The music of Soundgarden represents a unique blend of heavy metal power and and art-rock sensitivity, this is clearly displayed in the song ‘Outshined’. The unorthodox harmony, use of odd time time signatures and sectional variation seem to blur genre boundaries within rock music and also lend the music a sense of emotional instability that runs…[Read more]

Guitar solos were a defining foundational aspects in the early formative years of what would become known as heavy metal music. Though Tony Iommi of Black Sabbath has been largely credited as the most influential guitarist on the wider genre, this essay argues that it is the style of Ritchie Blackmore that has been of greater importance and…[Read more]

An introduction to music appreciation and history that emphasizes the political, cultural, and social influences on music from antiquity to the 20th century. Contents include sacred and secular, vocal and instrumental, and folk and art music from across the Western world, including modern popular song. No previous musical experience necessary. All…[Read more]

Continuation of documentary about concert spirituals categorized by song theme, from sorrow songs to songs of transcendence. Each category is followed by a recording:
– “Oh, Didn’t It Rain” (Ruby Elzy, soprano)
– “Every Time I Feel de Spirit” (Lawrence Brown, composer; Evelyn Dove, soprano)
– “My Soul’s Been Anchored in the Lord” (Florence…[Read more]

Documentary about concert spirituals categorized by song theme, from sorrow songs to songs of transcendence. Each category is followed by a recording: –
“I Cannot Stay Here by Myself” (Hall Johnson, composer; A. Grace Lee Mims, soprano)
– “Who’ll Be a Witness for My Lord” (John Rosamond Johnson, composer; Kenneth Spencer, baritone)
– “Steal…[Read more]

This chapter develops two claims that are central to the book’s overall argument. The first is that certain temporal musical objects exist only as ephemera—always remaining outside of symbolic representation. These objects are constituted by lived time, or time as it shows up in human lives. The second claim is that the ephemeral meaning of mus…[Read more]

This is the 2020 update of a comprehensive open-access annotated bibliography listing carillon scores by African American composers and/or based on African American music. While most of the items are published, a few are unpublished but in informal circulation, or are pending publication. Carillonists are invited to use this resource to identify…[Read more]

This open-access international bibliography lists published and unpublished original carillon works by over a hundred women, transgender, and nonbinary composers. The composers’ birth years range from 1858 to the twenty-first century, the musical styles range from lyrical to avant-garde, and the formats range from solo to ensemble to e…[Read more]

This article strives to examine the historical narrative of music recording in its acoustic era (from 1877 to the late 1920s), at a time when competing technologies for capturing and registering sound and music were being incorporated into everyday life. Moreover, it examines the overlap of continuous and discontinuous media and processes of…[Read more]

The period following the end of Getúlio Vargas’s second government (1951-1954) saw a massive expansion of the media industries with popular music in particular becoming an important cultural touchstone. Some salient trends in the post-War period include the politicization of music and other media (radio, television, social media), the in…[Read more]

A summary of the structure and objectives of Arnie Cox’s “Music By Ear” program, a complete system of aural skills pedagogy rooted in memorization and dictation of a variety of repertoire. Music by Ear can be executed, with some modifications, asynchronously and online in response to COVID-19. (Note: this document and this method are the work of…[Read more]