Music Theory has a lot of ground to cover. Especially in introductory classes a whole range of fundamental concepts are introduced at fast pace that can never be explored in depth or detail, as other new topics become more pressing. The short time we spend with them in the classroom belies the complexity (and, in many cases, the contradictions) underlying these concepts. This book takes the time to tarry over these complexities, probe the philosophical assumptions on which these concepts rest, and shine a light on all their iridescent facets. This book presents music-theoretical concepts as a register of key terms progressing outwards from smallest detail to discussions of the music-theoretical project on the largest scale. The approaches individual authors take range from philosophical, historical, or analytical to systematic, cognitive, and critical-theorical-covering the whole diverse spectrum of contemporary music theory. In some cases authors explore concepts that have not yet been widely added to the theorist's toolkit but deserve to be included; in other cases concepts are expanded beyond their core repertory of application. This collection does not shy away from controversy. Taken in their entirety, the essays underline that music theory is on the move, exploring new questions, new repertories, and new approaches. This collection is an invitation to take stock of music theory in the early twenty-first century, to look back and to encourage discussion about its future directions. Its chapters open up a panoramic view of the contemporary music-theoretical landscape with its expanding repertories and changing guiding questions, and offers suggestions as to where music theory is headed in years to come.

Music Theory has a lot of ground to cover. Especially in introductory classes a whole range of fundamental concepts are introduced at fast pace that can never be explored in depth or detail, as other new topics become more pressing. The short time we spend with them in the classroom belies the complexity (and, in many cases, the contradictions) underlying these concepts. This book takes the time to tarry over these complexities, probe the philosophical assumptions on which these concepts rest, and shine a light on all their iridescent facets. This book presents music-theoretical concepts as a register of key terms progressing outwards from smallest detail to discussions of the music-theoretical project on the largest scale. The approaches individual authors take range from philosophical, historical, or analytical to systematic, cognitive, and critical-theorical-covering the whole diverse spectrum of contemporary music theory. In some cases authors explore concepts that have not yet been widely added to the theorist's toolkit but deserve to be included; in other cases concepts are expanded beyond their core repertory of application. This collection does not shy away from controversy. Taken in their entirety, the essays underline that music theory is on the move, exploring new questions, new repertories, and new approaches. This collection is an invitation to take stock of music theory in the early twenty-first century, to look back and to encourage discussion about its future directions. Its chapters open up a panoramic view of the contemporary music-theoretical landscape with its expanding repertories and changing guiding questions, and offers suggestions as to where music theory is headed in years to come.

The Oxford Handbook of Music Psychology is the definitive, comprehensive, and authoritative text on this burgeoning field. With contributions from over fifty experts in the field, the range and depth of coverage is unequalled. It will be an essential resource for students and researchers in psychology.

This handbook examines film and new media in the light of their convergence. It draws on leading scholars in the field to discuss traditional areas of history and theory of film and digital media. Its focus, however, is on the cycle of technologically driven arts. Film was born of a number of experiments in reproducing motion, all of which culminated in the nineteenth-century projection of short films. The creation of digital media resulted from experiments in alternative forms of representation in the early 1960s. John Whitney began creating avant-garde films from digital graphics around 1960 (and some of his ideas and methods were incorporated by Stanley Kubrick in 2001: A Space Odyssey). By the early 1990s, commercial filmmakers began to employ digital effects in their work. By the late nineties, digital arts had come fully into their own, both in the form of stand-alone or interactive artworks and films created with and for the computer. At the same time, digital effects had completely overtaken optical printing and matte painting in film. From special effects to creating "realistic" backgrounds and crowds, the digital is infiltrating all aspects of filmmaking. The infiltration is about to become a takeover, as celluloid is replaced by high definition digital recording and projection processes. Many aspects of film will change as this latest convergence takes place. Already, cultural response to film has changed as viewers begin to teach themselves about film through supplementary material on DVDs and to make their own films on home computers. But this handbook is not a technical history or manual. Quite the contrary, it is a scholarly work discussing the aesthetics, economics, and cultural results of these changes and convergences. The book balances traditional scholarship and analysis with essays addressing technological change and the concurrent changes in cultural responses to these changes, responses already acknowledged by the profession.

Although all research makes use of specific research methods, much music scholarship is being published without any reference to, or reflection on, the premises of the methods employed. In other words, published articles and books are often lacking a discussion of the scope and limitations of the research methods. Furthermore, music theory, musicology, ethnomusicology, music psychology, etc., are not independent disciplines, nor is research in those areas an activity to be defined once and for all. These areas have strong methodological relationships to each other as well as to areas outside the field of music. This book discusses some of the methodological premises, on which music research in the areas of music theory, (ethno-) musicology, and music psychology is based, and focuses on selected interdisciplinary approaches. It also discusses teaching approaches to music theory.

The Oxford Companion to Australian Music is a reference work that will be of interest to music lovers as well as of use to musicians, scholars and students. To date no volume has combined an account of Australia's music with biographical information about its musicians, a critical guide totheir works, publishers and recordings, and a guide to the burgeoning literature in the field. With more than 2,000 entries, the Companion ranges across a wide spectrum, from ancient Aboriginal traditions and European-derived orchestral, operatic and concert music, to Australian folk jazz, country, popular, rock, electronic and experimental music. It covers the music not only of mainstreamaudiences but also of Australia's religious denominations and recent migrant communities. Special attention is given to the distinctive features of Australian musical life: its reliance on government support rather than private or ecclesiastical patronage, its unquenchable appetite for eisteddfods,choral societies and bands; the shadow cast by European traditions; the vicissitudes of its attitudes towards composers; the late development of music criticism and scholarship; and the role of regional cities and towns. There are numerous entries on Aboriginal subjects and on key musical organizations and considerable space is given to a series of longer entries covering musical works, institutions, genres, instruments, terms, and many of the historical contexts of Australian music. These key essays offer anauthoritative framework for a better understanding of the shape and originality of music-making in Australia.