Chris Stover – författare

Music is a complex creative process involving many individuals, from performers to improvisers to composers to listeners and beyond. Yet, music analysis has often focused on individual composers' processes, much to the exclusion of a myriad of other activities that occur during the music making process. Making Music Together offers an interactive turn for music analysis, one that acknowledges the deeply collaborative creativity at the center of all music making. This perspective, fresh and novel in its approach, affords a more inclusive and expansive view of music analysis. It enables an understanding of the numerous kinds of interactions that take place in music-making contexts: interactions between musicians, between performers and their instruments, between musicians and dancers, between musicians and machines, and much more. This book engages a diverse breadth of musical styles, including Western Euroclassical musics, collaborative improvisations in jazz and free genres, and a range of global music practices. With an emphasis on the vibrant interactivity at work in all aspects of music making, Making Music Together demonstrates how detailed music analysis can attend not only to sounds made, but to the human lives, experiences, and societies defined by it altogether.

Reimagining Music Theory: Contexts, Communities, Creativities invites instructors to rethink how we teach music theory, challenging the traditional, classical canon-based pedagogy and offering new and alternative approaches.The study and teaching of music theory are at a crucial and invigorating crossroads, as conversations are being held about contesting canons, transforming pedagogical practices, and finding meaningful ways to make the field inclusive and diverse in repertoire, methods, and student experiences. This book aims to reimagine music theory as an explicitly and radically dialogic, creative, nimble transdisciplinary space where thinking and acting can be both deep and broad, where pluralities of knowledge systems and ways of doing and being can interact and mutually inform one another, and where teachers learn from students as much as the other way around. Rethinking what counts as music fundamentals, opening music theory to a plurality of global practices, and considering music theory as a creative and community practice are all addressed.Incorporating interviews with scholar-teachers at the forefront of innovative music theory pedagogy throughout, the book offers music theory professors and instructors frameworks for enacting meaningful change in the music theory classroom.

Reimagining Music Theory: Contexts, Communities, Creativities invites instructors to rethink how we teach music theory, challenging the traditional, classical canon-based pedagogy and offering new and alternative approaches.The study and teaching of music theory are at a crucial and invigorating crossroads, as conversations are being held about contesting canons, transforming pedagogical practices, and finding meaningful ways to make the field inclusive and diverse in repertoire, methods, and student experiences. This book aims to reimagine music theory as an explicitly and radically dialogic, creative, nimble transdisciplinary space where thinking and acting can be both deep and broad, where pluralities of knowledge systems and ways of doing and being can interact and mutually inform one another, and where teachers learn from students as much as the other way around. Rethinking what counts as music fundamentals, opening music theory to a plurality of global practices, and considering music theory as a creative and community practice are all addressed.Incorporating interviews with scholar-teachers at the forefront of innovative music theory pedagogy throughout, the book offers music theory professors and instructors frameworks for enacting meaningful change in the music theory classroom.

The place of music in Rancière’s thought has long been underestimated or unrecognised. This volume responds to this absence with a collection of 15 essays by scholars from a variety of music- and sound-related fields, including an Afterword by Rancière on the role of music in his thought and writing. The essays engage closely with Rancière’s existing commentary on music and its relationship to other arts in the aesthetic regime, revealed through detailed case studies around music, sound and listening. Rancière’s thought is explored along a number of music-historical trajectories, including Italian and German opera, Romantic and modernist music, Latin American and South African music, jazz, and contemporary popular music. Rancière’s work is also set creatively in dialogue with other key contemporary thinkers including Adorno, Althusser, Badiou and Deleuze.