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Typical mild "Sachsonian" humor and illustrated with a wealth of examples and evidence. I doubt whether any other of us ethnomusicologists would have been capable of writing such a comprehensive study: S~chs had at his fingertips a phenomenal amount of factual information. Sometimes, under his wise guidance, complicated propositions become surprisingly simple. The reader will be as fascinated as I was by the originality of some of his conelusions, captivated by his penetrating com parisons, and charmed by his rich and expressive language. After having lived with this book for aperiod of some months, I realize a1l themore what the death of Curt Sachs means to the musicological world. "The Wellsprings of Music" forms a worthy elose to that long series of publications his boundless energy and unsurpassed knowledge have given uso I feel greatly indebted to Dr. Eric Werner, New York, for his decisive encouragement towards the publication of this work and for the active interest he took in it. I want also to express my gratitude to the musicologist Miss Marijke Charbon, The Hague, for having made an Index of N ames and for some useful suggestions. Amsterdam, 15th February 1960 JAAP KUNST My dear friend Jaap Kunst did not live to see this book in print. I wish to express my deep gratitude to him, whose dedi cated help and unfailing and devoted interest made its publi cation possible.
The last time you whistled a tune or hummed a song-why did you choose that one? You may not consider yourself a musical person, but your little act of unintended music may be the key to unlocking within you a wealth of unsuspected creativity-a kind of creativity that goes way beyond music, too. Lane Arye, PhD, a musician himself, focuses on the music that people do not intend to make. Using the highly regarded psychological model called Process Work, developed by Arnold Mindell, PhD, Arye has been teaching students around the world how to awaken their creativity, using music as the starting point, but including all art forms and ways of expression. The unintentional appears at moments when some hidden part of us, something beyond our usual awareness, suddenly tries to express itself. If we start paying attention to what is trying to happen rather than to what we think should happen, we open the door to self-discovery and creativity. Sometimes what we regard as "mistakes" in self-expression are in fact treasures. The book is rich with real-life stories, ideas, and practical techniques for unlocking creativity, which Arye dispenses with humor, insight, and enthusiasm.
"Many people consider ground water deep beneath their feet as mysterious, perhaps even supernatural. To clarify matters, hydrogeologist Frank Chapelle has written a definitive history and science of subsurface water in his Wellsprings, a book both accessible to the lay reader while being filled with startling nuggets of information pleasing to the professional water scientist."--Donald Siegel, professor of earth sciences, Syracuse University "This book tells the story of bottled water in the United States in a highly readable and in-depth way, covering both the facts of the subject, and the persons and events that resulted in this now ubiquitous product."--Stephen C. Edberg, professor, Yale University Bottled water is a part of everyday life for millions of Americans. Per capita consumption in the United States now tops fifteen gallons per year with sales over $5 billion in 2002. Even as fuel prices climb, many people are still willing to pay more for a gallon of bottled water than they are for the equivalent in gasoline. At the same time, bottled water has become a symbol of refined taste and a healthy lifestyle. But despite its growing popularity, many people cannot quite put their finger on just why they prefer bottled water to the much less expensive tap variety. Some have a vague notion that bottled water is "healthier," some prefer the convenience and more consistent taste, and others are simply content to follow the trend. The fact is most people know very little about the natural beverage that they drink and enjoy. It is reasonable to wonder, therefore, just what differentiates bottled water from other water? Is it really better or healthier than tap water? Why is it that different brands seem to have subtle variations in taste? As Francis H. Chapelle reveals in this delightful and informative volume, a complex story of geology, hydrology, and history lies behind every bottle of spring water. The book chronicles the history of the bottled water industry in America from its beginnings in Europe hundreds of years ago to the present day. Subsequent chapters describe the chemical characteristics that make some waters desirable, and provide an overview of the geologic circumstances that produce them. Wellsprings explains how these geologic conditions vary throughout the country, and how this affects the kinds and quality of bottled water that are available. Finally, Chapelle shows how the bottled water industry uses this natural history, together with the perceived health benefits of spring waters, to market their products. Accessibly written and well illustrated, Wellsprings is both a revealing account and a user's guide to natural spring waters. Regardless of your drinking preference, this timely exploration will make your next drink of water refreshingly informed.
This book is an homage to Ernest G. McClain and includes the following articles: Jean Le Mee: THE CHALLENGE OF ABUL WAFA; Leon Crickmore: CASTLERIGG: STONE OR TONE CIRCLE? Jay Kappraff: ANCIENT HARMONIC LAW; Sarah Reichart & Vivian Ramalingam: THREE HEPTAGONAL SACRED SPACES; Pétur Halldórsson: PATTERN OF SETTLEMENTS PACED FROM 1-9; Anne Bulckens: THE METONIC CYCLE OF THE PARTHENON; Jay Kappraff and Ernest McClain: THE PROPORTIONAL SYSTEM OF THE PARTHENON; Richard Heath: THE GEODETIC AND MUSICOLOGICAL SIGNIFICANCE OF THE SHORTER LENGTH OF THE PARTHENON; Richard Heath: ERNEST MCCLAIN'S MUSICOLOGICAL INTERPRETATION OF ANCIENT TEXTS; John Bremer: THE OPENING OF PLATO'S POLITY; Bryan Carr: ONTOLOGY INSIDE-OUT; Babette Babich: THE HALLELUJAH EFFECT; Pete Dello: MCCLAIN'S MATRICES; Richard Dumbrill: SEVEN? YES -- BUT ...; Howard Barry Schatz: THROUGH THE EYES OF PLATO; Gerry Turchetto: MEMORIES OF ERNEST G. MCCLAIN.
CD and DVD contain audio and video examples.
Historical ethnomusicology is increasingly acknowledged as a significant emerging subfield of ethnomusicology due to the fact that historical research requires a different set of theories and methods than studies of contemporary practices and many historiographic techniques are rapidly transforming as a result of new technologies. In 2005, Bruno Nettl observed that “the term ‘historical ethnomusicology’ has begun to appear in programs of conferences and in publications” (Nettl 2005, 274), and as recently as 2012 scholars similarly noted “an increasing concern with the writing of musical histories in ethnomusicology” (Ruskin and Rice 2012, 318). Relevant positions recently advanced by other authors include that historical musicologists are “all ethnomusicologists now” and that “all ethnomusicology is historical” (Stobart, 2008), yet we sense that such arguments—while useful, and theoretically correct—may ultimately distract from careful consideration of the kinds of contemporary theories and rigorous methods uniquely suited to historical inquiry in the field of music. In Theory and Method in Historical Ethnomusicology, editors Jonathan McCollum and David Hebert, along with contributors Judah Cohen, Chris Goertzen, Keith Howard, Ann Lucas, Daniel Neuman, and Diane Thram systematically demonstrate various ways that new approaches to historiography––and the related application of new technologies––impact the work of ethnomusicologists who seek to meaningfully represent music traditions across barriers of both time and space. Contributors specializing in historical musics of Armenia, Iran, India, Japan, southern Africa, American Jews, and southern fiddling traditions of the United States describe the opening of new theoretical approaches and methodologies for research on global music history. In the Foreword, Keith Howard offers his perspective on historical ethnomusicology and the importance of reconsidering theories and methods applicable to this field for the enhancement of musical understandings in the present and future.
Throughout history, music has been an important accompaniment to other art forms, most notably drama, and to traditional rituals. Today, music dominates the arts. It is broadcast to the farthest corners of the globe by means of radio, film, television, musical theatre, and the Internet. Live performances, meanwhile, have never ceased to entertain, inform, and impact contemporary society. This comprehensive volume examines music notation, sound, and structure; musical composition and form; the various characteristics of instruments as well as their classification and history, including electronic instruments; musical performance and expression; and styles and genres of music in Western cultures.
Time in Indian Music is the first major study of rhythm, metre, and form in North Indian rag , or classical, music. Martin Clayton presents a theoretical model for the organization of time in this repertory, a model which is related explicitly to other spheres of Indian thought and culture as well as to current ideas on musical time in alternative repertoriesnullincluding that of Western music. This theoretical model is elucidated and illustrated with reference to many musical examples drawn from authentic recorded performances. These examples clarify key Indian musicological concepts such as tal (metre), lay (tempo or rhythm), and laykari (rhythmic variation). More generally, the volume addresses the implications of performance practice for the organization of rhythm and metre. Written in a clear and accessible style and illustrated with 102 music examples and diagrams, it will appeal to anyone interested in Indian aesthetic forms and the study of musical time.