{"title":"Ams Studies In Music","description":"\u003cp\u003eDelve into the rich tapestry of music scholarship with the AMS Studies in Music series. Explore diverse perspectives, from historical analysis to cultural impact, perfect for students and seasoned music enthusiasts alike.\u003c\/p\u003e","products":[{"product_id":"josquin-s-rome-book-jesse-rodin-9780199844302","title":"Josquin's Rome","description":"In the late 15th century the newly built Sistine Chapel was home to a vigorous culture of musical composition and performance. Josquin des Prez stood at its center, singing and composing for the pope's private choir. Josquin's Rome offers a new reading of the composer's work in light of the repertory he and his fellow papal singers performed from the chapel's singers' box. Comprising the single largest surviving corpus of late 15th-century sacred music, these pieces served as a backdrop for elaborately choreographed liturgical ceremonies-a sonic analogue to the frescoes by Botticelli, Perugino, and their contemporaries that adorn the chapel's walls. Author Jesse Rodin uses a comparative approach to uncover this aesthetically and intellectually rich musical tradition. Confronting longstanding problems concerning the authenticity and chronology of Josquin's music while also offering nuanced readings of understudied works by his contemporaries, the book contextualizes Josquin by locating intersections between his music and the wider soundscape of the Cappella Sistina. Central to Rodin's argument is the idea that these pieces lived in performance, and the author demonstrates the interpretations of the music prevalent at the time in which it was composed through a series of exquisitely produced recordings on the companion website. Josquin's Rome is an essential resource for Musicologists, scholars of the Italian Renaissance, and enthusiasts of early music in general.","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49595595325713,"sku":"GOR009729977","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52616771305745,"sku":"NLS9780199844302","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0199844305.jpg?v=1776765878"},{"product_id":"healing-for-the-soul-book-braxton-d-shelley-9780197566466","title":"Healing for the Soul","description":"Between the first and last words of a black gospel song, musical sound acquires spiritual power. During this unfolding, a variety of techniques facilitate musical and physical transformation. The most important of these is a repetitive musical cycle known by names including the run, the drive, the special, and the vamp. Through its combination of reiteration and intensification, the vamp turns song lyrics into something more potent. While many musical traditions use vamps to fill space, or occupy time in preparation for another, more important event, in gospel, vamps are the main event. Why is the vamp so central to the black gospel tradition? What work-musical, cultural, and spiritual-does the gospel vamp do? And what does the vamp reveal about the transformative power of black gospel more broadly?   This book explores the vamp's essential place in black gospel song, arguing that these climactic musical cycles turn worship services into transcendent events. A defining feature of contemporary gospel, the vamp links individual performances to their generic contexts. An exemplar of African American musical practice, the vamp connects gospel songs to a venerable lineage of black sacred expression. As it generates emotive and physical intensity, the vamp helps believers access an embodied experience of the invisible, moving between this world and another in their musical practice of faith. The vamp, then, is a musical, cultural, and religious interface, which gives vent to a system of belief, performance, and reception that author Braxton D. Shelley calls the Gospel Imagination. In the Gospel Imagination, the vamp offers proof that musical sound can turn spiritual power into a physical reality-a divine presence in human bodies.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":50329647055121,"sku":"NGR9780197566466","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ NEW \/ INGRAM","offer_id":50999936614673,"sku":"NIN9780197566466","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ NEW \/ INGRAM","offer_id":52516067737873,"sku":"NLS9780197566466","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0197566464.jpg?v=1751070234"},{"product_id":"music-criticism-and-the-challenge-of-history-book-kevin-karnes-9780190628437","title":"Music, Criticism, and the Challenge of History","description":"More than a century after Guido Adler's appointment to the first chair in musicology at the University of Vienna, Music, Criticism, and the Challenge of History provides a first look at the discipline in this earliest period, and at the ideological dilemmas and methodological anxieties that characterized it upon its institutionalization. Author Kevin Karnes contends that some of the most vital questions surrounding musicology's disciplinary identities today-the relationship between musicology and criticism, the role of the subject in analysis and the narration of history, and the responsibilities of the scholar to the listening public-originate in these conflicted and largely forgotten beginnings.    Karnes lays bare the nature of music study in the late nineteenth century through insightful readings of long-overlooked contributions by three of musicology's foremost pioneers-Adler, Eduard Hanslick, and Heinrich Schenker. Shaped as much by the skeptical pronouncements of the likes of Nietzsche and Wagner as it was by progressivist ideologies of scientific positivism, the new discipline comprised an array of oft-contested and intensely personal visions of music study, its value, and its future. Karnes introduces readers to a Hanslick who rejected the call of positivist scholarship and dedicated himself to penning an avowedly subjective history of Viennese musical life. He argues that Schenker's analytical experiments had roots in a Wagner-inspired search for a critical alternative to Adler's style-obsessed scholarship. And he illuminates Adler's determined response to Nietzsche's warnings about the vitality of artistic and cultural life in an increasingly scientific age. Through sophisticated and meticulous presentation, Music, Criticism, and the Challenge of History demonstrates that the new discipline of musicology was inextricably tied in with the cultural discourse of its time.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":50999619125521,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":50999622074641,"sku":"NIN9780190628437","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ NEW \/ INGRAM","offer_id":52488755151121,"sku":"NLS9780190628437","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/019062843X.jpg?v=1751323441"},{"product_id":"rasa-book-marc-benamou-9780190628451","title":"Rasa","description":"The complex notion of rasa, as understood by Javanese musicians, refers to a combination of various qualities, including: taste, feeling, affect, mood, sense, inner meaning, a faculty of knowing intuitively, and deep understanding. This leaves us with a number of questions: how is rasa expressed musically? Who or what has rasa, and what sorts of musical, psychological, perceptual, and sociological distinctions enter into this determination? How is the vocabulary of rasa structured, and what does this tell us about traditional Javanese music and aesthetics? In this first book on the subject, Rasa provides an entry into Javanese music as it is conceived by the people who know the tradition best: the musicians themselves. In one of the most thorough explorations of local aesthetics to date, author Marc Benamou argues that musical meaning is above all connotative - hence, not only learned, but learnable. Following several years performing and researching Javanese music in the regional and national cultural center of Solo, Indonesia, Benamou untangles the many meanings of rasa as an aesthetic criterion in Javanese music, particularly in court and court-derived gamelan traditions. While acknowledging that certain universal psychological tendencies may inspire parallel interpretations of musical meaning, Rasa demonstrates just how culturally specific such accrued, shared meanings can be.","brand":"WoB","offers":[{"title":"US \/ NEW \/ INGRAM","offer_id":50999633346833,"sku":"NIN9780190628451","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ NEW \/ INGRAM","offer_id":52482131591441,"sku":"NLS9780190628451","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0190628456.jpg?v=1750939843"},{"product_id":"critical-nexus-book-charles-m-atkinson-9780195148886","title":"The Critical Nexus","description":"The Critical Nexus confronts an important and vexing enigma of early writings on music: why chant, which was understood to be divinely inspired, needed to be altered in order to work within the then-operative modal system. To unravel this mystery, Charles Atkinson creates a broad framework that moves from Greek harmonic theory to the various stages in the transmission of Roman chant, citing numerous music treatises from the sixth to the twelfth century. Out of this examination emerges the central point behind the problem: the tone-system advocated by writers coming from the Greek harmonic tradition was not suited to the notation of chant and that this basic incompatibility led to the creation of new theoretical constructs. By tracing the path of subsequent adaptation at the nexus of tone-system, mode, and notation, Atkinson promises new and far-reaching insights into what mode meant to the medieval musician and how the system responded to its inherent limitations.    Through a detailed examination of the major musical treatises from the sixth through the twelfth centuries, this text establishes a central dichotomy between classical harmonic theory and the practices of the Christian church. Atkinson builds the foundation for a broad and original reinterpretation of the modal system and how it relates to melody, grammar, and notation. This book will be of interest to all musicologists, music theorists working on mode, early music specialists, chant scholars, and medievalists interested in music.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":50999763763473,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":50999766712593,"sku":"NIN9780195148886","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52516013572369,"sku":"NLS9780195148886","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0195148886.jpg?v=1751132602"},{"product_id":"french-musical-life-book-katharine-ellis-9780197600160","title":"French Musical Life","description":"Explicitly or not, the historical musicology of post-Revolutionary France has focused on Paris as a proxy for the rest of the country. This distorting lens is the legacy of political and cultural struggle during the long nineteenth century, indicating a French Revolution unresolved both then and now. In light of the capital's power as the seat of a centralizing French state (which provincials found 'colonizing') and as a cosmopolitan musical crossroads of nineteenth-century Europe, the struggles inherent in creating sustainable musical cultures outside Paris, and in composing local and regionalist music, are ripe for analysis. Replacement of 'France' with Paris has encouraged normative history-writing articulated by the capital's opera and concert life. Regional practices have been ignored, disparaged or treated piecemeal.  This book is a study of French musical centralization and its discontents during the period leading up to and beyond the \"provincial awakening\" of the Belle Époque. The book explains how different kinds of artistic decentralization and regionalism were hard won (or not) across a politically turbulent century from the 1830s to World War II. In doing so it redraws the historical map of musical power relations in mainland France. Based on work in over 70 archives, chapters on conservatoires, concert life, stage music, folk music and composition reveal how tensions of State and locality played out differently depending on the structures and funding mechanisms in place, the musical priorities of different communities, and the presence or absence of galvanizing musicians. Progressively, the book shifts from musical contexts to musical content, exploring the pressure point of folk music and its translation into \"local color\" for officials who perpetually feared national division. Control over composition on the one hand, and the emotional intensity of folk-based musical experience on the other, emerges as a matter of consistent official praxis. In terms of \"French music\" and its compositional styles, what results is a surprising new historiography of French neoclassicism, bound into and growing out of a study of diversity and its limits in daily musical life.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":50999887397137,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":50999890215185,"sku":"NIN9780197600160","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0197600166.jpg?v=1776766745"},{"product_id":"where-sight-meets-sound-book-emily-zazulia-9780197551912","title":"Where Sight Meets Sound","description":"The main function of western musical notation is incidental: it prescribes and records sound. But during the fourteenth and fifteenth centuries, notation began to take on an aesthetic life all its own. In the early fifteenth century, a musician might be asked to sing a line slower, faster, or starting on a different pitch than what is written. By the end of the century composers had begun tasking singers with solving elaborate puzzles to produce sounds whose relationship to the written notes is anything but obvious. These instructions, which appear by turns unnecessary and confounding, challenge traditional conceptions of music writing that understand notation as an incidental consequence of the desire to record sound. This book explores innovations in late-medieval music writing as well as how modern scholarship on notation has informed - sometimes erroneously - ideas about the premodern era. Drawing on both musical and music-theoretical evidence, this book reframes our understanding of late-medieval musical notation as a system that was innovative, cutting-edge, and dynamic - one that could be used to generate music, not just preserve it.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":50999900274961,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":50999903813905,"sku":"NIN9780197551912","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52516065804561,"sku":"NLS9780197551912","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0197551912.jpg?v=1751070230"},{"product_id":"josquin-s-rome-book-jesse-rodin-9780197619667","title":"Josquin's Rome","description":"In the late fifteenth century the newly built Sistine Chapel was home to a vigorous culture of musical composition and performance. Josquin des Prez stood at its center, singing and composing for the pope's private choir. Josquin's Rome offers a new reading of the composer's work in light of the repertory he and his fellow papal singers performed from the chapel's singers' box. Comprising the single largest surviving corpus of late fifteenth-century sacred music, these pieces served as a backdrop for elaborately choreographed liturgical ceremonies--a sonic analogue to the frescoes by Botticelli, Perugino, and their contemporaries that adorn the chapel's walls. Author Jesse Rodin uses a comparative approach to uncover this aesthetically and intellectually rich musical tradition. He confronts longstanding problems concerning the authenticity and chronology of Josquin's music while offering nuanced readings of scandalously understudied works by the composer's contemporaries. The book further contextualizes Josquin by locating intersections between his music and the wider soundscape of the Cappella Sistina. Central to Rodin's argument is the idea that these pieces lived in performance. The author puts his interpretations into practice through a series of exquisite recordings by his ensemble, Cut Circle (available both on the companion website and as a CD from Musique en Wallonie). Josquin's Rome is an essential resource for musicologists, scholars of the Italian Renaissance, and enthusiasts of early music.","brand":"WoB","offers":[{"title":"US \/ NEW \/ INGRAM","offer_id":50999910498577,"sku":"NIN9780197619667","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52481414168849,"sku":"NLS9780197619667","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0197619665.jpg?v=1751227647"},{"product_id":"songs-of-sacrifice-book-rebecca-maloy-9780190071530","title":"Songs of Sacrifice","description":"Between the seventh and eleventh centuries, Christian worship on the Iberian Peninsula was structured by rituals of great theological and musical richness, known as the Old Hispanic (or Mozarabic) rite. Much of this liturgy was produced during a seventh-century cultural and educational program aimed at creating a society unified in the Nicene faith, built on twin pillars of church and kingdom. Led by Isidore of Seville and subsequent generations of bishops, this cultural renewal effort began with a project of clerical education, facilitated through a distinctive culture of textual production.   Rebecca Maloy's Songs of Sacrifice argues that liturgical music--both texts and melodies--played a central role in the cultural renewal of early Medieval Iberia, with a chant repertory that was carefully designed to promote the goals of this cultural renewal. Through extensive reworking of the Old Testament, the creators of the chant texts fashioned scripture in ways designed to teach biblical exegesis, linking both to patristic traditions--distilled through the works of Isidore of Seville and other Iberian bishops--and to Visigothic anti-Jewish discourse. Through musical rhetoric, the melodies shaped the delivery of the texts to underline these messages. In these ways, the chants worked toward the formation of individual Christian souls and a communal Nicene identity. Examining the crucial influence of these chants, Songs of Sacrifice addresses a plethora of long-debated issues in musicology, history, and liturgical studies, and reveals the potential for Old Hispanic chant to shed light on fundamental questions about how early chant repertories were formed, why their creators selected particular passages of scripture, and why they set them to certain kinds of music.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":51126523592977,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":51126523691281,"sku":"NIN9780190071530","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52488657469713,"sku":"NLS9780190071530","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0190071532.jpg?v=1751194754"},{"product_id":"changing-the-score-book-hilary-poriss-9780195386714","title":"Changing the Score","description":"This study seeks to explore the role and significance of aria insertion, the practice that allowed singers to introduce music of their own choice into productions of Italian operas. Each chapter investigates the art of aria insertion during the nineteenth century from varying perspectives, beginning with an overview of the changing fortunes of the practice, followed by explorations of individual prima donnas and their relationship with particular insertion arias: Carolina Ungher's difficulties in finding a \"perfect\" aria to introduce into Donizetti's Marino Faliero; Guiditta Pasta's performance of an aria from Pacini's Niobe in a variety of operas, and the subsequent fortunes of that particular aria; Maria Malibran's interpolation of Vaccai's final scene from Giulietta e Romeo in place of Bellini's original setting in his I Capuleti e I Montecchi; and Adelina Patti's \"mini-concerts\" in the lesson scene of Il barbiere di Siviglia.     The final chapter provides a treatment of a short story, \"Memoir of a Song,\" narrated by none other than an insertion aria itself, and the volume concludes with an appendix containing the first modern addition of this short story, a narrative that has lain utterly forgotten since its publication in 1849. This book covers a wide variety of material that will be of interest to opera scholars and opera lovers alike, touching on the fluidity of the operatic work, on the reception of the singers, and on the shifting and hardening aesthetics of music criticism through the period.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":51320987549969,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":51320988827921,"sku":"CIN019538671XVG","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52147971916049,"sku":"NLS9780195386714","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/019538671X.jpg?v=1751290859"},{"product_id":"lateness-and-brahms-book-margaret-notley-9780195305470","title":"Lateness and Brahms","description":"Lateness and Brahms takes up the fascinating, yet understudied problem of how Brahms fits into the culture of turn-of-the-century Vienna. Brahms's conspicuous and puzzling absence in previous scholarly accounts of the time and place raises important questions, and as Margaret Notley demonstrates, the tendency to view him in neutralized, historical terms has made his music seem far less interesting than it truly is.     In pursuit of an historical Brahms, Notley focuses on the later chamber music, drawing on various documents and perspectives, but with particular emphasis on the relevance of Western Marxist critical traditions.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":51325695131921,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":51325697458449,"sku":"CIN0195305477VG","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52455482523921,"sku":"NLS9780195305470","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0195305477.jpg?v=1751323190"},{"product_id":"music-s-fourth-wall-and-the-rise-of-reflective-listening-book-mark-evan-bonds-9780197806371","title":"Music's Fourth Wall and the Rise of Reflective Listening","description":"We've all heard some version of the line: \"I enjoy classical music but don't know anything about it.\" Why but? Why and when did listeners begin to accept the idea that knowledge was needed to enjoy this particular repertory? Music's Fourth Wall and the Rise of Reflective Listening traces fundamental changes in the way listeners perceived instrumental music in European concert halls over the course of the late eighteenth and early nineteenth centuries.   Like the theater, the concert hall has its own fourth wall, an imagined barrier that allows audiences to forget that what they are experiencing is a carefully crafted artifice, which in turn allows them to lose themselves in the music and resonate with it in a way that is immediate and direct. But when composers like Joseph Haydn began to violate music's fourth wall--most spectacularly in the finale of the \"Joke\" String Quartet (1782), with its repeated false endings--lay listeners were compelled to listen reflectively. They could not lose themselves in what they were hearing when it kept reminding them that they were listening to a work of music.  Author Mark Evan Bonds uses the concepts of resonant and reflective listening as coordinates for tracing this important change in the history of concert-hall listening. By 1850, reflective listening--once limited largely to professional musicians and connoisseurs--had become the aspirational norm for lay listeners. Contemporary developments in the philosophy of art accelerated the growing status of instrumental music by promoting a mode of perception that went beyond the merely sensory to incorporate the intellectual as well: Beethoven famously thought of himself as a \"tone poet,\" someone who not only moved listeners but also challenged them to think and reflect.  Lay audiences thus gradually accepted the idea of listening as a skill that could be learned and cultivated. Bonds shows how music appreciation texts, composer biographies, program notes, and pre-concert lectures, all new during this period, helped reinforce a growing distinction between classical and popular repertories. 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As ambitious works of theater, these productions required not only significant financial backing, but also strong managers to oversee several months of rehearsals and performances. These impresarios were responsible for every facet of production from contracting the cast to balancing the books at season's end. The systems they created still survive, in part, today.     Inventing the Business of Opera explores public opera in its infancy, from 1637 to 1677, when theater owners and impresarios established Venice as the operatic capital of Europe. Drawing on extensive new documentation, the book studies all of the components necessary to opera production, from the financial backing of various populations of Venice, to the commissioning and creation of the libretto and the score; the recruitment and employment of singers, dancers, and instrumentalists; the production of the scenery and the costumes, and, the nature of the audience; and, finally, the issue of patronage. Throughout the book, the problems faced by impresarios come into new focus. The authors chronicle the progress of Marco Faustini, the impresario most well known today, who made his way from one of Venice's smallest theaters to one of the largest. His companies provide the most personal view of an impresario and his partners, who ranged from Venetian nobles to artisans. Throughout the book, Venice emerges as a city that prized novelty over economy, with new repertory, scenery, costumes, and expensive singers the rule rather than the exception. The authors examine the challenges faced by four separate Venetian theaters during the seventeenth century: San Cassiano, the first opera theater, the Novissimo, the small Sant'Aponal, and San Luca, established in 1660. Only two of them would survive past the 1650s.     Through close examination of an extraordinary cache of documents--including personal papers, account books, and correspondence -- Beth and Jonathan Glixon provide a comprehensive view of opera production in mid-seventeenth century Venice. For the first time in a study of opera, an emphasis is placed on the physical production -- the scenery, costumes, and stage machinery -- that tied these opera productions to the social and economic life of the city. This original and meticulously researched study will be of strong interest to all students of opera and its history.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":51691971182865,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":51691971215633,"sku":"GOR006067026","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52123662057745,"sku":"NLS9780195342970","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0195342976.jpg?v=1750875865"},{"product_id":"conceptualizing-music-book-lawrence-m-zbikowski-9780195140231","title":"Conceptualizing Music","description":"This book shows how recent work in cognitive science, especially that developed by cognitive linguists and cognitive psychologists, can be used to explain how we understand music. The book focuses on three cognitive processes, categorization, cross-domain mapping, and the use of conceptual models, and explores the part these play in theories of musical organization. The first part of the book provides a detailed overview of the relevant work in cognitive science, framed around specific musical examples. The second part brings this perspective to bear on a number of issues with which music scholarship has often been occupied, including the emergence of musical syntax and its relationship to musical semiosis, the problem of musical ontology, the relationship between words and music in songs, and conceptions of musical form and musical hierarchy. 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