How to analyze a book citation
Baird, Julianne. "The bel canto singing style." In A performer's guide to seventeenth-century music, ed. Stewart Carter, 31-43. Bloomington : Indiana University Press, 2012.
The citation refers to a chapter in an edited book.
Tip: Search by Title in Advanced Search mode in Omni to see if Queen's Library has the book performer's guide to seventeenth century music. Omit initial articles (the, an, a). Ignore punctuation and case.
Floorplan: Stauffer 2nd floor Music Collection. Items are arranged according to the Library of Congress Classification.
Generally, items are shelved alphabetically in author order within each subject class number.
Narrow or refine search by adding other terms: e.g.
Browsing call numbers on shelves or using the Virtual Browse feature in Omni is another strategy for locating books on a topic that can lead to serendipitous discovery.
When you find a call number in Omni on a topic of interest, browse in that call number (LC classification) range, physically or virtually, for more items on your topic. Useful class numbers ranges for browsing topics in the discipline of musicology are given as an example:
The Cultural Study of Music by
What is the relationship between music and culture? The first edition of The Cultural Study of Music: A Critical Introduction explored this question with groundbreaking rigor and breadth. Now this second edition refines that original analysis while examining the ways the field has developed in the years since the book's initial publication. Including contributions from scholars of music, cultural studies, anthropology, sociology, and psychology, this anthology provides a comprehensive introduction to the study of music and culture. It includes both pioneering theoretical essays and exhaustively researched case studies on particular issues in world musics. For the second edition, the original essays have been revised and nine new chapters have been added, covering themes such as race, religion, geography, technology, and the politics of music. With an even broader scope and a larger roster of world-renowned contributors, The Cultural Study of Music is certain to remain a canonical text in the field of cultural musicology.
Historical Musicology by
How do we know what notes a composer intended in a given piece? -- how those notes should be played and sung? -- the nature of musical life in Bach's Leipzig, Schubert's Vienna? -- how music related to literature and other arts and social currents in different times and places? -- what attitudes musicians and music lovers had toward the music that they heard and made? We know all this from musical manuscripts and prints, opera libretti, composers' letters, reviews in newspapers and magazines, archival data, contemporary pedagogical writings, essays on aesthetics, and much else. Some of these categories of sources are the bedrock of music history and musicology. Others have begun to be examined only in recent years. Furthermore, musicologists -- including biographers of famous composers -- now explore these various kinds of sources in a variety of ways, some of them richly traditional and others exciting and novel. These seventeen essays, all newly written, use a wide array of source materials to probe issues pertaining to a cross section of musical works and musical life from the sixteenth through the twentieth centuries. The resulting, pluralistic profile of current musicology will prove welcome to anyone fascinated by the problems of reconstructing -- reimagining, sometimes -- the evanescent musical art of the past and pondering its implications for musical life today and in the future. Roberta Montemorra Marvin is Director of Research and Development for International Programs, University of Iowa; Stephen A. Crist is Associate Professor and Chair of the Music Department at Emory University.
Musicking by
Extending the inquiry of his early groundbreaking books, Christopher Small strikes at the heart of traditional studies of Western music by asserting that music is not a thing, but rather an activity. In this new book, Small outlines a theory of what he terms "musicking," a verb that encompasses all musical activity from composing to performing to listening to a Walkman to singing in the shower. Using Gregory Bateson's philosophy of mind and a Geertzian thick description of a typical concert in a typical symphony hall, Small demonstrates how musicking forms a ritual through which all the participants explore and celebrate the relationships that constitute their social identity. This engaging and deftly written trip through the concert hall will have readers rethinking every aspect of their musical worlds.
Musicology: the Key Concepts by
Now in an updated 2ndedition, Musicology: The KeyConceptsis a handy A-Z reference guide to the terms and concepts associated with contemporary musicology. Drawing on critical theory with a focus on new musicology, this updated edition contains over 35 new entries including: Autobiography Music and Conflict Deconstruction Postcolonialism Disability Music after 9/11 Masculinity Gay Musicology Aesthetics Ethnicity Interpretation Subjectivity With all entries updated, and suggestions for further reading throughout, this text is an essential resource for all students of music, musicology, and wider performance related humanities disciplines.
Out of Time : music and the making of modernity by
What does music have to say about modernity? How can this apparently unworldly art tell us anything about modern life?In Out of Time, author Julian Johnson begins from the idea that it can, arguing that music renders an account of modernity from the inside, a history not of events but of sensibility, an archaeology of experience. If music is better understood from this broad perspective, our idea of modernityitself is also enriched by the specific insights of music. The result is a rehearing of modernity and a rethinking of music - an account that challenges ideas of linear progress and reconsiders the common concerns of music, old and new.If all music since 1600 is modern music, the similarities between Monteverdi and Schoenberg, Bach and Stravinsky, or Beethoven and Boulez, become far more significant than their obvious differences. Johnson elaborates this idea in relation to three related areas of experience - temporality, historyand memory; space, place and technology; language, the body, and sound. Criss-crossing four centuries of Western culture, he moves between close readings of diverse musical examples (from the madrigal to electronic music) and drawing on the history of science and technology, literature, art,philosophy, and geography. Against the grain of chronology and the usual divisions of music history, Johnson proposes profound connections between musical works from quite different times and places. The multiple lines of the resulting map, similar to those of the London Underground, produce abewildering network of plural connections, joining Stockhausen to Galileo, music printing to sound recording, the industrial revolution to motivic development, steam trains to waltzes.A significant and groundbreaking work, Out of Time is essential reading for anyone interested in the history of music and modernity.
The Oxford History of Western Music by
Now in its second edition, this text immerses students in the engaging story of the Western musical tradition. By emphasizing the connections among works, both within cultural eras and across time and place, the text goes beyond a basic retelling of the music's history to build students'ability to listen critically to key works. The Oxford History of Western Music, College Edition is a complete program for building students' understanding and appreciation of the classical canon.
The Thought of Music by
What, exactly, is knowledge of music? And what does it tell us about humanistic knowledge in general? The Thought of Music grapples directly with these fundamental questions--questions especially compelling at a time when humanistic knowledge is enmeshed in debates about its character and future. In this third volume in a trilogy on musical understanding that includes Interpreting Music and Expression and Truth, Lawrence Kramer seeks answers in both thought about music and thought in music--thinking in tones. He skillfully assesses musical scholarship in the aftermath of critical musicology and musical hermeneutics and in view of more recent concerns with embodiment, affect, and performance. This authoritative and timely work challenges the prevailing conceptions of every topic it addresses: language, context, and culture; pleasure and performance; and, through music, the foundations of understanding in the humanities. The publisher gratefully acknowledges the Joseph Kerman Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.
Towards a Global Music History by
How do we explain the globalized musical world in which we find ourselves in the early 21st century and how did we arrive here? This extraordinary book outlines an understanding of the human musical story as an intercultural--and ultimately a transcultural--one, with travel and trade as the primary conditions and catalysts for the ongoing development of musical styles. Starting with the cultural and civilizational precedents that gave rise to the first global trading and travel network in both directions across the Afro-Eurasian Old World Web in the form of the Silk Road, the book proceeds to the rise of al-Andalus and its influence on Europe through the Iberian peninsula before considering the fusion of European, African and indigenous musics that emerged in the Americas between c1500-1920 as part of Atlantic culture and the New World Web, as well as the concurrent acceleration of globalism in music through European empires and exoticism. The book concludes by examining the musical implications of our current Age of Instantaneous Exchange that technology permits, and by revisiting the question of interculturality and transculurality in music.