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"For 100 years and more, musicians have been drawn to the potential of musical processes and relationships to embody democratic principles. This book is the first extended study of this 'musical modelling of democracy', as manifested in modern and experimental music of the global North. Four different approaches are surveyed in turn. In the music of Elliott Carter, democratic principles shape the textural relationships inscribed in the musical score. The indeterminate music of John Cage and his associates sought to democratise the composer-performer relationship by leaving open fundamental decisions about the realisation of a piece. Musicians have involved audiences in active participation, as a means to liberate them from a passive spectatorship. Free improvisation groups have experimented with new kinds of egalitarian relationship between ensemble members, in an effort to reject old hierarchies"--

Music --- Democracy --- Modernism (Music) --- Aleatory music --- Improvisation (Music) --- Political aspects

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"The worlds of new music and historically informed performance might seem quite distant from one another. Yet, upon closer consideration, clear points of convergence emerge. Not only do many contemporary performers move easily between these two worlds, but they often do so using a shared ethos of flexibility, improvisation, curiosity, and collaboration-collaboration with composers past and present, with other performers, and with audiences. Bringing together expert scholars and performers considering a wide range of issues and case studies, Historical Performance and New Music-the first book of its kind-addresses the synergies in aesthetics and practices in historical performance and new music. The essays treat matters including technologies and media such as laptops, printing presses, and graphic notation; new music written for period instruments from natural horns to the clavichord; personalities such as the pioneering singer Cathy Berberian; the musically "omnivorous" ensembles A Far Cry and Roomful of Teeth; and composers Luciano Berio, David Lang, Molly Herron, Caroline Shaw, and many others. Historical Performance and New Music presents pathbreaking ideas in an accessible style that speaks to performers, composers, scholars, and music lovers alike. Richly documented and diverse in its methods and subject matter, this book will open new conversations about contemporary musical life"--

Music --- Historically informed performance (Music) --- Performance --- History

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Dans la continuité de Sans fautes de frappe, Rap et littérature qui s’intéresse à la première génération de rap français, À l’ammoniaque propose une analyse de la scène ayant émergé après 2008, année de l’introduction de l’Auto-Tune par Booba avec l’album 0.9. Dressant un panorama de la créativité et de la diversité des styles nés ces quinze dernières années, ce livre creuse les complicités du rap français avec la littérature à travers des pionniers encore en place comme JoeyStarr ou IAM, et des figures plus récentes telles que Youssoupha ou Nekfeu. L’ouvrage explore aussi les liens que le rap entretient avec la culture populaire et l’influence qu’ils exercent l’un sur l’autre grâce à l’étude de figures aussi différentes que Booba, PNL, Jul ou Orelsan, qui revitalisent la langue française, les modes et la littérature contemporaine

Rap (Music) --- Rap musicians --- Music and literature

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This edited volume presents 27 original essays by living composers from all around the globe, reflecting on the creation of their music. Coterminous to the recent worldwide resurgence in feminist focus, the distinctive feature of this collection is the snapshots of creative processes and conceptualizing on the part of women who write music, writing in the present day, from prominent early-career composers to major figures, from a range of ethnic backgrounds in the contemporary music field. The chapters step into the juncture point at which feminism finds itself: as binary conceptions of gender are being dissolved, with critiques of the attendant gender-based historical generalizations of composers, and with the growing awareness of the rightful place of First Nations' cultural voices, the contributors explore what, actually, is being composed by women, and what they think about their world. The needs that this book serves are acutely felt: despite recent social gains, and sector initiatives and programs encouraging and presenting the work of women who compose music, their works are yet to receive commensurate exposure with that of their male counterparts. In its multi-pronged, direct response to this dire situation, this vibrant volume highlights established as well as emerging women composers on the international stage; reveals myriad issues around feminism, as broadly conceived; and gives insights, from the composers' own voices, on the inner workings of their composition process. The volume thus presents a contemporary moment in time across the generations and within developments in musical composition. With its unique insights, this book is essential for academics and practitioners interested in the illuminations of the current working landscape for creative women. Linda Kouvaras is a professor at the Melbourne Conservatorium of Music, the University of Melbourne, Australia. Natalie Williams most recent academic posting was as Interim Dean at the School of Music, Art and Theatre, North Park University, Chicago, United States of America. Maria Grenfell is an associate professor at the School of Creative Arts and Media at the University of Tasmania, Australia.

Women composers. --- Composition (Music)

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"Why do most musical performers and musical researchers continue to inhabit divergent epistemic spaces? To what extent is the act of musical performance coextensive with the act of doing musical research, and vice versa? At what point in the research process can a performative act transform into a scholarly one, and a scholarly act into performative one? These, and other related questions, form the central focus of this book with each chapter offering a fresh perspective on a particular topic in music performance studies: improvisational traditions, historical performance practices, analysis and performance, sports psychology, cross-cultural musical interactions, and institutional challenges. This book is aimed at music researchers, teachers, students, and practicing musicians interested in the intersection of academic and performance research and bridges the divide between the research of university-trained musicologists, scholars from other fields who focus on music, and the growing community of musical artist-researchers. Material in the book is supported by performance outcomes offered by the contributors on a separate YouTube channel and on the Routledge online portal"--

Music --- Historically informed performance (Music) --- Musical analysis --- Performance --- Psychological aspects