Reprint of the original, first published in 1876.

Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

Divided into two parts, this book shows how human memory influences the organization of music. The first part presents ideas about memory and perception from cognitive psychology and the second part of the book shows how these concepts are exemplified in music.

This undergraduate textbook aids readers in studying music and color, which involve nearly the entire gamut of the fundamental laws of classical as well as atomic physics. The objective bases for these two subjects are, respectively, sound and light. Their corresponding underlying physical principles overlap greatly: Both music and color are manifestations of wave phenomena. As a result, commonalities exist as to the production, transmission, and detection of sound and light. Whereas traditional introductory physics textbooks are styled so that the basic principles are introduced first and are then applied, this book is based on a motivational approach: It introduces a subject with a set of related phenomena, challenging readers by calling for a physical basis for what is observed. A novel topic in the first edition and this second edition is a non-mathematical study of electric and magnetic fields and how they provide the basis for the propagation of electromagnetic waves, of light in particular. The book provides details for the calculation of color coordinates and luminosity from the spectral intensity of a beam of light as well as the relationship between these coordinates and the color coordinates of a color monitor. The second edition contains corrections to the first edition, the addition of more than ten new topics, new color figures, as well as more than forty new sample problems and end-of-chapter problems. The most notable additional topics are: the identification of two distinct spectral intensities and how they are related, beats in the sound from a Tibetan bell, AM and FM radio, the spectrogram, the short-time Fourier transform and its relation to the perception of a changing pitch, a detailed analysis of the transmittance of polarized light by a Polaroid sheet, brightness and luminosity, and the mysterious behavior of the photon. The Physics of Music and Color is written at a level suitable for college students without any scientific background, requiring only simple algebra and a passing familiarity with trigonometry. The numerous problems at the end of each chapter help the reader to fully grasp the subject.

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.

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.

Comprehensive and accessible, this foundational text surveys general principles of sound, musical scales, characteristics of instruments, mechanical and electronic recording devices, and many other topics. More than 300 illustrations plus questions, problems, and projects.

"Studies of affect and emotions have blossomed in recent decades across the humanities, neurosciences, and social sciences. In music scholarship, they have often built on the discipline's attention to what music theorists since the Renaissance have described as music's unique ability to arouse passions in listeners. In this timely volume, the editors seek to combine this 'affective turn' with the 'sound turn' in the humanities, which has profitably shifted attention from the visual to the aural, as well as a more recent 'philosophical turn' in music studies. Accordingly, the volume maps out a new territory for research at the intersection of music, philosophy, and sound studies. The essays in Sound and Affect look at objects and experiences in which correlations of sound and affect reside, in music and beyond: the voice as it speaks, stutters, cries, or sings; music, whether vocal, instrumental, or electronic; our sonic environments, whether natural or man-made, and our responses to them. As argued here, far from being stable, correlations of sound and affect are influenced by factors as diverse as race, class, gender, and social and political experience. Examining these factors is key to the project, which gathers contributions from a cross-disciplinary roster of scholars including both established as well as a wealth of new voices. The essays are grouped thematically into sections that move from politics and ethics, to reflections on pre-and post-human "musicking," to the notions of affective listening and music temporalities, to are examination of historical understandings of music and affect. This agenda-setting collection will prove indispensable to anyone interested in innovative approaches to the study of sound and its many intersection with affect and emotions"--