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En croisant sociologie de la culture, sociologie urbaine et sociologie des professions, Myrtille Picaud analyse les hiérarchies et les transformations des scènes musicales contemporaines de Paris et Berlin. L'un des rares en sociologie de la musique à étudier ensemble les différents genres musicaux, cet ouvrage se distingue aussi en abordant cet objet à travers ses lieux, les salles de musique, et ses professionnel·les, les programmatrices et programmateurs, qui sélectionnent les artistes. Il éclaire aussi la façon dont les phénomènes culturels contribuent aux dynamiques urbaines, en transformant les représentations et les fréquentations des différents quartiers de ces deux capitales.

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"In Auld Lang Syne: A Song and its Culture, M. J. Grant explores the history of this iconic song, demonstrating how its association with ideas of fellowship, friendship and sociality has enabled it to become so significant for such a wide range of individuals and communities around the world. This engaging study traces different stages in the journey of Auld Lang Syne, from the precursors to the song made famous by Robert Burns to the traditions and rituals that emerged around the song in the nineteenth and early twentieth centuries, including its use as a song of parting, and as a song of New Year. Grant's painstaking study investigates the origins of these varied traditions, and their impact on the transmission of the song right up to the present day. Grant uses Auld Lang Syne to explore the importance of songs and singing for group identity, arguing that it is the active practice of singing the song in group contexts that has made it so significant for so many. The book offers fascinating insights into the ways that Auld Lang Syne has been received, reused and remixed around the world, concluding with a chapter on more recent versions of the song back in Scotland. This highly original and accessible work will be of great interest to non-expert readers as well as scholars and students of musicology, cultural and social history, social anthropology and Scottish studies. The book contains a wealth of illustrations and includes links to many more, including manuscript sources. Audio examples are included for many of the musical examples. Grant's extensive bibliography will moreover ease future referencing of the many sources consulted."--Publisher's website.

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"Robert Wannamaker's two-volume study explores the influential music and ideas of American composer, theorist, writer, performer, and educator James Tenney. Delving into the whole of Tenney's oeuvre, Wannamaker provides in-depth, aurally grounded analyses of works linked to the artist's revolutionary theories of musical form, timbre, and harmonic perception. Volume 1, Contexts and Paradigms, chronologically surveys Tenney's creative development and output. Each section begins with biographical, aesthetic, and technical context that illuminates a distinct period in Tenney's career. Wannamaker then analyzes a small number of pieces that illuminate the concerns, characteristics, and techniques that emerged in Tenney's music during that time. He supplements the text with musical examples, graphs, and diagrams while also drawing on unpublished material and newly available primary sources to flesh out each work and the ideas that shaped it. Written as a reference work, Volume 2, A Handbook to the Pieces, presents detailed entries on Tenney's significant post-1959 experimental works (excepting pieces covered in Volume 1). It includes technical information, an analysis of intentions and goals, graphs and musical examples, historical and biographical context, and thoughts from Tenney and others on specific works. Throughout, Wannamaker discusses the compositional ideas found in Tenney's music and, where appropriate, traces an idea's appearance from one piece to the next to reveal the evolution of the composer's art and thought"--

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This book addresses the need to rethink the concept and enactment of professionalism in music, and how such concepts underpin professional higher music education.

Music.