Structure and Style, first published in 1962 and expanded in 1979, fills the need for new ways of analysis that put 20th-century music in perspective. It spans forms in use before 1600 through forms and techniques in use today. Anthology of Musical Forms provides musical examples of forms treated in Structure and Style. Some examples are analyzed throughout. Most are left for the student to analyze. These books reflect Leon Stein's impressive background as student, musician, and composer. Stein studied composition with Leo Sowerby, Frederick Stock (conductor of the Chicago Symphony) and orchestration with Eric DeLamarter, his assistant. He earned M. Mus and Ph.D degrees at DePaul University and was associated with its School of Music as director of the Graduate Division and chairman of the Department of Theory and Composition until his retirement in 1976. He has composed a wide variety of works, including compositions for orchestra, chamber combinations, two operas, and a violin concerto.

Would you like to become a better composer, advance your skills, and increase your creativity? This book can help you: Become a more skilled composer. Be a more prolific composer. Promote your work. Get your pieces performed. Publish your music. Even now, as a published, award-winning composer, if I saw this book, I'd buy it. That's because earning a high school diploma, a college degree, or even an advanced degree is a wonderful, promising achievement--I know. I did that. But the problem is: Diplomas and degrees don't guarantee that you know how to advance your skills and increase your output and success. Degrees don't ensure your continued success in today's complicated, competitive world. A degree doesn't guarantee success especially when you make major or even minor career changes. This book's huge amount of specifics makes it a valuable reference that you read, reread, and consult often. This book is a vital standalone guide for composers outside of formal learning circles and a practical supplement for composers who are studying or who have studied in classrooms. Because composing music is so varied with an enormous number of opportunities, a diverse, international group of 24 fellow composers contributed their ideas to this book. These composers work in different genres and styles. This book includes details of specific composer how-to skills, so composers and those who want to be composers get an intimate, unique view of the private professional procedures and practices of fellow composers--a perspective few composers ever see in one comprehensive source. Let this book's wealth of guidance, insights, and suggestions inspire you! Dive into this book and watch your skills, output, and success blossom!

A comprehensive, practical guide to composing video game music, from acquiring the necessary skills to finding work in the field. Music in video games is often a sophisticated, complex composition that serves to engage the player, set the pace of play, and aid interactivity. Composers of video game music must master an array of specialized skills not taught in the conservatory, including the creation of linear loops, music chunks for horizontal resequencing, and compositional fragments for use within a generative framework. In A Composer's Guide to Game Music, Winifred Phillips—herself an award-winning composer of video game music—provides a comprehensive, practical guide that leads an aspiring video game composer from acquiring the necessary creative skills to understanding the function of music in games to finding work in the field. Musicians and composers may be drawn to game music composition because the game industry is a multibillion-dollar, employment-generating economic powerhouse, but, Phillips writes, the most important qualification for a musician who wants to become a game music composer is a love of video games. Phillips offers detailed coverage of essential topics, including musicianship and composition experience; immersion; musical themes; music and game genres; workflow; working with a development team; linear music; interactive music, both rendered and generative; audio technology, from mixers and preamps to software; and running a business. A Composer's Guide to Game Music offers indispensable guidance for musicians and composers who want to deploy their creativity in a dynamic and growing industry, protect their musical identities while working in a highly technical field, and create great music within the constraints of a new medium.

The evolution of the record producer from organizer to auteur, from Phil Spector and George Martin to the rise of hip-hop and remixing. In the 1960s, rock and pop music recording questioned the convention that recordings should recreate the illusion of a concert hall setting. The Wall of Sound that Phil Spector built behind various artists and the intricate eclecticism of George Martin's recordings of the Beatles did not resemble live performances—in the Albert Hall or elsewhere—but instead created a new sonic world. The role of the record producer, writes Virgil Moorefield in The Producer as Composer, was evolving from that of organizer to auteur; band members became actors in what Frank Zappa called a "movie for your ears." In rock and pop, in the absence of a notated score, the recorded version of a song—created by the producer in collaboration with the musicians—became the definitive version. Moorefield, a musician and producer himself, traces this evolution with detailed discussions of works by producers and producer-musicians including Spector and Martin, Brian Eno, Bill Laswell, Trent Reznor, Quincy Jones, and the Chemical Brothers. Underlying the transformation, Moorefield writes, is technological development: new techniques—tape editing, overdubbing, compression—and, in the last ten years, inexpensive digital recording equipment that allows artists to become their own producers. What began when rock and pop producers reinvented themselves in the 1960s has continued; Moorefield describes the importance of disco, hip-hop, remixing, and other forms of electronic music production in shaping the sound of contemporary pop. He discusses the making of Pet Sounds and the production of tracks by Public Enemy with equal discernment, drawing on his own years of studio experience. Much has been written about rock and pop in the last 35 years, but hardly any of it deals with what is actually heard in a given pop song. The Producer as Composer tries to unravel the mystery of good pop: why does it sound the way it does?

Describes how Johann Sebastian Bach survived the sorrows of his childhood and composed the music the world has come to love.

This is a compelling and inspiring look at spiritual beliefs that influenced some of the world's greatest composers, now revised and expanded with eight additional composers.