Welcome to the Music Research Guide! This guide provides resources specific to the field and study of Music. More specific resources for your classes (History of Music from 1750-1900: MUST 306, Research in Music: MUST 614, etc.) can be found on the Course Pages tab.
To get started, click on the tabs at the top of the page or the links below:
Geared toward music students yet incorporates other disciplines to provide an explanation for why and how we make sense of music and respond to it -- cognitively, physically, and emotionally. How did human beings come to be musical creatures? How and why do our bodies respond to music? Why do people have emotional responses to music? New to this edition: expanded references and examples of non-Western musical styles; updated literature on philosophical and spiritual issues; brief sections on tuning systems and the acoustics of musical instruments; a section on creativity and improvisation in the discussion of musical performance; new studies in musical genetics; greatly increased usage of explanatory figures.
In Beyoncé in Formation, Tinsley uses the blockbuster album and video Lemonade as a soundtrack for vital new-millennium narratives. Tinsley's "Femme-onade" mixtape explores myriad facets of black women's sexuality and gender. From pleasure politics and the struggle for black women's reproductive justice to the subtext of blues and country music traditions, the landscape in this tour is populated by activists and artists (including Loretta Lynn) and infused with vibrant interpretations of Queen Bey's provocative, peerless imagery and lyrics. Beyoncé in Formation is the work of a daring intellectual who is poised to spark a new conversation about freedom and identity in America.
The Evolution of Music by Culture and Science aims to recognize the impact of science on music, why it occurs, how we respond, and even to tentatively see if we can predict future developments. Technology has played an immense role in the development of music as it has enabled the production of new sounds, introduced new instruments and continuously improved and modified existing ones. Printing, musical notation, and modern computer aids to composition, plus recordings and electronic transmission have equally enabled us to have access to music from across the world. Such changes have inspired composers and audiences alike. Acoustics and architecture play similar roles as they changed the scale and performance of concert halls, and with the advent of electronics, they enabled vast pop music festivals. No aspect of modern music making has been untouched by the synergy with scientific innovation.
Crystal S. Anderson examines the most important and often overlooked aspect of K-pop: the music itself. She demonstrates how contemporary K-pop references and incorporates musical and performative elements of African American popular music culture as well as the ways that fans outside of Korea understand these references. K-pop emerged in the 1990s, combining musical elements from Korean and foreign cultures, particularly rhythm and blues genres of black American popular music. Korean solo artists and groups borrow from and cite instrumentation and vocals of R&B genres, especially hip-hop. They also enhance the R&B tradition by utilizing Korean musical strategies. K-pop artists also cite elements of African American performance in Korean music videos. These disrupt stereotyped representations of Asian and African American performers. Through this process K-pop has arguably become a branch of a global R&B tradition. Anderson argues that Korean pop groups participate in that tradition through cultural work that enacts a global form of crossover and by maintaining forms of authenticity that cannot be faked, and furthermore propel the R&B tradition beyond the black-white binary.
A collaboration between Indigenous and settler scholars from both Canada and the United States. The contributors explore the intersections between music, modernity, and Indigeneity in essays addressing topics that range from hip-hop to powwow, and television soundtracks of Native Classical and experimental music. Working from the shared premise that multiple modernities exist for Indigenous peoples, the authors seek to understand contemporary musical expression from Native perspectives and to decolonize the study of Native American/First Nations music. Featuring the work of both established and emerging scholars, the collection demonstrates the centrality of music in communicating the complex, diverse lived experience of Indigenous North Americans in the twenty-first century and brings ethnomusicology into dialogue with critical Indigenous studies.
This book is designed to support K-5 classroom teachers as they integrate music throughout the elementary curriculum. It contains detailed, practical ideas and examples, including full lesson plans and over 100 teaching ideas and strategies for integrating music with visual art, language arts, social studies, science, and mathematics. Each chapter also includes a section addressing national standards with tables showing the specific standards that are included in each lesson and activity. All the lessons are designed to be fully taught by classroom teachers; the content is accessible to those who lack formal music training, yet is solidly rooted in research and best practices. This book may facilitate partnerships and collaboration between classroom teachers and music specialists. Throughout the book, there is an emphasis on interdisciplinary lessons that demonstrate valid connections between disciplines while maintaining the integrity of each discipline involved, including a model that allows teachers to successfully create their own interdisciplinary lessons.
For more than two hundred years, copyright in the United States has rested on a simple premise: more copyright will lead to more money for copyright owners, and more money will lead to more original works of authorship. In this book, Glynn Lunney tests that premise by tracking the rise and fall of the sound recording copyright from 1961–2015, along with the associated rise and fall in sales of recorded music. Far from supporting copyright's fundamental premise, the empirical evidence finds the exact opposite relationship: more revenue led to fewer and lower-quality hit songs. Lunney's breakthrough research shows that what copyright does is vastly increase the earnings of our most popular artists and songs, which - net result - means fewer hit songs.
Widely adopted by music schools everywhere and considered "the best how- to book of its kind" (Music Connection), this book inspires thousands to stop waiting around for that "big break." Now trusted as the leading expert for "do it yourself" artists, author Ari Herstand maintains that a stable career can be built by taking advantage of the many tools at our fingertips: conquering social media, mastering the art of merchandising, embracing authentic fan connection, and simply learning how to persevere. Includes online trends and developments, and offers inspiring success stories across media such as Spotify and Instagram. The result is a must- have for anyone hoping to navigate the increasingly complex yet advantageous landscape that is the modern music industry.
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