Bücher der Reihe Routledge Research in Music

This edited collection seeks to explore the role of DIY or Pro-Am (Professional-Amateur) practitioners of popular music archiving and preservation. With an international scope and an interdisciplinary approach, this is an important reference for scholars of popular music, heritage studies and cultural studies.

Sound Heritage is the first study of music in the historic house museum, featuring contributions from both music and heritage scholars and professionals in a richly interdisciplinary approach to central issues. It examines how music materials can be used to create narratives about past inhabitants and their surroundings - including aspects of social and cultural life beyond the activity of music making itself - and explores how music as sound, material, and practice can be more consistently and engagingly integrated into the curation and interpretation of historic houses.The volume is structured around a selection of thematic chapters and a series of shorter case studies, each focusing on a specific house, object or project. Key themes include:Different types of historic house, including the case of the composer or musician house; what can be learned from museums and galleries about the use of sound and music and what may not transfer to the historic house settingMusical instruments as part of a wider collection; questions of restoration and public use; and the demands of particular collection types such as sheet musicMusical objects and pieces of music as storytelling components, and the use of music to affectively colour narratives or experiences.This is a pioneering study that will appeal to all those interested in the intersection between Music and Museum and Heritage Studies. It will also be of interest to scholars and researchers of Music History, Popular Music, Performance Studies and Material Culture.

Kevin Korsyn is a renowned music theorist, musicologist, and pedagogue who has taught at the University of Michigan since 1992. He has published widely and influentially in areas as diverse as Beethoven and Brahms studies, chromatic tonality, disciplinarity and metatheory, history of theory, musical meaning and hermeneutics, poststructuralism (deconstruction, intertextuality, etc.), and Schenkerian theory and analysis. Because of the scope and caliber of his published work, and also his legacy as a pedagogue, Korsyn has had a profound impact on the field of music theory, along with the related fields of historical musicology and aesthetics.This book, a festschrift for Korsyn, comprises essays that constellate around his numerous scholarly foci. Represented in the volume are not only familiar music-theoretical topics such as chromaticism, form, Schenker, and text-music relations, but also various interdisciplinary topics such as deconstruction, disability studies, German Idealism, posthumanism, and psychoanalysis. The book thus reflects the increasingly multifaceted intellectual landscape of contemporary music theory.

Music, Place, and Identity in Italian Urban Soundscapes circa 1550-1860 presents new perspectives on the role music played in the physical, cultural, and civic spaces of Italian cities from the sixteenth to the nineteenth century. Across thirteen chapters, contributors explore the complex connections between sound and space within these urban contexts, demonstrating how music and sound were intimately connected to changing social and political practices. The volume offers a critical redefinition of the core concept of soundscape, considering musical practices through the lenses of territory, space, representation, and identity, in five parts:Soundscape, Phonosphere, and Urban HistoryUrban Soundscapes across TimeUrban Soundscapes and Acoustic CommunitiesUrban Soundscapes in Literary SourcesReconstructing Urban Soundscapes in the Digital EraMusic, Place, and Identity in Italian Urban Soundscapes circa 1550-1860 reframes our understanding of Italian music history beyond models of patronage, investigating how sounds and musics have contributed to the construction of human identities and communities.

Australia's Jindyworobak Composers examines the music of a historically and artistically significant group of Australian composers active during the later post-colonial period (1930s-c.1960).

This book breaks new ground in the social and cultural history of eighteenth-century music in Britain through the study of a hitherto neglected resource, the lists of subscribers that were attached to a wide variety of publications, including musical works.

Sound Heritage is the first study of music in the historic house museum, featuring contributions from both music and heritage scholars and professionals in a richly interdisciplinary approach to central issues.

This book provides a practical introduction to researching and performing early Anglo-American secular music and dance with attention to their place in society.

AWARD WINNER OF THE 2018 SOCIETY OF ETHNOMUSICLOGY ELLEN KOSKOFF PRIZEThis is the first sustained examination of ecomusicology-the study of the intersections of music/sound, culture/society, and nature/environment.

This edited collection seeks to explore the role of DIY or Pro-Am (Professional-Amateur) practitioners of popular music archiving and preservation. It looks critically at ideas around `DIY preservationism¿, `self-authorised¿ and `unauthorised¿ heritage practice and the `DIY institution¿, while also unpacking the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music¿s material history. With an international scope and an interdisciplinary approach, this is an important reference for scholars of popular music, heritage studies and cultural studies.

This book explores multicultural representation in western European operatic genres in the modern world. It reveals approaches to reflecting identity, transmitting meaning, and inspiring creation, and the ambiguities of cultural values and practices that occur across the time and place(s) of performance. In theorizing coloniality through intercultural exchange in opera, essays explore topics that involve immigrant, indigenous, exoticist, and other cultural representations. The book offers a more integrated understanding of the interdisciplinary fields inherent in opera, including musicology, sociology, anthropology, and others in Theatre, Gender, and Cultural Studies.

AWARD WINNER OF THE 2018 SOCIETY OF ETHNOMUSICLOGY ELLEN KOSKOFF PRIZEThis is the first sustained examination of ecomusicology-the study of the intersections of music/sound, culture/society, and nature/environment.

A contribution to the field of urban music studies, this book presents new interdisciplinary approaches to the study of music in urban social life. It takes musical performance as its key focus, exploring how and why different kinds of performance are evolving in contemporary cities in the interaction among social groups, commercial entrepreneurs, and institutions. From conventional concerts in rock clubs to new genres such as the flash mob, the forms and meanings of musical performance are deeply affected by urban social change and at the same time respond to the changing conditions. Music has taken on complex roles in the post-industrial city where culture and cultural consumption have an unprecedented power in defining publics, policies, and marketing strategies. Further, changes in real estate markets and the penetration of new media have challenged even fairly modern music cultures. At the same time, new music cultures have emerged, and music has become a driver for cultural events and festivals, channeling the dynamics of a society characterized by the social change, media intensity, and the neoliberal forces of post-industrial urban contexts. The volume brings together scholars from a broad range of disciplines to build a shared understanding of post-industrial contexts in Europe and the United States. Most directly grounded in contemporary developments in music studies and urban studies, its broad interdisciplinary range serves to strengthen the relevance of urban music studies to fields such as anthropology, sociology, urban geography, and beyond. Offering in-depth studies of changing music culture in concert venues, cultural events, and neighborhoods, contributors visit diverse locations such as Barcelona, Berlin, London, New York, and Austin.

This book addresses the ways in which masculinity is negotiated, constructed, represented, and problematized within operatic music and practice. Although the consideration of masculine ontology and epistemology has pervaded cultural and sociological studies since the late 1980s, and masculinity has been the focus of recent if sporadic musicological discussion, the relationship between masculinity and opera has so far escaped detailed critical scrutiny. Operating from a position of sympathy with feminist and queer approaches and the phallocentric tendencies they identify, this study offers a unique perspective on the cultural relativism of opera by focusing on the male operatic subject. Anchored by musical analysis or close readings of musical discourse, the contributions take an interdisciplinary approach by also engaging with theatre, popular music, and cultural musicology scholarship. The various musical, theoretical, and socio-political trajectories of the essays are historically dispersed from seventeenth to twentieth- first-century operatic works and practices, visiting masculinity and the operatic voice, the complication or refusal of essentialist notions of masculinity, and the operatic representation of the `crisis¿ of masculinity. This volume will not only enliven the study of masculinity in opera, but be an appealing contribution to music scholars interested in gender, history, and new musicology.

Taking Australia as a case study, this two-volume collection of extended essays demonstrates that emotional experiences, discourses, displays and expressions do not share universal significance, but are at least partly produced, defined, and regulated by culture.

Looking at musical globalization and vocal music, this collection of essays studies the complex relationship between the human voice and cultural identity in 20th- and 21st-Century music in both East Asian and Western musical traditions.

Looking at musical globalization and vocal music, this collection of essays studies the complex relationship between the human voice and cultural identity in 20th- and 21st-Century music in both East Asian and Western musical traditions.

This unique essay collection offers a panoramic perspective on Paul Dukas (1865-1935), a comparatively neglected French musician.