rapidly and in more places, including the live concert stage. Digital technology has also introduced new distribution and consumption technologies that allow record listening to be more closely linked to the live music experience. The use of digital technology has therefore facilitated an expanding range of activities and experiences with music. Here, Yngvar Kjus addresses a topic that has a truly global reach that is of interest to scholars of musicology, media studies and technology studies.