An important book that answers how music affects your mood and how music affects your brain Music has a profound influence on our lives; affecting how we think, how we act, how we feel-even who we are. By learning more about the intimate relationship between music and ourselves, we can begin to harness that power and better our lives. A classical pianist, Draper writes about the ways in which the great works of the classical canon can help us cope with grief, give dimension to the mysteries of beauty and faith, aid us in recovery from illness, inspire us to create, or just give us a boost of energy. This unique guide includes an extensive music bibliography with selections to suit moods, calm nerves, inspire, and heal. Anyone from the novice to the aficionado will find new ways to hear music as they never have before.

The voices of birds have always been a source of fascination. Nature's Music brings together some of the world's experts on birdsong, to review the advances that have taken place in our understanding of how and why birds sing, what their songs and calls mean, and how they have evolved. All contributors have strived to speak, not only to fellow experts, but also to the general reader. The result is a book of readable science, richly illustrated with recordings and pictures of the sounds of birds. Bird song is much more than just one behaviour of a single, particular group of organisms. It is a model for the study of a wide variety of animal behaviour systems, ecological, evolutionary and neurobiological. Bird song sits at the intersection of breeding, social and cognitive behaviour and ecology. As such interest in this book will extend far beyond the purely ornithological - to behavioural ecologists psychologists and neurobiologists of all kinds.* The scoop on local dialects in birdsong* How birdsongs are used for fighting and flirting* The writers are all international authorities on their subject

The scientific consensus is that our ability to understand human speech has evolved over hundreds of thousands of years. After all, there are whole portions of the brain devoted to human speech. We learn to understand speech before we can even walk, and can seamlessly absorb enormous amounts of information simply by hearing it. Surely we evolved this capability over thousands of generations. Or did we? Portions of the human brain are also devoted to reading. Children learn to read at a very young age and can seamlessly absorb information even more quickly through reading than through hearing. We know that we didn't evolve to read because reading is only a few thousand years old. In Harnessed, cognitive scientist Mark Changizi demonstrates that human speech has been very specifically “designed" to harness the sounds of nature, sounds we've evolved over millions of years to readily understand. Long before humans evolved, mammals have learned to interpret the sounds of nature to understand both threats and opportunities. Our speech—regardless of language—is very clearly based on the sounds of nature. Even more fascinating, Changizi shows that music itself is based on natural sounds. Music—seemingly one of the most human of inventions—is literally built on sounds and patterns of sound that have existed since the beginning of time. From Library Journal: "Many scientists believe that the human brain's capacity for language is innate, that the brain is actually "hard-wired" for this higher-level functionality. But theoretical neurobiologist Changizi (director of human cognition, 2AI Labs; The Vision Revolution) brilliantly challenges this view, claiming that language (and music) are neither innate nor instinctual to the brain but evolved culturally to take advantage of what the most ancient aspect of our brain does best: process the sounds of nature ... it will certainly intrigue evolutionary biologists, linguists, and cultural anthropologists and is strongly recommended for libraries that have Changizi's previous book." From Forbes: “In his latest book, Harnessed, neuroscientist Mark Changizi manages to accomplish the extraordinary: he says something compellingly new about evolution.… Instead of tackling evolution from the usual position and become mired in the usual arguments, he focuses on one aspect of the larger story so central to who we are, it may very well overshadow all others except the origin of life itself: communication."

Explaining that musicality is an essential touchstone of the human experience, a concise introduction to the study of the nature of music, its community and its cultural values explains the diverse work of today's ethnomusicologists and how researchers apply anthropological and other social disciplines to studies of human and cultural behaviors. Original.

Is birdsong music? The most frequent answer to this question in the Middle Ages was resoundingly "no." In Sung Birds, Elizabeth Eva Leach traces postmedieval uses of birdsong within Western musical culture. She first explains why such melodious sound was not music for medieval thinkers and then goes on to consider the ontology of music, the significance of comparisons between singers and birds, and the relationship between art and nature as enacted by the musical performance of late-medieval poetry. If birdsong was not music, how should we interpret the musical depiction of birdsong in human music-making? What does it tell us about the singers, their listeners, and the moral status of secular polyphony? Why was it the fourteenth century that saw the beginnings of this practice, continued to this day in the music of Messiaen and others?Leach explores medieval arguments about song, language, and rationality whose basic terms survive undiminished into the present. She considers not only lyrics that have their singers voice the songs or speech of birds but also those that represent other natural, nonmusical, sounds such as human cries or the barks of dogs. The dangerous sweetness of birdsong was invoked in discussions of musical ethics, which, because of the potential slippage between irrational beast and less rational woman in comparisons with rational human masculinity, depict women's singing as less than fully human. Leach's argument comes full circle with the advent of sound recording. This technological revolution-like its medieval equivalent, the invention of the music book-once again made the relationship between music and nature an acute preoccupation of Western culture.

A provocative book and CD explore the relationship of music and the natural world.

AWARD WINNER OF THE 2018 SOCIETY OF ETHNOMUSICLOGY ELLEN KOSKOFF PRIZE This volume is the first sustained examination of the complex perspectives that comprise ecomusicology—the study of the intersections of music/sound, culture/society, and nature/environment. Twenty-two authors provide a range of theoretical, methodological, and empirical chapters representing disciplines such as anthropology, biology, ecology, environmental studies, ethnomusicology, history, literature, musicology, performance studies, and psychology. They bring their specialized training to bear on interdisciplinary topics, both individually and in collaboration. Emerging from the whole is a view of ecomusicology as a field, a place where many disciplines come together. The topics addressed in this volume—contemporary composers and traditional musics, acoustic ecology and politicized soundscapes, material sustainability and environmental crisis, familiar and unfamiliar sounds, local places and global warming, birds and mice, hearing and listening, biomusic and soundscape ecology, and more—engage with conversations in the various realms of music study as well as in environmental studies and cultural studies. As with any healthy ecosystem, the field of ecomusicology is dynamic, but this edited collection provides a snapshot of it in a formative period. Each chapter is short, designed to be accessible to the nonspecialist, and includes extensive bibliographies; some chapters also provide further materials on a companion website: http://www.ecomusicology.info/cde/. An introduction and interspersed editorial summaries help guide readers through four current directions—ecological, fieldwork, critical, and textual—in the field of ecomusicology.