In the pioneering Sound and Silence (1970, CUP), Paynter and Peter Aston set out to demonstrate the importance of drawing on children's creative talent as the basis for music education. Their book reflected work that its authors had been doing in schools and colleges during the preceding decade. Much that has happened since in music education has in no small measure been influenced by Sound and Silence and by subsequent publications of John Paynter's. Now, twenty years later, John Paynter, himself a composer, views some thirty years of teaching music. His basic philosophy is the same: music is a creative art in all its modes--composing (inventing), performing (interpreting) and listening (remaking the music within ourselves). Today, John Paynter believes as firmly as ever that creativity is the starting point for all music education. To meet the new demands and fresh opportunities of a progressive educational program there have been developments in this philosophy. The projects and assignments in Sound and Structure are the fruits of this development. A cassette accompanies John Paynter's book, and contains those musical examples that may be difficult for the reader to obtain from usual sources. The cassette will complete the reader's enjoyment of the book.

Related closely to the field of physical acoustics is that of psychoacoustics, which deals with the phenomena of musical hearing from a psychological and aesthetic point of view. One of the major contributors to our understanding of the subject is Fritz Winckel. When this book first appeared in German in 1960, reviewers pressed for an English translation. This Dover volume is an answer to that demand: it makes Professor "Winckel's important study generally available to English-language readers for the very first time." It has been extensively revised and updated by the author. In his thought-provoking study, Professor Winckel applies the findings of technical researches in acoustics to the practice of music, covering many different aspects of recent psychoacoustical researches: the evaluation of loudness and the dissolution power of the car; the influence of the acoustical properties of the concert hall on the hearing process; the function of time variation and rhythm in musical perception; the evaluation of the sound spectrum including the unharmonic components. He surveys extensively the German and English literature in the field, organizing his information into chapters on stationary sound, the onset behavior of sound, the concept of space, the concept of time, the evaluation of sound through the hearing mechanism, unclarity in musical structures, simultaneously sounding tones, electroacoustic sound structure, and the effect of music on the listener. This book should prove equally useful to acousticians, sound engineers, and others working in this area of applied physics and to composers, performers, and musicologists concerned with the technical aspects of music. Psychologists working in the field of sense perception will also find much of value here. New translation by Thomas Binkley of the 1960 German edition of Phänomene des musikalischen Hörens, with revisions and corrections by the author.

An anthology of pioneer sound artist Mark Fell's work charting his defiantly unorthodox thinking on time, structure, technology, and the relation between academic and popular electronic music. In this extensive anthology, Mark Fell, a pioneering artist known for his sound installations and his musical work solo and as part of SND and Sensate Focus, assembles a collection of diverse materials charting his defiantly unorthodox thinking on time, structure, technology, and the relation between academic and popular electronic music. An amalgam of workbook and manifesto, featuring a collection of interleaved statements, diagrammatic scores, and instructional texts, Structure and Synthesis is a direct engagement with Fell's original thinking and his continual provocations in regard to "experimental" music. Alongside reflections on theory and practice, the volume includes exercises for dismantling musical expertise, habits, and intuitions, documenting Fell's explorations of the peripheries of rhythm, shape, and time in perception and performance. Long-term collaborator designer Joe Gilmore provides a striking graphic context for Fell's evolving thinking and the methods and structures he has developed through his solo and collaborative work.

The story of one musician's journey to discover how music can be used as a political tool, for good and bad.