Reprint of the original, first published in 1875.

Designed as a tribute to world-renowned ethnomusicologist Bruno Nettl, this volume explores the ways in which ethnomusicologists are contributing to the larger task of investigating music history. The fifteen contributors explore topics ranging from meetings with the Suyá Indians of Brazil to the German-speaking Jewish community of Israel; from Indian music in Felicity, Trinidad, to Ravi Shankar's role as cultural mediator. "This book is unique not only for its approach but also for the scope of its content. . . . It is definitely a must for libraries of research centers and institutions with ethnomusicology programs." -- Choice

The first major study of British communist composer Alan Bush, providing new perspectives on music and politics during the Cold War.

This study investigates the idea and practice of liveness in modern music. Understanding what makes music live in an ever-changing musical and technological terrain is one of the more complex and timely challenges facing scholars of current music, where liveness is typically understood to represent performance and to stand in opposition to recording, amplification, and other methods of electronically mediating music. The book argues that liveness itself emerges from dynamic tensions inherent in mediated musical contexts—tensions between music as an acoustic human utterance, and musical sound as something produced or altered by machines. Sanden analyzes liveness in mediatized music (music for which electronic mediation plays an intrinsically defining role), exploring the role this concept plays in defining musical meaning. In discussions of music from both popular and classical traditions, Sanden demonstrates how liveness is performed by acts of human expression in productive tension with the electronic machines involved in making this music, whether on stage or on recording. Liveness is not a fixed ontological state that exists in the absence of electronic mediation, but rather a dynamically performed assertion of human presence within a technological network of communication. This book provides new insights into how the ideas of performance and liveness continue to permeate the perception and reception of even highly mediatized music within a society so deeply invested, on every level, with the use of electronic technologies.

Eroticism in Early Modern Music contributes to a small but significant literature on music, sexuality, and sex in sixteenth- and seventeenth-century Europe. Its chapters have grown from a long dialogue between a group of scholars, who employ a variety of different approaches to the repertoire: musical and visual analysis; archival and cultural history; gender studies; philology; and performance. By confronting musical, literary, and visual sources with historically situated analyses, the book shows how erotic life and sensibilities were encoded in musical works. Eroticism in Early Modern Music will be of value to scholars and students of early modern European history and culture, and more widely to a readership interested in the history of eroticism and sexuality.

A plethora of biographical accounts of some of the contemporary composers and musicians at the turn of the twentieth century.