The Jacobs Faculty Bookshelf
This page serves as a listing of publications by Jacobs School of Music faculty. Click on an item to view available purchasing options as well as its availability on the IU Library Catalog.
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The Soviet Experience Volume I: String Quartets by Dmitri Shostakovich and Nikolai Miaskovsky
This is the first installment in the Pacifica Quartet’s highly anticipated, four-volume CD survey of the complete Shostakovich string quartets: The Soviet Experience: String Quartets by Dmitri Shostakovich and his Contemporaries. The Soviet Experience is the first Shostakovich quartet cycle to include works by other important composers of the Soviet era, adding variety and perspective to the listening experience. This superbly performed series of audiophile recordings, produced and engineered by multiple Grammy Award winner Judith Sherman, will appeal to everyone interested in great Russian music of the 20th century. It’s also a great value: each two-CD installment is priced as a single CD.
The Soviet Experience Volume II: String Quartets by Dmitri Shostakovich and Sergei Prokofiev
This is the second installment in the Pacifica Quartet’s highly anticipated, four–volume CD survey of the complete Shostakovich string quartets: The Soviet Experience: String Quartets by Dmitri Shostakovich and his Contemporaries. Volume 2 features five works from the period surrounding World War II: 1938–1949. Included are Shostakovich’s surprisingly sunny and spring–like Quartet No. 1; his often symphonic–sounding Quartet No. 2; the emotionally–powerful Third Quartet, one of Shostakovich’s greatest chamber music masterpieces; his Fourth Quartet, notable especially for its “Jewish” – themed finale; and Prokofiev’s folk–influenced Quartet No. 2.
The Soviet Experience Volume III: String Quartets by Dmitri Shostakovich and Mieczyslaw Weinberg
The Soviet Experience Volume III features Shostakovich’s String Quartets Nos. 9–12 from the 1960s. The Ninth Quartet’s five continuous movements build to a colossal finale. The Tenth has a classically balanced, four movement layout. The Eleventh’s seven continuous movements present a series of character sketches. The Twelfth brilliantly juxtaposes atonal and tonal themes to produce a cohesive and powerfully compelling whole. These quartets are paired with Mieczyslaw Weinberg’s adventurous, symphonic-scaled String Quartet No. 6 of 1946, an inventive work once banned in the Soviet Union for being ahead of its time. Weinberg was a close friend and colleague of Shostakovich.
The Soviet Experience Volume IV: String Quartets by Dmitri Shostakovich and Alfred Schnittke
This is the final installment in the Pacifica Quartet’s highly anticipated, and already highly acclaimed four-volume CD survey of the complete Shostakovich string quartets: The Soviet Experience: String Quartets by Dmitri Shostakovich and his Contemporaries. The Soviet Experience Volume IV features Shostakovich’s String Quartets Nos. 13–15 from the 1970s. The Thirteenth Quartet’s one and only movement featuring extensive solo viola uses extended techniques uncommon for Russian composers at that time.
Teaching General Music: Approaches, Issues, and Viewpoints
General music is informed by a variety of teaching approaches and methods. These pedagogical frameworks guide teachers in planning and implementing instruction. Established approaches to teaching general music must be understood, critically examined, and possibly re-imagined for their potential in school and community music education programs.
Teaching General Music brings together the top scholars and practitioners in general music education to create a panoramic view of general music pedagogy and to provide critical lenses through which to view these frameworks. The collection includes an examination of the most prevalent approaches to teaching general music, including Dalcroze, Informal Learning, Interdisciplinary, Kodály, Music Learning Theory, Orff Schulwerk, Social Constructivism, and World Music Pedagogy. In addition, it provides critical analyses of general music and teaching systems, in light of the ways children around the world experience music in their lives. Rather than promoting or advocating for any single approach to teaching music, this book presents the various approaches in conversation with one another. Highlighting the perceived and documented benefits, limits, challenges, and potentials of each, Teaching General Music offers myriad lenses through which to re-read, re-think, and re-practice these approaches.
Peter Miksza , Stephanie Prichard (University of Maryland)
Teaching kids how to practice can be an elusive process. Musicians and music teachers have each encountered their share of challenges and successes along the road towards developing an understanding of effective practice approaches and methods for motivating students to use them. However, with careful planning and pedagogical insights garnered from the research literature, we propose that the process of teaching and learning to practice can be efficient, enjoyable, and rewarding.
Peter Miksza , Daphne Tan, Robert F. Potter, McCall Booth
The purpose of this study was to investigate the effects of visual information on the perception of emotion in three contexts: a short spoken phrase, an analogous short melody, and a longer melody with greater complexity of pitch and rhythm. Participants without substantial formal music training were assigned to either an audio-only, visual-only, or audiovisual presentation mode; all observed musicians and actors who sang melodies or spoke phrases intending to communicate happiness, sadness, or anger. Participants rated these performances for positive and negative valence, energy arousal, and tension arousal. They were also asked to select the discrete emotion they perceived, and to rate how certain they were about this selection.
The Presence of the Past: Temporal Experience and the New Hollywood Soundtrack
In the tumultuous era of the late 1960s and early 70s, several currents of American art and culture coalesced around a broad sensibility that foregrounded the immediacy of lived experience, whether as an aesthetic or political imperative. But in popular cinema set in the historical past, this sensibility acquired complex additional resonances by speaking to immediacy and ephemerality through a framework of history, myth, nostalgia, and other forms of experience associated with temporal alienation or distance. The Presence of the Past argues for the film-philosophical importance of the soundtrack for cultivating an imagined experiential understanding of the past.
The Revolution Will Not Be Televised: Protest Music After Fukushima
Nuclear power has been a contentious issue in Japan since the 1950s, and the conflict grew in the aftermath of the Fukushima nuclear power plant disaster. This book shows how music played a central role in mobilizing resistance against nuclear power in Japan. Combining musical analysis with ethnographic participation, it considers how spaces central to the performance of protest music—cyberspace, demonstrations, festivals, and recordings—involve different levels of media censorship and social constraints, leading to different methods of political messaging and modes of participation. The mobile accessibility and potential anonymity of cyberspace allowed musicians to challenge the silence that permeated Japanese culture post-Fukushima. The performance and reception of sound in street demonstrations are shaped by the urban geographies and acoustics of Japanese cities. Music festivals offer a heterotopia that encourages musicians and audiences to engage in political expression through informative and immersive performances. Japanese record companies discourage direct political expression, pushing musicians to use allegories and metaphors. The first book on Japan's antinuclear music, The Revolution Will Not Be Televised provides a compelling new perspective on the role of music in political movements.
The Working Timpanist's Survival Guide
This repertoire book includes the most commonly asked orchestral timpani excerpts at auditions today. This invaluable resource contains carefully illustrated excerpts, insightful photos, and online files with timpani parts included.
For the timpanist who might be learning orchestral repertoire for the first time, or revisiting it, the 'recommended recordings' list is also very helpful. The professional timpanist will also enjoy the variety of musical and technical options presented in this book.
Options include: edited dynamics, changes in drum arrangement, stickings, illustrations, and other items of interest. The repertoire in this volume contains the most commonly requested music at auditions today.