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Pustlauk A: The Classical and Early
Romantic Flute

The Classical and Early Romantic Flute

A Theoretical and Practical Guide

Anthem Studies in Gothic Literature

The book defines and discusses Fen Gothic, an example of regional Gothic inflected by geography, relationships of centre and margins, history, ecology and gender and the perspectives offered by related Gothic critical approaches.

Critical Approaches to Fen Gothic Literature

How do we study the sonic nature of war when very few of these sounds remain? World War One has left little sonic trace other than the popular music of the time. The sounds of World War One extended beyond sounds of entertainment and into the killing fields of the Western Front, the oceans of the world, and for the first time into the skies with the development of aviation. But beyond this, they entered into peoples homes, their streets, and indeed their thoughts, emotions, and feelings. Book-length studies exist on the sounds of many other recent major wars, but there is a lack of sonic coverage of World War One. Here, Michael Bull investigates the sounds of war as experienced by those who participated in it by drawing upon a wide range of written testament of the time. These written "voices" are subjective, living memories expressed as fragmentary, often unreliable testimony but provide us with the only living sonic testimony of the time. The book filters these accounts through the technologies of "total war," from the trench whistle to the tank, from the newly developed airplane to the submarine. It asks: how did the wartime population experience these sounds and what were the physical and cognitive consequences of the implementation and use of these often invasive technologies of destruction, instruction and sometimes protection? In doing so, the the book re-evaluates just how we should understand the sounds of World War One and the sounds of war more generally.

The Sonic Experience of World War One

SOAS Studies in Music

With the abrogation of the Zen Buddhist Fuke sect during Japan's modernisation process in the late nineteenth century, the raison d'être for the shakuhachi (Japanese vertical bamboo flute) as a spiritual tool for mendicant monks suddenly vanished. Thereafter, playing the shakuhachi changed from spiritual practice to professional musicianship or musical hobby. The fact that the instrument had been modified and 'improved' has been a well-kept secret. The old style shakuhachi, now named jinashi shakuhachi, became a marginalised instrument for eccentrics. However, during the past decade it has gained popularity, especially outside Japan, where it is considered to be 'the real thing' as opposed to the modernised jinuri shakuhachi. Kiku Day examines how the jinashi shakuhachi, although constructed according to the principles current prior to the Meiji Restoration, itself has been modified to adapt to the needs of modern players. In order to place the instrument into the modern world in its own right, the author, a professional jinashi shakuhachi player, describes her recent collaboration with five international composers on a performance project with the aim of creating a new repertoire. This process of cross cultural creation is described against the background of action research, Theory U, and the theory of flow.

With the abrogation of the Zen Buddhist Fuke sect during Japan’s modernisation process in the late nineteenth century, the raison d’Ãªtre for the shakuhachi (Japanese vertical bamboo flute) as a spiritual tool for mendicant monks suddenly vanished. Thereafter, playing the shakuhachi changed from spiritual practice to professional musicianship or musical hobby. The fact that the instrument had been modified and ’improved’ has been a well-kept secret. The old style shakuhachi, now named jinashi shakuhachi, became a marginalised instrument for eccentrics. However, during the past decade it has gained popularity, especially outside Japan, where it is considered to be ’the real thing’ as opposed to the modernised jinuri shakuhachi. Kiku Day examines how the jinashi shakuhachi, although constructed according to the principles current prior to the Meiji Restoration, itself has been modified to adapt to the needs of modern players.  In order to place the instrument into the modern world in its own right, the author, a professional jinashi shakuhachi player, describes her recent collaboration with five international composers on a performance project with the aim of creating a new repertoire. This process of cross cultural creation is described against the background of action research, Theory U, and the theory of flow.

The Instrument Today and the Creation of a Contemporary Repertoire

The Jinashi Shakuhachi

Modern Musicology and the College Classroom

A Teacher's Guide

Teaching Canonic Opera and Musical Theater with Intention

With over 40 years' experience in magic and as one of only a handful of professional magic teachers worldwide, Justin Higham is in a unique position to write about the challenges magicians face in learning and performing magic. This book offers valuable insights into why magicians find it hard to perform impromptu: why they forget their tricks and why things so often do not pan out as expected. ‘I have learned the trick, the method, the patter, the misdirection, so why is it not working for me? Drawing from over 3500 individual magic lessons given by Higham over the past 12 years, this guide will help the intermediate student reach their goal of becoming an authentic, spontaneous and confident magician. The real secret as revealed here is to master magic through improvisation.

Mastering Magic Through Improvisation

Intuitive Magician, The

Mastering Russian through Musical Culture bridges language and culture by tracing how music has interwoven with people's lives across ages, genders, and social groups throughout historical epochs.This student-centred comprehensive book contains authentic texts, inquiry-based tasks, grammar examples and exercises, exploratory assignments, and a Teacher's Manual. It assists students in interpreting and producing discourse at an advanced level of language proficiency while enhancing their cultural knowledge and intercultural competence. The book demonstrates to language instructors and learners that music can be successfully incorporated into language studies in a meaningful and enjoyable way. The book's materials will improve students' understanding of the role of musical culture and its value from a historical perspective in Russia and the former Soviet countries. They cover features of Russia's musical cultures and mindsets reflected in pieces of music in detail, examine commonalities and differences, and analyze imagery of musical works compared to features of their native culture and mindset. Students will engage in learning about and discussing trends in Russia's folk, modern, and classical music and masterpieces by renowned Russian and Soviet composers. Supplementary audio passages corresponding to the ten texts in the book can be found at www.routledge.com/9781032842684.This innovative educational book encourages the exploration of various music-related topics by high-intermediate to advanced Russian language learners in the target language.

Mastering Russian through Musical Culture

Library of Gender and Popular Culture

Female Dandyism in Popular Music

Pop & Postfeminism

Music Theory in Britain, 1500–1700: Critical Editions

A Critical Edition, Volume 1

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

Exploring Class Consciousness in Heavy Metal Music

Stained Class

Frontline Adventures Linking Punk, Reggae, Afrobeat and Jazz

Rebel Musix, Scribe on a Vibe

New Approaches to Sound, Music, and Media

Vincenzo Bellini on Stage and Screen, 1935-2020

33 1/3

Marvin Gaye sang like he lived in bed. He could croon, deliver a political commentary, and sing to you like you were the only other soul on this earth. And in 1976 he gave us a taste of his erotic imagination with I Want You. An album made in honor of his ongoing love affair with Janis (Jan) Hunter, Gaye delivered excess and restraint to sound his desire. I Want You is an album that stands apart from Gaye's earlier collaborations with Diana Ross, Tammi Terrell, Mary Wells, and Kim Weston. Though not technically a duet, Gaye forges another kind of collaboration with Jan, the result of which is an album that provides an intimate portrait of an artist in love and lust. Using interviews, visual art, poetry, criticism, and gossip, this book explores ecstasy, funk, sensation, and a host of other delicious and fleshy concerns that animate I Want You. It does not attempt a strict historicization of the album as that would do it a disservice. Instead, this book seeks fidelity to the album by centering Gaye's fantasies, his engagement with Ernie Barnes' painting Sugar Shack, and sonic expression of desire for Jan.

Marvin Gaye sang like he lived in bed. He could croon, deliver a political commentary, and sing to you like you were the only other soul on this earth. And in 1976 he gave us a taste of his erotic imagination with I Want You. An album made in honor of his ongoing love affair with Janis (Jan) Hunter, Gaye delivered excess and restraint to sound his desire. I Want You is an album that stands apart from Gaye’s earlier collaborations with Diana Ross, Tammi Terrell, Mary Wells, and Kim Weston. Though not technically a duet, Gaye forges another kind of collaboration with Jan, the result of which is an album that provides an intimate portrait of an artist in love and lust.

Using interviews, visual art, poetry, criticism, and gossip, this book explores ecstasy, funk, sensation, and a host of other delicious and fleshy concerns that animate I Want You. It does not attempt a strict historicization of the album as that would do it a disservice. Instead, this book seeks fidelity to the album by centering Gaye’s fantasies, his engagement with Ernie Barnes’ painting Sugar Shack, and sonic expression of desire for Jan.

Marvin Gaye's I Want You

The Classical and Early Romantic Flute

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