音楽研究入門<br>An Introduction to Music Studies (1ST)

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音楽研究入門
An Introduction to Music Studies (1ST)

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  • 提携先の海外書籍取次会社に在庫がございます。通常約2週間で発送いたします。
    重要ご説明事項
    1. 納期遅延や、ご入手不能となる場合が若干ございます。
    2. 複数冊ご注文の場合、分割発送となる場合がございます。
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  • 製本 Paperback:紙装版/ペーパーバック版/ページ数 296 p.
  • 言語 ENG,ENG
  • 商品コード 9780521603805
  • DDC分類 780.71

基本説明

All main aspects of the subject are covered, including composition, theory, world musics and music technology.

Full Description


Why study music? How much practical use is it in the modern world? This introduction proves how studying music is of great value both in its own terms and also in the post-university careers marketplace. The book explains the basic concepts and issues involved in the academic study of music, draws attention to vital connections across the field and encourages critical thinking over a broad range of music-related issues. * Covers all main aspects of music studies, including topics such as composition, opera, popular music, and music theory * Provides a thorough overview of a hugely diverse subject, from the history of early music to careers in music technology, giving a head-start on the areas to be covered on a music degree * New to 'neume'? Need a reminder about 'ripping'? - glossaries give clear definitions of key musical terms * Chapters are carefully structured and organized enabling easy and quick location of the information needed

Table of Contents

List of illustrations                              ix
Notes on contributors x
Preface xiii
Features of this book: a guide xiv
Introduction
J.P.E. HARPER-SCOTT 1
Part 1 Disciplines 5
1. Music history
JIM SAMSON 7
Art versus history 8
Stylistic or social history? 9
Oral histories 12
Narratives in history 14
Hidden agendas? 18
2. Music theory and analysis
RACHEL BECKLES WILLSON 25
Introduction 25
What is analysis for? 27
What is theory for? 31
3. The sociology of music
KATHARINE ELLIS 43
Introduction 43
Sociologies of music 44
The problem of "high art" 47
Are geniuses made, not born? 50
"Art worlds" and the music business 51
"Cultural capital," social status, and 52
identity
4. The psychology of music
JOAN RINK 59
What is psychology? 59
What is the psychology of music? 60
What do music psychologists do? 62
How does "the musical mind" work? 66
How do we learn music? 68
How do we create music? 70
What is expressed in music and how do we 72
perceive it?
5. Music aesthetics and critical theory
ANDREW BOWIE 79
Introduction 80
Analytical and Continental aesthetics 80
Subjective and objective 81
Aesthetics and history 82
Judgment 83
Absolute music 85
Form and content 86
Music, politics, and meaning: critical 87
theory
"New musicology" 89
Part 2 Approaches to repertoire 95
6. World musics
HENRY STOBART 97
Introduction. World Music(s): exclusions 98
and inclusions
Who studies world musics? 100
Does music have a place? 104
Can world music be mapped? 106
Sounding authentic? 108
Can we trust our ears? 109
7. Early music
STEPHEN ROSE 119
What is early music? 119
How far can we recreate the music of the 121
past?
Music for the Church 123
Secular music 126
Notation and the role of the performer 128
The changing status of the composer 130
8. Opera
DAVID CHARLTON 136
Opera as entertainment and ritual 136
Analyzing the workings of opera 141
Writing in the present 144
Opera's messages 146
Singing as persuasion 147
From semiotics to process 148
9. Concert music
ERIK LEVI 154
Introduction 154
Patronage and funding 155
Concert repertory in the nineteenth 160
century
The twentieth century and beyond 167
10. Jazz
ANDREW BOWIE 176
Introduction 176
History and context 179
Improvisation and performance 181
Jazz as "critical music" 184
Jazz and the academy 185
11. Popular music
ELIZABETH EVA LEACH 188
What is popular music? 188
How do we study popular music? 193
12. Music in film and television
JULIE BROWN 201
Case study 201
Dividing film music for study 203
Approaches to textual study 208
How does it fit into the history of music? 211
Part 3 Music in practice 219
13. Musical performance
TINA K. RAMNARINE 221
What is musical performance? 222
Musical performance as experience, 223
process, and embodied practice
Musical performance as a mode of 224
interaction
Who performs? 226
Learning musical performance 227
The contexts and functions of music 230
Social and political dimensions of 231
musical performance
Studying performance in higher education 233
14. Composition
JULIAN JOHNSON 236
Studying composition 237
Working methods 238
Composers, performers, and audiences 243
15. Music technology
BRIAN LOCK 250
Introduction: what is music technology? 250
How is it studied? 251
Composition 252
Recording 257
Composition and production 258
Composing with sound 259
Making music in home studios 261
Multimedia, film, the Web 261
Careers 262
Courses 263
16. The economics and business of music
NICHOLAS COOK 267
Snapshot of 1825: Beethoven's Ninth and 267
the music business
The rise and fall of the music profession 271
Giving music its due 274
Classical music in the marketplace 278
The music business between past and future 283
Index 291