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Klorman Edward: Bach: The Cello Suites

Bach: The Cello Suites

33 1/3 Oceania

A study of Eyeliner's Buy Now, a vaporwave homage to the kitsch electronic sounds of the 80s and 90s.

Brimming over with fake wind-chimes, dreamy synth pads, and hyperactive slap-bass, Eyeliner's Buy Now is an ebullient homage to the kitsch sounds of the 80s and 90s. Self-released in 2015 on Bandcamp and on cassette by US label Beer on the Rug, the album has come to be regarded as a vaporwave classic. The perfect product for an anxious, hyperreal world, Buy Now poses the question: what is the appeal of the "fake" and "uncool" sounds of the past?

 Born in 1983, New Zealand computer-musician Luke Rowell came of age as the digital revolution upturned the music industry and helped shape the outlook of the millennial generation. Buy Now epitomizes a new kind of album for our times: DIY, all-digital, free, licensed as Creative Commons, and belonging to a "virtual" genre, an internet-based scene without geographic center. Drawing on the album's production archive and interviews with Rowell, this book argues that Buy Now offers both musical pleasure and mental survival-training for an era when sincerity and irony can appear dangerously indistinguishable.

Michael Brown undertakes a thorough study of Eyeliner’s Buy Now, a vaporwave homage to the kitsch electronic sounds of the 80s and 90s.

Eyeliner's Buy Now

An Introduction to Music Technology, Third Edition provides a clear overview of the essential elements of music technology for today¿s musician. This book focuses on the topics that underlie the hardware and software in use today: Sound, Audio, Sequencing and Software Instruments, Computer Notation and Computer-Assisted Instruction. Appendices cover detailed aspects of MIDI software and hardware. Written for both music technology majors and non-majors, this textbook introduces students to a wide range of principles and practices so students can learn how to work with a wide range of software programs, adapt to new music technologies, and apply music technology in their performance, composition, teaching, and analysis.Features:<ul> <li>Thorough explanations of key topics in music technology </li> <li>Content applicable to all software and hardware, not linked to just one piece of software or gear </li> <li>In-depth discussion of digital audio topics, such as sampling rates, resolutions, and file formats </li> <li>Explanations of standard audio plug-ins including dynamics processors, EQs, and delay based effects </li> <li>Coverage of synthesis and sampling in software instruments </li> <li>Pedagogical features, including: </li> <ul> <li>Further Reading sections that allow the student to delve deeper into topics of interest </li> <li>Suggested Activities that can be carried out with a variety of different programs </li> <li>Key Terms at the end of each chapter </li> <li>What Do I Need? chapters covering the types of hardware and software needed in order to put together audio systems </li> <li>A companion website with links to audio examples that demonstrate various concepts, step-by-step tutorials, relevant hardware, software, and additional audio and video resources. </li> </ul> The third edition has been fully updated to cover shifts in technology since the publication of the second edition, including increased coverage of mobile and cloud-based apps, updated graphics representing current software and hardware, and reorganized coverage of computer hardware and software topics.
</ul>

An Introduction to Music Technology, Third Edition provides a clear overview of the essential elements of music technology for today’s musician. This book focuses on the topics that underlie the hardware and software in use today: Sound, Audio, Sequencing and Software Instruments, Computer Notation and Computer-Assisted Instruction. Appendices cover detailed aspects of MIDI software and hardware. Written for both music technology majors and non-majors, this textbook introduces students to a wide range of principles and practices so students can learn how to work with a wide range of software programs, adapt to new music technologies, and apply music technology in their performance, composition, teaching, and analysis.Features:<ul> <li>Thorough explanations of key topics in music technology </li> <li>Content applicable to all software and hardware, not linked to just one piece of software or gear </li> <li>In-depth discussion of digital audio topics, such as sampling rates, resolutions, and file formats </li> <li>Explanations of standard audio plug-ins including dynamics processors, EQs, and delay based effects </li> <li>Coverage of synthesis and sampling in software instruments </li> <li>Pedagogical features, including: </li> <ul> <li>Further Reading sections that allow the student to delve deeper into topics of interest </li> <li>Suggested Activities that can be carried out with a variety of different programs </li> <li>Key Terms at the end of each chapter </li> <li>What Do I Need? chapters covering the types of hardware and software needed in order to put together audio systems </li> <li>A companion website with links to audio examples that demonstrate various concepts, step-by-step tutorials, relevant hardware, software, and additional audio and video resources. </li> </ul> </ul>The third edition has been fully updated to cover shifts in technology since the publication of the second edition, including increased coverage of mobile and cloud-based apps, updated graphics representing current software and hardware, and reorganized coverage of computer hardware and software topics.

An Introduction to Music Technology

Music Theory in Britain, 1500–1700: Critical Editions

A Critical Edition, Volume 1

Thomas Morley: A Plaine and Easie Introduction to Practicall Musick (1597)

Science in History

"In this exploration of the colonial political economy of science through the East India Company's library and museum in Britain, Ratcliff shows how 'Company science' became part of the cultural fabric of Britain. This title is part of the Flip it Open Program and may also be available open access. Check our website Cambridge Core for details"--

In this exploration of the colonial political economy of science through the East India Company's library and museum in Britain, Ratcliff shows how 'Company science' became part of the cultural fabric of Britain. This title is part of the Flip it Open Program and may also be available open access. Check our website Cambridge Core for details.

The East India Company and Britain's Second Scientific Revolution

Monopolizing Knowledge

Exploring Musical Genres

"Exploring jazz music using a close reading of songs, albums, and techniques, Listen to Jazz! provides an introduction to the diversity of the music for new listeners and experts alike"--

Exploring a Musical Genre

Listen to Jazz!

A fully revised edition of the Fender bible for 2025 - with brand new information and unseen images.

A fully revised edition of the Fender bible for 2025 - with brand new information and unseen images.

Fender The Golden Age 1946-1970

Fender: The Golden Age

Cambridge Companions to Music

"A Companion not only to Stravinsky's path-breaking score, but to the ballet's legacy across the centuries. It illuminates the controversial Ballets Russes premiere in 1913 and the complex artistic developments and scholarly debates it set in motion, intertwining music, theatrical ballet and modern dance with the wider world of ideas"--

The Cambridge Companion to the Rite of Spring

Despite the well-known fact that some pieces of Bach's WTC II existed in early forms, there has been no thorough discussion to date as to how the work evolved over the years.

Despite the well-known fact that some pieces of Bach's WTC II existed in early forms, there has been no thorough discussion to date as to how the work evolved over the years.

Volume I: Genesis, Compilation, Revisions

The Genesis and Early History of Bach's Well-Tempered Clavier, Book II

Focus on World Music Series

Focus: Native American Music leans heavily toward Native peoples of the United States, but also includes information on First Nations of Canada. It synthesizes current research on Native American music, illustrated by photographs, figures, music notations, audio examples, and personal narratives of active performers.The outstanding features are its treatment of contemporary Native American/First Nations musical life, its overview of the history of Native American music, and its focus on the musical life of Woodland peoples in Oklahoma. It is distinctive in the range of styles and genres discussed, featuring sde-bar profiles of Native American singers, musicians, and dancers.

Focus: Native American Music leans heavily toward Native peoples of the United States, but also includes information on First Nations of Canada. It synthesizes current research on Native American music, illustrated by photographs, figures, music notations, audio examples, and personal narratives of active performers. The outstanding features are its treatment of contemporary Native American/First Nations musical life, its overview of the history of Native American music, and its focus on the musical life of Woodland peoples in Oklahoma. It is distinctive in the range of styles and genres discussed, featuring sde-bar profiles of Native American singers, musicians, and dancers.

Focus: Native American Music

Library of Islamic South Asia

This book reexamines the emergence of Urdu as a literary and poetic language in the 18th century, at the time called Rekhtah, highlighting its engagement with diverse regional cultures and communities in South Asia. Sharing Poetry's Pleasures reframes the history of Urdu within the diverse contexts from which it emerged. It places the earliest Urdu-Rekhtah poets and their craft in the lively social gatherings, bazaars, shrines, and courts of 18th century South Asia. Through aesthetic analysis and historical contextualization of poems, using primary sources in manuscripts, the authors reveal why everyday vernaculars, multi-lingual puns, alongside the use of courtly Persian and complex metaphors attracted a wide audience for this new literary language. Dhavan and Pauwels re-examine the long-dominant mischaracterization of Urdu as an elite language of South Asian Muslims by analysing the poetic biographies of Vali Dakhani and his contemporaries Fa'iz, Abru and Hatim. The authors reveal how selective attention to a handful of poets and rarefied courtly texts obscured the much more diverse roots of an important vernacular tradition, thereby reconstructing a lost literary network of speakers, poets and participants in Urdu's past.

This book reexamines the emergence of Urdu as a literary and poetic language in the 18th century, at the time called Rekhtah, highlighting its engagement with diverse regional cultures and communities in South Asia. Sharing Poetry’s Pleasures reframes the history of Urdu within the diverse contexts from which it emerged. It places the earliest Urdu-Rekhtah poets and their craft in the lively social gatherings, bazaars, shrines, and courts of 18th century South Asia. Through aesthetic analysis and historical contextualization of poems, using primary sources in manuscripts, the authors reveal why everyday vernaculars, multi-lingual puns, alongside the use of courtly Persian and complex metaphors attracted a wide audience for this new literary language. Dhavan and Pauwels re-examine the long-dominant mischaracterization of Urdu as an elite language of South Asian Muslims by analysing the poetic biographies of Vali Dakhani and his contemporaries Fa’iz, Abru and Hatim. The authors reveal how selective attention to a handful of poets and rarefied courtly texts obscured the much more diverse roots of an important vernacular tradition, thereby reconstructing a lost literary network of speakers, poets and participants in Urdu’s past.

Sharing Poetry’s Pleasures

Vali Dakhani and the Early Rekhtah Networks

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Opera and Drama

SEMPRE Studies in The Psychology of Music

The Body in Music is a groundbreaking music psychology text innovatively marrying perspectives from western music performance practice and pedagogy with those spanning experimental to social research. Founded on a significant heritage of artistic practice, it reinvigorates traditional ideas with fresh knowledge garnered from the burgeoning field of inquiry into the role of the body in generating, communicating, and perceiving performance. An exemplar vignette, crafted from the authors' shared performance experience, sets the tone for the work, embedding it in an established socio-cultural context. Case-study driven chapters strive to reconcile empirical work and performance practice. Woven together, they form a narrative journeying the multi-dimensional roles of bodily engagement with music performance. This text is timely in that it bridges a widening gap between disciplines, researcher, and practitioner offering pathways of convergence towards developing theory and understanding of the body in music performance.

The Body in Music is a groundbreaking music psychology text innovatively marrying perspectives from western music performance practice and pedagogy with those spanning experimental to social research. Founded on a significant heritage of artistic practice, it reinvigorates traditional ideas with fresh knowledge garnered from the burgeoning field of inquiry into the role of the body in generating, communicating, and perceiving performance. An exemplar vignette, crafted from the authors’ shared performance experience, sets the tone for the work, embedding it in an established socio-cultural context. Case-study driven chapters strive to reconcile empirical work and performance practice. Woven together, they form a narrative journeying the multi-dimensional roles of bodily engagement with music performance. This text is timely in that it bridges a widening gap between disciplines, researcher, and practitioner offering pathways of convergence towards developing theory and understanding of the body in music performance.

The Body in Music

Bach: The Cello Suites

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