Future Music is the essential guide to success for the modern producer. Discover everything in the pages of your Future Music digital magazine - from interviews with some of the world’s top producers and DJ’s, to practical tutorials that will help you take your production to the next level.

This book collates 100 exhibits with accompanying essays as an imaginary museum dedicated to the musical cultures of Renaissance Europe, at home and in its global horizons. It is a history through artefacts - materials, tools, instruments, art objects, images, texts, and spaces - and their witness to the priorities and activities of people in the past as they addressed their world through music.

The result is a history by collage, revealing overlapping musical practices and meanings - not only those of the elite, but reflecting the everyday cacophony of a diverse culture and its musics. Through the lens of its exhibits, this museum surveys music's central role in culture and lived experience in fifteenth- and sixteenth-century Europe, offering interest and insights well beyond the strictly musicological field.

Delve into the captivating biography of Klaus Tennstedt (1926-1998), one of the most fascinating conductors of his time. Even legends like Herbert von Karajan and Carlos Kleiber admired his extraordinary musical talent. Kleiber waxed lyrical: "At last, someone to admire.”

This book offers a new perspective on the life of Klaus Tennstedt and reveals previously unknown events. Did you know that as a child he had to practise the violin and piano for two hours a day, and as a teenager for up to five hours? Or that as a young man he secretly fled East Germany with his girlfriend Anita, later to marry and become a father, far away from his roots? The violin was always at his side.

This book presents a comprehensive review of how acoustic waves are processed by the auditory system into structured sounds such as musical melodies, speech utterances, or environmental sounds. After an introduction, an overview is given of how the ears distribute acoustic information over a large array of frequency channels that contain the auditory information used by the central nervous system to generate a mental image of what is happening around the listener.

This process, called auditory scene analysis, consists of two stages. In the first stage, auditory units are formed such as musical tones and speech syllables. Each auditory unit is perceived at a well-defined moment in time, the beat location of that auditory unit. Moreover, from this process of auditory-unit formation, the auditory attributes of these auditory units emerge, such as their timbre, their pitch, their loudness, and their perceived location. Each of these attributes is discussed in the corresponding chapter.
In the second stage of auditory scene analysis, auditory-stream formation, the successive auditory units are integrated into auditory streams, i.e., temporally structured sequences of auditory units that are perceived as emanating from one and the same sound source.

Music videos play a critical role in our age of ubiquitous streaming digital media. They project the personas and visions of musical artists; they stand at the cutting edge of developments in popular culture; and they fuse and revise multiple frames of reference, from dance to high fashion to cult movies and television shows to Internet memes. Above all, music videos are laboratories for experimenting with new forms of audiovisual expression.

The Rhythm Image explores all these dimensions. The book analyzes, in depth, recent music videos for artists ranging from pop superstar The Weeknd to independent women artists like FKA twigs and Dawn Richard. The music videos discussed in this book all treat the traditional themes of popular music: sex and romance, money and fame, and the lived experiences of race and gender. But they twist these themes in strange and unexpected ways, in order to reflect our entanglement with a digital world of social media, data gathering, and 24/7 demands upon our attention.

Japanese musician and composer Nobuo Uematsu has built his career and reputation on his soundtracks to the enduring Final Fantasy video game series, which are notable for their remarkable cinematic feel. Today Uematsu is one of Japan’s most beloved living composers, credited with inspiring a new generation of classical music fans.

This volume, the first book-length study of the music of Uematsu, takes a variety of different analytical approaches to his body of work. It offers readers interested in ludomusicology—the study of and research into video game music—a variety of ways with which to understand Uematsu’s compositional process and the role that video game music has in the overall gaming experience.

With her debut solo album rocketing into the UK Top 10 on the week of its release, we are delighted to have Alison Goldfrapp on the cover of the new Electronic Sound. We have a fantastic red vinyl seven-inch by the always stylish and often elusive singer to accompany the issue too.

After nearly 20 years fronting the massively successful electronic duo Goldfrapp, delivering Kraftwerk-meets-glam stomps such as ‘Strict Machine’ and ‘Ooh La La', Alison's ‘The Love Invention’ is very much an album on her own terms. This is majestic synthpop with added oomph and a confident statement of intent. "As an artist, I think it’s important to feel excited about what you're doing – and I’m incredibly excited about what I’m doing,” she declares in our cover feature. There's every reason for the rest of us to feel excited as well. ‘The Love Invention’ is a big, bold and gloriously effervescent record that looks set to soundtrack the summer months ahead.

It’s the late 1970s, and ex-Pentecostal Black female electric guitarist Rory Tharpe navigates the cutthroat world of corporate rock, dive bars, dusk-to-dawn recording sessions, and shady contracts as she travels the nation in a dilapidated tour bus with her bickering, boozing all-male band.

Much-imitated and little-credited, Rory is in a late career tailspin when she goes on tour with international superstar Jude Justis, a white woman blues-rock singer who has built a turbulent mega-platinum career out of stealing from Black musicians. Broke and frustrated by the racism, sexism, and ageism of the rock boys’ club, Rory warily joins forces with Jude. She then takes a detour through the painful past she shares with childhood nemesis Divinity Mason Mulvaney, a maverick pastor at the helm of the mega church enterprise Revivals, Inc. A homage to pioneering guitarist Rosetta Tharpe, Rock ‘n’ Roll Heretic is a bracing look at the power politics, heartbreak, and hypocrisy confronting a queer Black woman visionary at the intersection of music and commerce, faith and heresy, in a segregated music industry that eats its Black artists.

Music in Early Childhood is an accessible and practical handbook, which introduces theories and pedagogical approaches for early childhood music education from birth to 8 years and explains their practical application.

Understanding the theories and philosophies behind music education and how these translate into practice is the key to being an effective music educator with young children. This book provides a comprehensive overview of these theories and philosophies. Organised in an easy-to-read format that summarises each approach and theory, the book clearly maps out how these theories are applied in present-day practice. Also included are a wide range of helpful practical examples and activity ideas based on the work of expert educators. This book aims:

to inform educators of theories and philosophies of learning and teaching in music education for young children and what they look like in practice.
to inform educators of the history and breadth of music education methods, and how they relate to the present.

Since its inception in the mid-twentieth century, American music theory has been framed and taught almost exclusively by white men. As a result, whiteness and maleness are woven into the fabric of the field, and BIPOC music theorists face enormous hurdles due to their racial identities. In On Music Theory, Philip Ewell brings together autobiography, music theory and history, and theory and history of race in the United States to offer a black perspective on the state of music theory and to confront the field’s white supremacist roots.

Over the course of the book, Ewell undertakes a textbook analysis to unpack the mythologies of whiteness and western-ness with respect to music theory, and gives, for the first time, his perspective on the controversy surrounding the publication of volume 12 of the Journal of Schenkerian Studies. He speaks directly about the antiblackness of music theory and the antisemitism of classical music writ large and concludes by offering suggestions about how we move forward. Taking an explicitly antiracist approach to music theory, with this book Ewell begins to create a space in which those who have been marginalized in music theory can thrive.