Knowledge Building in Early Modern English Music is a rich, interdisciplinary investigation into the role of music and musical culture in the development of metaphysical thought in late sixteenth-, early seventeenth-century England. The book considers how music presented questions about the relationships between the mind, body, passions, and the soul, drawing out examples of domestic music that explicitly address topics of human consciousness, such as dreams, love, and sensing.

DJ Screw, a.k.a. Robert Earl Davis Jr., changed rap and hip-hop forever. In the 1990s, in a spare room of his Houston home, he developed a revolutionary mixing technique known as chopped and screwed. Spinning two copies of a record, Screw would "chop" in new rhythms, bring in local rappers to freestyle over the tracks, and slow the recording down on tape. Soon Houstonians were lining up to buy his cassettes—he could sell thousands in a single day. Fans drove around town blasting his music, a sound that came to define the city's burgeoning and innovative rap culture. June 27 has become an unofficial city holiday, inspired by a legendary mix Screw made on that date.

This 224 page book, which is accompanied by online media with over 10 hours of content, gives an in-depth insight into Rob's approach of working with subtractive synthesis. In 2001, Rob Papen began giving exclusive masterclasses teaching 'synthesizer sound design" in his studio. For these training sessions, Rob developed his own method to explain the secrets of subtractive synthesis, called "The 4 Element Synth". This masterclass training is now transformed into a combined book and online media package that also delivers numerous 'tips and tricks' which will help you to design and tweak your own sounds. Throughout the masterclass, a variety of hardware and software synthesizers are explored. We are sure this synthesizer sound design training is an eye-opener for every synthesizer player, from novice to pro. A must have for everyone who takes his sounds seriously!

Alexandra is a Franco-Quebec pianist/composer who is part of the neo-classical movement. You can hear his songs in the films and series of Quebec director Jean-Marc Vallée (Dallas Buyers Club, Demolition, trailer for Big Little Lies). His debut album, Pianoscope, was praised by L'Express magazine in France and the Telegraph in England.

The definitive biography of guitar icon and Grammy Award-winning artist, Bill Frisell, featuring exclusive interviews with Paul Simon, Bon Iver and more.

Over a period of forty-five years, Bill Frisell has established himself as one of the most innovative musicians at work today.

A quietly revolutionary guitar hero for our genre-blurring times, he has synthesised many disparate musical elements – from jazz to pop, folk to film music, ambient to avant-garde, country to classical – into one compellingly singular sound. Described as ‘the favourite guitarist of many people who agree on little else in music’, Frisell connects to a diverse range of artists and admirers, including Paul Simon, Elvis Costello, Lucinda Williams, and Bon Iver.

Sound Authorities shows how experiences of music and sound played a crucial role in nineteenth-century scientific inquiry in Britain.

In Sound Authorities, Edward J. Gillin focuses on hearing and aurality in Victorian Britain, claiming that the development of the natural sciences in this era cannot be understood without attending to the study of sound and music.

This book explores the representation of music in early modern Spanish literature and reveals how music was understood within the framework of the Harmony of the Spheres, emanating from cosmic harmony as directed by the creator.

The Harmony of Spheres was not ideologically neutral, but rather tied to the earthly power structures of the Church, Crown, and nobility. Music could be "true," taking the listener closer to the divine, or "false" leading the listener astray. As such, music was increasingly seen as a potent weapon to be wielded in service of earthly centers of power which can be observed in works such as vihuela songbooks, the colonial chronicle of the Inca Garcilaso de la Vega, and in the palace theater of Pedro Calderón de la Barca. While music could be a powerful metaphor mapping onto ideological currents of imperial Spain, this volume shows that it also became a contested site where diverse stakeholders challenged the Harmonic Spheres of Influence.

The fully revised Second Edition is here. New examples have been added to better reflect the present time. Also, as a main focus, strategic thinking, the ability to create long-term plans and how to prepare for this in everyday activities are also present in this book.

Understanding the importance of strategy is the basis for rational advancement. In the music business - strategies are not always perceptible. They are multi-layered, long-lasting, but also instantaneously effective. The ultimate goal often transpires along the way.

Coproduction is dedicated specifically to the study of an emerging field in music production musicology. It explores the limits of what this field might be, from the workings of a few individuals producing music together in the studio, to vast contributions of whole societies producing popular music.

Taking a wide-ranging approach to examining the field, Coproduction looks through multiple formats including essays, interviews, and case studies, with analysis and commentary of coproduction experiences at Abbey Road studios. It does so by examining multiple disciplines from social science and coproduction in mental health, to philosophy and mathematics. At its extremes (which is the extreme middle and not the blunt 'cutting edge') the authors attempt to produce every song in their development of an all-encompassing pop music concept, peculiarly called Toast theory.

Music, by its indeterminate levels of meaning, poses a necessary challenge to a theology bound up in words. Its distinctive nature as temporal and embodied allows a unique point of access to theological understanding. Yet music does not exist in a cultural vacuum, conveying universal truths, but is a part of the complex nature of human lives. This understanding of music as theology stems from a conviction that music is a theological means of knowing: knowing something indeterminate, yet meaningful. This is an exploration of the means by which music might say something otherwise unsayable, and in doing so, allow for an encounter with the mystery of God.