Books selected by Kristin Heath, Music & Catalog Librarian.
Culturally Sustaining Pedagogies in Music Education by
This volume problematizes the historic dominance of Western classical music education and posits culturally sustaining pedagogy (CSP) as a framework through which music curricula can better serve increasingly diverse student populations. By detailing a qualitative study conducted in an urban high school in the United States, the volume illustrates how traditional approaches to music education can inhibit student engagement and learning. Moving beyond culturally responsive teaching, the volume goes on to demonstrate how enhancing teachers' understanding of alternative musical epistemologies can support them in embracing CSP in the music classroom. This new theoretical and pedagogical framework reconceptualizes current practices to better sustain the musical cultures of the minoritized. This text will benefit researchers, academics, and educators with an interest in music education, multicultural education, and urban education more broadly. Those specifically interested in ethnomusicology and classroom practice will also benefit from this book.
Experiencing Music and Visual Cultures: Threshold, Intermediality, and Synchresis
Bringing the research of musicologists, art historians, and film studies scholars into dialogue, this book explores the relationships between visual art forms and music.
Hungry Listening: Resonant Theory for Indigenous Sound Studies by
WInner of the Best First Book from the Native American and Indigenous Studies Association Winner of the Labriola Center American Indian National Book Award Winner of the Ann Saddlemyer Award from the Canadian Association for Theatre Research Reimagining how we understand and write about the Indigenous listening experience​ Hungry Listening is the first book to consider listening from both Indigenous and settler colonial perspectives. A critical response to what has been called the "whiteness of sound studies," Dylan Robinson evaluates how decolonial practices of listening emerge from increasing awareness of our listening positionality. This, he argues, involves identifying habits of settler colonial perception and contending with settler colonialism's "tin ear" that renders silent the epistemic foundations of Indigenous song as history, law, and medicine. With case studies on Indigenous participation in classical music, musicals, and popular music, Hungry Listening examines structures of inclusion that reinforce Western musical values. Alongside this inquiry on the unmarked terms of inclusion in performing arts organizations and compositional practice, Hungry Listening offers examples of "doing sovereignty" in Indigenous performance art, museum exhibition, and gatherings that support an Indigenous listening resurgence. Throughout the book, Robinson shows how decolonial and resurgent forms of listening might be affirmed by writing otherwise about musical experience. Through event scores, dialogic improvisation, and forms of poetic response and refusal, he demands a reorientation toward the act of reading as a way of listening. Indigenous relationships to the life of song are here sustained in writing that finds resonance in the intersubjective experience between listener, sound, and space.
Identity and Diversity in New Music by
Identity and Diversity in New Music: The New Complexities aims to enrich the discussion of how musicians and educators can best engage with audiences, by addressing issues of diversity and identity that have played a vital role in the reception of new music, but have been little-considered to date. Marilyn Nonken offers an innovative theoretical approach that considers how the environments surrounding new music performances influence listeners' experiences, drawing on work in ecological psychology. Using four case studies of influential new music ensembles from across the twentieth century, she considers how diversity arises in the musical environment, its impact on artists and creativity, and the events and engagement it makes possible. Ultimately, she connects theory to practice with suggestions for how musicians and educators can make innovative music environments inclusive.
Music, Education, and Diversity: Bridging Cultures and Communities by
Music is a powerful means for educating citizens in a multicultural society and meeting many challenges shared by teachers across all subjects and grade levels. By celebrating heritage and promoting intercultural understandings, music can break down barriers between various ethnic, racial, cultural, and language groups within elementary and secondary schools. This book provides important insights for educators in music, the arts, and other subjects on the role that music can play in the curriculum as a powerful bridge to cultural understanding. The author documents key ideas and practices that have influenced current music education, particularly through efforts of ethnomusicologists in collaboration with educators, and examines some of the promises and pitfalls in shaping multicultural education through music. The text highlights World Music Pedagogy as a gateway to studying other cultures as well as the importance of including local music and musicians in the classroom.
Music Practices Across Borders: (E)Valuating Space, Diversity and Exchange by
Connecting migration studies and the theory of valuation, this collection offers an interdisciplinary approach to the study of transnational music practices. Conceiving music as a practice not confined to audibility, the contributions reveal how music emerges in concrete situations through people, objects, techniques, meanings, and emotions in different parts of the world and during different historic periods. Values are thereby created and shared, and creative processes are evaluated in terms of diversity, space and exchange. This book presents cases of contemporary, popular and traditional music, festivals and trade fairs, albums and band projects, shedding light on the tensions between the transfer, reconstruction and creation of music in different contexts.
The Oxford Handbook of Music and Queerness by
Music and queerness interact in many different ways. The Oxford Handbook of Music and Queerness brings together many topics and scholarly disciplines, reflecting the diversity of current research and methodology. Each of the book's six sections exemplifies a particular rhetoric of queer music studies. The section "Kinds of Music" explores queer interactions with specific musics such as EDM, hip hop, and country. "Versions" explores queer meanings that emerge in the creation of a version of a pre-existing text, for instance in musical settings of Biblical texts or practices of karaoke. "Voices and Sounds" turns in various ways to the materiality of music and sound. "Lives" focuses on interactions of people's lives with music and queerness. "Histories" addresses moments in the past, beginning with times when present conceptualizations of sexuality had not yet developed and moving to cases studies of more recent history, including the creation of pop songs in response to HIV/AIDS and the Eurovision song contest. The final section, "Cross-cultural Queerness," asks how to understand gender and sexuality in locations where recent Euro-American concepts may not be appropriate.
Queering the Field: Sounding Out Ethnomusicology by
Drawing on ethnographic research and often deeply personal experiences with musical cultures, Queering the Field: Sounding out Ethnomusicology unpacks a history of sentiment that veils the treatment of queer music and identity within the field of ethnomusicology. The thematic structure of the volume reflects a deliberate cartography of queer spaces in the discipline-spaces that are strongly present due to their absence, are marked by direct sonic parameters, or are called into question by virtue of their otherness. As the first large-scale study of ethnomusicology's queer silences and queer identity politics, Queering the Field directly addresses the normativities currently at play in musical ethnography (fieldwork, analysis, performance, transcription) as well as in the practice of musical ethnographers (identification, participation, disclosure, observation, authority). While rooted in strong narrative convictions, the authors frequently adopt radicalized voices with the goal of queering a hierarchical sexual binary. The essays in the volume present rhetorical and syntactical scenarios that challenge us to read in prescient singular ways for future queer writing and queer thought in ethnomusicology.
Race and Gender in the Western Music History Survey by
"Race and Gender in the Western Music History Survey: A Teachers Guide provides concrete information and approaches that will help instructors include women and people of color in the typical music history survey course and the foundational music theory classes. This book provides a reconceptualization of the principles that shape the decisions instructors should make when crafting the syllabus. It offers new perspectives on canonical composers and pieces that take into account musical, cultural, and social contexts where women and people of color are present. Secondly, it suggests new topics of study and pieces by composers whose work fits into a more inclusive narrative of music history. A thematic approach parallels the traditional chronological sequencing in Western music history classes. Three themes include people and communities that suffer from various kinds of exclusion: Locales & Locations; Forms & Factions; Responses & Reception. Each theme is designed to uncover a different cultural facet that is often minimized in traditional music history classrooms but which, if explored, lead to topics in which other perspectives and people can be included organically in the curriculum, while not excluding canonical composers"--
Sex Sounds: Vectors of Difference in Electronic Music by
An investigation of sexual themes in electronic music since the 1950s, with detailed case studies of "electrosexual music" by a wide range of creators. In Sex Sounds, Danielle Shlomit Sofer investigates the repeated focus on sexual themes in electronic music since the 1950s. Debunking electronic music's origin myth--that it emerged in France and Germany, invented by Pierre Schaeffer and Karlheinz Stockhausen, respectively--Sofer defines electronic music more inclusively to mean any music with an electronic component, drawing connections between academic institutions, radio studios, experimental music practice, hip-hop production, and histories of independent and commercial popular music. Through a broad array of detailed case studies--examining music that ranges from Schaeffer's musique concrète to a video workshop by Annie Sprinkle--Sofer offers a groundbreaking look at the social and cultural impact sex has had on audible creative practices. Sofer argues that "electrosexual music" has two central characteristics: the feminized voice and the "climax mechanism." Sofer traces the historical fascination with electrified sex sounds, showing that works representing women's presumed sexual experience operate according to masculinist heterosexual tropes, and presenting examples that typify the electroacoustic sexual canon. Noting electronic music history's exclusion of works created by women, people of color, women of color, and, in particular Black artists, Sofer then analyzes musical examples that depart from and disrupt the electroacoustic norms, showing how even those that resist the norms sometimes reinforce them. These examples are drawn from categories of music that developed in parallel with conventional electroacoustic music, separated--segregated--from it. Sofer demonstrates that electrosexual music is far more representative than the typically presented electroacoustic canon.
24 Italian Songs & Arias by Women Composers by
Per pianto la mia carne / Leonora Orsini ; lute tablature transcribed by Stefano Rocco ; Candace Smith, editor -- Se scior si ved'il laccio a cui dianz'io / Maddalena Casulana ; Ellen D. Lerner, editor -- Non so se quel sorriso / Francesca Caccini ; Barbara Staropoli, SSJ, editor ; J. William Greene, continuo realization -- Chi desia di saper : canzonetta for soprano and Spanish guitar / Francesca Caccini ; Barbara Staropoli, SSJ, editor ; J. William Greene, continuo realization -- Dispiegate guancie amate : canzonetta for soprano / Francesca Caccini ; Barbara Staropoli, SSJ, editor ; J. William Greene, continuo realization -- "Aria" : "la pastorella mia" / Francesca Caccini ; Caroline Cunningham, editor -- Due luci ridenti / Settimia Caccini ; basso continuo realized by Miranda Aureli ; Candace Smith, editor -- Occhi io vissi di voi / Claudia Sessa ; basso continuo realized by Miranda Aureli ; Candace Smith, editor-- $aT'amo mia vita / Vittoria Aleotti ; Thomasin LaMay, editor (transcription for duet by Randi Marazzo) -- S'io ti guardo ti sdegni / Francesca Campana ; Thomasin LaMay, editor -- Chi brama in amore / Barbara Strozzi ; realized and edited by Ellen Ritchey -- Amore è bandito / Barbara Strozzi ; realized and edited by Ellen Ritchey -- Aria from Vuò cercando / Rosa Giacinta Badalla ; Robert Kendrick, editor -- Povero cor tu palpiti / Isabella Colbran, Pietro Metastasio ; Martha Furman Schleifer, editor -- Già la notte s'avvicina : barcarola / Isabella Colbran ; Randi Marrazzo, editor -- La speranza al cor mi dice / Isabella Colbran, Pietro Metastasio ; Martha Furman Schliefer, editor -- Giusto amor / Louise Reichardt, Pietro Metastasio ; Randi Marrazzo and Nicole Leone, editors -- Vanne felice rio (higher key) / Louise Reichardt, Pietro Metastasio ; Randi Marrazzo and Nicole Leone, editors-- $aVanne felice rio (lower key) / Louise Reichardt, Pietro Metastasio ; Randi Marrazzo and Nicole Leone, editors -- Se non piange un infelice / Louise Reichardt, Pietro Metastasio ; Nancy Reich, editor -- Se spiegar / Maria Szymanowska, Anonymous ; Mary Anna Harley, editor -- Il silfo / Maria Malibran, M. Le Marquis Bocella -- Povera me (higher key) / Pauline Viardot Garcia, à Mlle. Aimée Albini ; Randi Marrazzo and Nicole Leone, editors -- Povera me (lower key) / Pauline Viardot Garcia, à Mlle. Aimée Albini ; Randi Marrazzo and Nicole Leone, editors -- L'innamorata / Pauline Viardot Garcia, à Madam Disirée Artot de Padilla ; Randi Marrazzo and Nicole Leone, editor -- Apri, apri (from Six Italian airs of the 18th century) / Pauline Viardot Garcia, à Mlle. Aimée Albini ; Randi Marrazzo and Nicole Leone, editors.
The AIDS Quilt Songbook
Fury / Donald Wheelock -- Blues for an imaginary valentine / Fred Hersch -- Heartbeats / John Musto -- A dream of nightingales / Ned Rorem -- Walt Whitman in 1989 / Chris DeBlasio -- The 80's miracle diet / David Krakauer -- For Richard / Annea Lockwood -- Fairy book lines / Donald St. Pierre -- Vaslav's song / William Bolcom -- AIDS anxiety / Richard Pearson Thomas -- The flute of interior time / John Harbison -- The birds of sorrow / Carl Byron -- Investiture at Cecconi's / Lee Hoiby -- A certain light / Elizabeth Brown -- I never knew / Ricky Ian Gordon -- The second law / Richard Wilson -- Perineo / Libby Larsen -- The enticing lane / Steven Houtz.
Anthology of Latin American and Iberian Art Songs by Women Composers by
An Anthology of Latin American and Iberian art songs by Women composers including 23 songs in Spanish, Catalan, and Portuguese by five composers from Argentina, Brazil, Catalunya, Cuba, and Colombia. The book includes a bilingual introductory study presenting the composers and poets, poetry translations, and sheet music.
The Art Song in Latin America by
Wilson's The Art Song in Latin America: Selected Works by Twentieth-Century Composers includes art songs by 20th-century Latin Americans including important composers such as Carlos Guastavino (Argentina) Carlos Chávez (Mexico) and Juan Orrego-Salas (Chile). The first anthology of its kind published in the United States it includes translations textual transcriptions of the Spanish using International Phonetic Alphabet and historical and biographical entries for each song. A singer musicologist and voice teacher with extensive experience teaching in Latin America as a Fulbright Scholar Kathleen Wilson understands the need for a practical and accessible source of vocal literature by Latin American composers. As a vocal pedagogue Wilson has been careful to choose songs that are technically appropriate for young singers and sophisticated enough musically for professionals.
Art Songs and Spirituals by African-American Women Composers
Calvary (spiritual) ; In the springtime ; It's me, O Lord (spiritual) / Betty Jackson King -- Watch and pray (spiritual) ; Love let the wind Cry...How I adore Thee ; I am in doubt ; Is there anybody here that loves my Jesus (spiritual) ; Come down angels (spiritual) / Undine Smith Moore -- I'm a poor li'l orphan in this worl' (spiritual) ; Free at last (spiritual) / Julia Perry -- Dry bones (spiritual) ; Lord, I just can't keep from cryin' (spiritual) ; The Negro speaks of rivers ; Three dream portraits: Minstrel man, Dream variation, and I, too ; He's got the whole world in His hand (spiritual) / Margaret Bonds -- My dream ; Song to the Dark Virgin ; Night ; My soul's been anchored in the Lord (spiritual) / Florence Price.
Black Women Composers: A Century of Piano Music
Rippling spring waltz : 1893 / Estelle D. Ricketts -- Cuba libre : 1897 / Anna Gardner Goodwin -- Mother's sacrifice : 1908 / L. Viola Kinney -- Prayer before battle : from Four Moorish pictures (1927) / Amanda Aldridge (Montague Ring) -- Fantasie negre : 1929 / Florence B. Price -- Nitelife : 1930 / Mary Lou Williams -- Prelude for piano (1946, rev. 1962) / Julia Perry -- Before I'd be a slave : 1953 / Undine Smith Moore -- Spring intermezzo : from Four seasonal sketches (1955) / Betty Jackson King -- Fortune favored the bold player : from White Nile suite (1964) / Philippa Duke Schuyler -- Preludes no. 1 and 2 (ca. 1966) / Tania León -- Troubled water : 1967 / Margaret Bonds -- A summer day : ca. 1970 / Lena Johnson McLin -- Billie's song ; A taste of bass ; Blues for the Duke : from Portraits in Jazz (1976) / Valerie Capers -- Etude no. 2 from 2 piano etudes (1978-79) / Regina A. Harris Baiocchi -- A little whimsy : 1982 / Dorothy Rudd Moore -- Allegro moderato : from A summer afternoon in South Carolina (1983) / Joyce Solomon -- Prankster : 1986 / Mable Bailey -- Homage : 1990 / Zenobia Powell Perry.
Traditional Persian Art Music: The Radif of Mirza Abdollah by
Unaccompanied melodies for traditional Persian instrument; recording performed on setār.
Winds of Change: 12 Progressive Solos for Trumpet and Piano by
12 composers join Diversify the Stand for our first solo book entitled "Winds of Change". Commissioned for this project, each composer gives the performer an opportunity to explore their musical voice in this progressive trumpet solo collection. This book provides accessible educational pieces by living composers for players of all skill levels. These works are appropriate for players in their first few years of study and moves progressively for more advanced players. Perfect for any trumpet soloist, these works are ideal for performance in any setting to include school solo & ensembles, contests, competitions, recitals, and more!