Music as a way of knowing: different ways of knowing.

What does it mean to hear scientifically? What does it mean to see musically? This volume uncovers a new side to the long nineteenth century in London, a hidden history in which virtuosic musical entertainment and scientific discovery intersected in remarkable ways. Sound Knowledge examines how scientific truth was accrued by means of visual and aural experience, and, in turn, how musical knowledge was located in relation to empirical scientific practice. James Q. Davies and Ellen Lockhart gather work by leading scholars to explore a crucial sixty-year period, beginning with Charles Burney’s ambitious General History of Music, a four-volume study of music around the globe, and extending to the Great Exhibition of 1851, where musical instruments were assembled alongside the technologies of science and industry in the immense glass-encased collections of the Crystal Palace. Importantly, as the contributions show, both the power of science and the power of music relied on performance, spectacle, and experiment. Ultimately, this volume sets the stage for a new picture of modern disciplinarity, shining light on an era before the division of aural and visual knowledge.

This book explores the origins of the academic culture wars of the late 20th century and examines their lasting influence on the humanities and progressive politics. It puts us in a position to ask this question: what to make now of those furious debates over postmodernism, multiculturalism, relativism, critical theory, deconstruction, post-structuralism, and all the rest? In an effort to arrive at a fair judgment on that question, the book reaches for an understanding of postmodern theorists by way of two genres they despised and hopes, for that very reason, to do them justice. It tells a story, and in the telling, advances two basic claims: first, that the phenomenological/hermeneutical tradition is the most suitable source of theory for a humanism that aspires to be universal; and, second, that the ethical and political aspect of the human condition is authentically accessible only through narrative. In conclusion, it argues that the postmodern moment was a necessary one, or will have been if we rise to the occasion and seize the opportunity it offers: a truly universal humanism might yet be realized even in—or perhaps especially in—this atavistic hour of parochial populism.

Popular musicians acquire some or all of their skills and knowledge informally, outside school or university, and with little help from trained instrumental teachers. How do they go about this process? Despite the fact that popular music has recently entered formal music education, we have as yet a limited understanding of the learning practices adopted by its musicians. Nor do we know why so many popular musicians in the past turned away from music education, or how young popular musicians today are responding to it. Drawing on a series of interviews with musicians aged between fifteen and fifty, Lucy Green explores the nature of pop musicians' informal learning practices, attitudes and values, the extent to which these altered over the last forty years, and the experiences of the musicians in formal music education. Through a comparison of the characteristics of informal pop music learning with those of more formal music education, the book offers insights into how we might re-invigorate the musical involvement of the population. Could the creation of a teaching culture that recognizes and rewards aural imitation, improvisation and experimentation, as well as commitment and passion, encourage more people to make music? Since the hardback publication of this book in 2001, the author has explored many of its themes through practical work in school classrooms. Her follow-up book, Music, Informal Learning and the School: A New Classroom Pedagogy (2008) appears in the same Ashgate series.

Jazz Ear Training: Learning to Hear Your Way Through Music, focuses the student on developing the ability to hear and react to harmonic structures common to the modern Jazz idiom, while adhering to specific melodic phrases. the book and recording include a variety of exercises derived from the major, harmonic minor, melodic minor and harmonic major scales and suggestions on how to play by ear. It was designed with the intermediate to advanced Jazz student in mind who needs to enhance the connection between his inner voice and instrument. It will also help the student hear what he may intellectually know. Though intended for guitarists, this book can serve the needs of any aspiring Jazz improviser. A basic understanding of Jazz theory is recommended before using this book. Companion CD included.

On Repeat offers an in-depth inquiry into music's repetitive nature. Drawing on a diverse array of fields, it sheds light on a range of issues from repetition's use as a compositional tool to its role in characterizing our behavior as listeners, and considers related implications for repetition in language, learning, and communication.

Children are inherently musical. They respond to music and learn through music. Music expresses children's identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children's natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I'm working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts?This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children's lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.

In The Musician's Way, veteran performer and educator Gerald Klickstein combines the latest research with his 30 years of professional experience to provide aspiring musicians with a roadmap to artistic excellence. Part I, Artful Practice, describes strategies to interpret and memorize compositions, fuel motivation, collaborate, and more. Part II, Fearless Performance, lifts the lid on the hidden causes of nervousness and shows how musicians can become confident performers. Part III, Lifelong Creativity, surveys tactics to prevent music-related injuries and equips musicians to tap their own innate creativity. Written in a conversational style, The Musician's Way presents an inclusive system for all instrumentalists and vocalists to advance their musical abilities and succeed as performing artists.

New York Times bestselling Music Is History combines Questlove’s deep musical expertise with his curiosity about history, examining America over the past fifty years—now in paperback Focusing on the years 1971 to the present, Questlove finds the hidden connections in the American tapes, whether investigating how the blaxploitation era reshaped Black identity or considering the way disco took an assembly-line approach to Black genius. And these critical inquiries are complemented by his own memories as a music fan and the way his appetite for pop culture taught him about America. A history of the last half-century and an intimate conversation with one of music’s most influential and original voices, Music Is History is a singular look at contemporary America.