A flexible, modular collection to fit your course
The Musician in Society features eighty-eight independent case studies highlighting the social relationships that make music possible, drawing from Western and non-Western music, notated and non-notated traditions, and classical and popular repertories, all in a framework defined by social roles.
Table of Contents
Preface for Instructors
Chapter 1: The Listener
Introduction
Includes profiles of an acoustical engineer and a music therapist working in their professions today
Case Study 1.1: Zhong Ziqi, Appreciative Listener of the Guqin
Case Study 1.2: Dorothea von Ertmann, Romanticism, and Cathartic Listening
Case Study 1.3: Candace D. Carson, the Grateful Dead, and the Ecstasy of Fandom
Case Study 1.4: Jalāl al-Dīn Rūmī and the Spiritual Practice of Listening
Case Study 1.5: Pythagoras and the Sound of Number
Case Study 1.6: Helen Keller and Vibrotactile Listening
Case Study 1.7: Allan McEachern, Indigenous Song, and Oral Law
Case Study 1.8: John Leech and the Noise of Street Music
Chapter 2: The Instrument Maker
Introduction
Includes profiles of present-day entrepreneurs in instrument design and repair
Case Study 2.1: Bartolomeo Cristofori and the Mechanics of “Soft and Loud”
Case Study 2.2: Ellen Fullman and the Instrument Makers of Experimental Music
Case Study 2.3: GrandWizzard Theodore and the DJs of Early Hip-Hop
Case Study 2.4: Ellie Mannette, Tuner of the Steel Pan
Case Study 2.5: Chevalier Rebsomen, Disability, and Adaptive Instruments
Case Study 2.6: The Legendary Creator of the Khaen
Case Study 2.7: The Tieffenbrucker Family, Renaissance Luthiers
Case Study 2.8: Adolphe Sax and the Instrument Family
Chapter 3: The Teacher
Introduction
Includes profiles of the founder of a community music school and a professional violin teacher in New York City working today
Case Study 3.1: Newport Gardner (or Occramer Marycoo), Singing School Master
Case Study 3.2: Allauddin Khan and the Hindustani Guru Tradition
Case Study 3.3: Monnetus Monneri and Trade Apprenticeship
Case Study 3.4: Amy Beach, Autodidact
Case Study 3.5: Kostadin Varimezov, Untaught Teacher of Bulgarian Bagpipe
Case Study 3.6: Muhal Richard Abrams, the AACM, and Cooperative Education
Case Study 3.7: Satis N. Coleman and Progressive Musical Education
Case Study 3.8: Sarah Anna Glover, Music Literacy, and Sight-Singing
Chapter 4: The Composer
Introduction
Includes profiles of present-day professional composers whose output spans video game music, jazz, and classical concert music
Case Study 4.1: Scotty Nyalgodi Martin, Aboriginal Dreamer of Songs
Case Study 4.2: John Luther Adams and his Sonic Geographies
Case Study 4.3: Guillaume de Machaut and the Composer’s Reflection
Case Study 4.4: Kristen Anderson-Lopez and Robert Lopez, Songwriting Team
Case Study 4.5: Carl Philipp Emanuel Bach, Composer of Fantasies
Case Study 4.6: Ludovic Lamothe and the Musical Heritage of Haiti
Case Study 4.7: Lili’uokalani, Amateur Composition, and the Music of Hawai’i
Case Study 4.8: Yōko Kanno and the Music of Anime
Chapter 5: The Adapter
Introduction
Includes profiles of a recording engineer and an arranger of wind band music working today
Case Study 5.1: Wendy Carlos, Electronic Synthesis, and Switched-on Bach
Case Study 5.2: Edvard Grieg and the Arrangement of Traditional Norwegian Music
Case Study 5.3: G. W. Marks and Piano Adaptation in the Nineteenth Century
Case Study 5.4: Thomas Mapfumo, the Mbira, and the Adaptation of Shona Music
Case Study 5.5: Giuseppe Boniventi, Antonio Vivaldi, and Opera Pasticcio
Case Study 5.6: José Palma, Filipino Poet of an Anthem in Flux
Case Study 5.7: Ferde Grofé, Professional Orchestrator of Rhapsody in Blue
Case Study 5.8: Carol Kaye, Session Musician
Chapter 6: The Performer
Introduction
Includes profiles of an active classical percussionist and a performer of children’s music
Case Study 6.1: Chavela Vargas and the Voice of La Llorona
Case Study 6.2: Rhiannon Giddens and the Musical Representation of the Past
Case Study 6.3: Gregor Piatigorsky, Cellist, and the Instruments of Instrumentalists
Case Study 6.4: Laura Peverara, Performance Practice, and the “Secret Music” of Ferrara
Case Study 6.5: Anton Stadler, Entrepreneurial Clarinetist
Case Study 6.6: Professor Longhair, New Orleans, and Schools of Performance
Case Study 6.7: Iligliuk, Early Demonstrator of Inuit Vocal Games
Case Study 6.8: Kobayashi Haru, Goze, and the Songs of Itinerant Performers
Chapter 7: The Patron
Introduction
Includes profiles of an advancement officer in the arts and a present-day philanthropist
Case Study 7.1: Winnaretta Singer, Commissioner of the Avant-Garde
Case Study 7.2: Leo Feist, Inc., and the Economy of Tin Pan Alley
Case Study 7.3: Tia Ciata and the Sambistas
Case Study 7.4: Akbar the Great, the Mughal Empire, and the Sound of Power
Case Study 7.5: Ermengard of Narbonne, the Troubadours, and the Patron as Muse
Case Study 7.6: Mobutu Sese Seko, Franco, and Patronage Under Dictatorship
Case Study 7.7: The Rockefeller Foundation, John Harrison, and Philanthropy in Latin American Music
Case Study 7.8: James Brydges, George Frideric Handel, and the Royal African Company
Chapter 8: The Facilitator
Introduction
Includes profiles of a contemporary professional music preparer and the founder of an arts management company
Case Study 8.1: Manuel de Sumaya, Chapel Master
Case Study 8.2: Effie Ober, Opera Impresario
Case Study 8.3: Lee Soo-man and the Production of K-Pop
Case Study 8.4: James Reese Europe, the Clef Club, and Organized Labor
Case Study 8.5: Edmond Nathan Yafil and the Music Industry of Algiers
Case Study 8.6: Anneliese Landau, Musical Commentator and Wartime Émigré
Case Study 8.7: George Wein, Jazz Festival Producer
Case Study 8.8: Teresa Cornelys, Proprietor of Carlisle House
Chapter 9: The Influencer
Introduction
Includes profiles of a present-day arts accessibility activist and a professional online music journalist
Case Study 9.1: Stanley Crouch, Wynton Marsalis, and Neotraditional Jazz
Case Study 9.2: Leon Modena, Advocate for the Reform of Jewish Liturgical Music
Case Study 9.3: Auguste Levasseur, Applauder-in-Chief at the Paris Opéra
Case Study 9.4: Rosa Newmarch, Biographer, and the Critical Reception of Tchaikovsky
Case Study 9.5: Marina de Almeida Brum Duarte, Music Censor in Brazil’s Military Dictatorship
Case Study 9.6: Tipper Gore, the Parents’ Music Resource Center, and Music Labeling
Case Study 9.7: Eugenio Noel, Anti-Flamenco Polemicist
Case Study 9.8: Jacobus, Reactionary Scholar of the Fourteenth Century
Chapter 10: The Conservator
Introduction
Includes profiles of a professional archivist of historical recordings and a curator of music exhibits at a museum
Case Study 10.1: Frances Densmore and the Documentation of American Indian Music
Case Study 10.2: Komitas and the Preservation of Armenian Music
Case Study 10.3: Bala Feseke Kouyaté and His Descendants, Jelis
Case Study 10.4: Leonard Woolley and the Musical Artifacts of Ancient Mesopotamia
Case Study 10.5: Ira F. Brilliant, Collector of Beethoveniana
Case Study 10.6: Randy Aronson, Conservator of Master Recordings
Case Study 10.7: Clara Schumann, Editor
Case Study 10.8: Amannisa Khan and the Uyghur Musical Canon
Chapter 11: The Disseminator
Introduction
Includes profiles of a disseminator of public-domain sheet music and the manager of a contemporary music streaming service
Case Study 11.1: Ziryāb, Musical Traveler of the Islamic Golden Age
Case Study 11.2: Pierre Alamire, Scribe, Envoy, Courier, and Spy
Case Study 11.3: Marie-Charlotte Vendôme, Engraver of Printed Music
Case Study 11.4: John Brinkley, Border Radio, and the Carter Family
Case Study 11.5: Sunday Davis, the Kru Seafarers, and Maritime Musical Dissemination
Case Study 11.6: Vladimir Kovner, Tape Recorders, and Unofficial Music in the Soviet Union
Case Study 11.7: Dany Paquete and the Couriers of Digital Media in Cuba
Case Study 11.8: Carl Sagan, the Voyager Record, and Speculative Musical Dissemination
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