Parsifal - Die beliebtesten Opern
Parsifal ist das letzte musikdramatische Werk von Richard Wagner. Wagner selbst bezeichnete das dreiaktige St羹ck als ein B羹hnenweihfestspiel und verf羹gte, dass es ausschlie?lich im Bayreuther Festspielhaus aufgef羹hrt werden sollte. Zur Handlung: Auf einer Waldlichtung nahe der Gralsburg weckt Ritter Gurnemanz einige Knappen. Er fordert sie auf, zu beten und das Morgenbad des an einer nicht heilenden Wunde leidenden jungen Gralsk繹nigs Amfortas vorzubereiten. Die Szene wird durch L瓣rm vom nahen See gest繹rt. Die Ritter haben einen Knaben gefangen, der mit Pfeil und Bogen einen heiligen Schwan get繹tet hat. Es ist Parsifal, der Sohn der Herzeleide und des vor seiner Geburt im Kampf gefallenen Ritters Gamuret. Der Knabe wuchs unter alleiniger Obhut seiner Mutter im Wald ohne jeglichen Kontakt zur Au?enwelt auf. Er selbst kennt weder seinen Namen, noch wei? er, woher er kommt und wer sein Vater ist. Doch Kundry kennt seine Geschichte und erz瓣hlt vom Tod seiner Mutter. Gurnemanz hofft, in ihm den in der Vision des Amfortas angek羹ndigten "reinen Toren" gefunden zu haben, und nimmt ihn mit zur Gralsburg, w瓣hrend Kundry in einen hypnotischen Schlaf f瓣llt. Wilhelm Richard Wagner (1813-1883 in Venedig) war ein deutscher Komponist, Dramatiker, Dichter, Schriftsteller, Theaterregisseur und Dirigent. Mit seinen Musikdramen gilt er als einer der bedeutendsten Erneuerer der europ瓣ischen Musik im 19. Jahrhundert. Er ver瓣nderte die Ausdrucksf瓣higkeit romantischer Musik und die theoretischen und praktischen Grundlagen der Oper, indem er dramatische Handlungen als Gesamtkunstwerk gestaltete und dazu die Libretti, Musik und Regieanweisungen schrieb. Seine Neuerungen in der Harmonik beeinflussten die Entwicklung der Musik bis in die Moderne.
Die Jungfrau von Orleans
Die Zeit der Handlung f瓣llt mit dem Jahr 1430 in eine sp瓣te Phase des Hundertj瓣hrigen Krieges. Die Szenen wechseln zwischen verschiedenen Gegenden Frankreichs. Beim fraglichen Krieg handelte es sich nicht etwa um einen Konflikt zwischen bereits gefestigten Nationen, sondern um eine Auseinandersetzung zwischen gro?en Lehensverb瓣nden, die in einer verflochtenen Verwandtschaftsbeziehung zueinander standen. K繹nig Karl IV. hatte keinen direkten m瓣nnlichen Nachkommen hinterlassen und damit begann der Legitimationsstreit um die franz繹sische Krone. Als Johanna wirkte, war Frankreich in drei politische R瓣ume aufgeteilt: Der Dauphin und sp瓣tere K繹nig Karl VII. wurde auf ein Gebiet s羹dlich der Loire zur羹ckgedr瓣ngt und Orl矇ans lag somit direkt an der Front und wurde von den Engl瓣ndern belagert. Herzog von Bedford regierte im Auftrag des englischen K繹nigs, der auch den Titel K繹nig von Frankreich f羹r sich beanspruchte, 羹ber die Normandie, Bretagne, Champagne, Paris und die Guyenne. Philipp der Gute von Burgund schlie?lich, herrschte 羹ber Burgund, die Freigrafschaft Burgund und Teile von Flandern. Friedrich von Schiller (1759-1805), 1802 geadelt, war ein Arzt, Dichter, Philosoph und Historiker. Er gilt als einer der bedeutendsten deutschsprachigen Dramatiker, Lyriker und Essayisten.
Polish Estrada Music
Polish estrada music dominated Polish popular music throughout the state socialist period but gained little attention from popular music scholars because it was regarded as being of low quality and politically conformist. Ewa Mazierska carefully examines these assumptions.
The Jazz Barn
How a small town in New England became a home for jazz, challenging conventional assumptions about the relationship between culture and landscape, art and geography, town and city, and race and place. This is a book about what happened in the 1950s in a barn, an icehouse, and a greenhouse in the verdant Berkshire Hills of western Massachusetts. Against the backdrop of McCarthyism, the civil rights movement, the expansion of the Afro-Caribbean diaspora, and postwar cultural tourism, two New Yorkers bought part of a sprawling estate in Lenox, where they converted an old barn and other outbuildings into an inn that could host musical performances and seminars. The Berkshire Music Barn went on to host jazz greats like Duke Ellington, Dave Brubeck, and Billie Holiday, as well as jazz roundtables grounded in folkloric approaches to the music. The Jazz Barn explores the cultural significance of venues like the Berkshire Music Barn and later the Lenox School of Jazz to tell a surprising story about race, culture, and place. John Gennari explores how a predominantly white New England town became a haven for African American musicians, and reveals the Berkshires as an important incubator not just of American literature and classical music but also of the Modern Jazz Quartet and Ornette Coleman's "new thing." The Berkshire Music Barn became a crucial space for the mainstreaming of jazz. By the late 1950s, the School of Jazz was an epicenter of the genre's avant-garde. Richly illustrated with the photographs of Clemens Kalischer among others, The Jazz Barn demonstrates that the locations where jazz is played and heard indelibly shape the music and its meanings.
Theology and the Blues
Theology and the Blues showcases theological themes inherent within the organic and expressive genre of the blues. The blues offers safe space to explore the raw material of our fallen condition, urging our voices to join the universal, primal cry for new creation.
You’re Crazy Volume Three
You're Crazy, Volume Three is a collection of thirteen personal accounts, lyrics, and short stories written by punk rockers who have walked through darkness and lived to tell. All of the writers have experienced trauma, addiction, and mental health struggles. As you read these stories, you will learn about the private revolutions that the writers have engaged in as they strive to build more beautiful, peaceful, and satisfying lives for themselves. We are warriors. We have chosen to better ourselves. We share our stories to help ourselves heal. We share our stories so others like us can feel empowered to take control of their lives. We are the evidence that with hard work, self-love, and dedication that living better lives is possible. If we can do it, so can you.
Nairobi Hip Hop Flow
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Nairobi Hip Hop Flow combines ethnographic methods, political history, and music and performance analysis to illustrate the richness of hip hop's embodied performance practices. RaShelle R. Peck examines how hip hop artists in Nairobi's underground rap culture engage with political seriousness in lyrics and sound by fostering a creative playfulness using bodily movement. This unprecedented study shows how Nairobi artists circulate diasporic blackness while at the same time indigenizing hip hop music to interrogate Kenya's sociopolitical landscape.
Love, Cats and Cowboy Hats
Swifties have taken the world by storm. As Taylor Swift's profile has grown, as has her legion of fans, and they're now one of the biggest and most influential fanbases in the world. Over 50% of US adults now count themselves as fans of Taylor, so the Swiftieverse is only going to get biiger. With their devoted, loyal and engaged approach to supporting Taylor Swift, Swifties are one-of-a-kind. This is the ultimate guide to the Swiftieverse, with quotes from the fans and Taylor herself, trivia, facts and everything else you need to fully embrace life as a Swiftie. From Taylor's famous cats to the scarf of "All Too Well", this is the companion you need as your head into the Swiftieverse.
Dressed in Black
The first full-length history of the Shangri-Las, one of the most significant--and most misunderstood--pop groups of the 1960s.Sisters Mary and Betty Weiss, together with twins Mary Ann and Marguerite Ganser, were schoolgirls when they formed the Shangri-Las in 1963, and had a meteoric rise to fame with songs like "Leader of the Pack" and "Remember (Walking in the Sand)." Their career was cut short for reasons largely beyond their control, derailed by the machinations of Mafia-linked record executives, and heartbreak and tragedy followed. Historian Lisa MacKinney marshals an impressive array of new evidence to tell the Shangri-Las' story, dispelling many myths and long-standing mysteries along the way. Equally importantly, Dressed in Black radically rewrites the accepted narrative of the Shangri-Las' place in rock history. As young women, they were permitted little agency within a male-dominated industry that viewed teenagers as fodder to be manipulated and exploited by producers, songwriters, and label owners. For decades, this has served as an excuse for critics to deny the musical input of the group members, to trivialize the Shangri-Las as a "girl group," and to assign their work a lesser rank in the canon of "authentic" rock and roll. MacKinney's great achievement here is to foreground the Shangri-Las' considerable abilities and musicality, and establish the centrality of their performance of their songs to the group's underappreciated artistic achievement.This is not to deny the critical role in the group's success of professional songwriters (including Ellie Greenwich and Jeff Barry) and writer/producer George 'Shadow' Morton, a pioneering and eccentric figure whose self-mythologizing has generated a level of obfuscation that rivals that of the Shangri-Las themselves. MacKinney's clear-sighted account reveals Morton in a completely new light--and as part of a complex ecosystem of musical relationships. Morton wrote and produced highly emotional material specifically for the Shangri-Las because he knew they had the skills to make his mini-operas not only believable, but enthralling. The group members, particularly Mary Weiss, channeled personal anguish into their extraordinary performances, which are central to the songs' impact--no less so than for such classic singers as Ella Fitzgerald and Elvis Presley, who also relied on producers and songwriters for their body of work. The Shangri-Las' impassioned delivery elicited a massive response from their audience of fellow teenagers at the time and has continued to connect profoundly with audiences ever since. MacKinney backs up these arguments with in-depth analysis of key Shangri-Las' recordings, and makes a powerful case that their achievements warrant a far more prominent place for the Shangri-Las in the history of popular music.
Sax Expat
Don Byas (1913-1972) may be lesser known than the counterparts he played with--Count Basie, Duke Ellington, and Dizzy Gillespie, among others--but he was an enigma. He never stayed with a band for long, and eventually went solo partly to make more money and partly due to his inability to work with bandleaders. Often drinking to excess, alcohol fueled his sometimes-erratic behavior on and off the bandstand. He went through at least thirteen different groups in fifteen years of professional play before leaving for Europe in 1946. Despite his fractious personality, in Europe he found peace and contentment as a family man in the Netherlands, where he lived out his days with his second wife and their four children. He learned at least seven languages during his years in Europe, and on traveling to a new country could pick up a few phrases in short order, soon speaking to the locals and even composing songs in their native tongue. In Sax Expat: Don Byas, author Con Chapman argues that Byas's relative obscurity arises from his choice to live in Europe, where he missed out on recording opportunities and exposure in the US that would have made him renowned and wealthier. His numerous achievements, including his solo on Count Basie's "Harvard Blues," which is a model of restrained invention; his interpretation of the sentimental movie theme "Laura"; and his duets with bassist Slam Stewart were included in the Smithsonian Collection of Classic Jazz and secured Byas's place in jazz history. This biography brings to life an amazing jazz story.
Sax Expat
Don Byas (1913-1972) may be lesser known than the counterparts he played with--Count Basie, Duke Ellington, and Dizzy Gillespie, among others--but he was an enigma. He never stayed with a band for long, and eventually went solo partly to make more money and partly due to his inability to work with bandleaders. Often drinking to excess, alcohol fueled his sometimes-erratic behavior on and off the bandstand. He went through at least thirteen different groups in fifteen years of professional play before leaving for Europe in 1946. Despite his fractious personality, in Europe he found peace and contentment as a family man in the Netherlands, where he lived out his days with his second wife and their four children. He learned at least seven languages during his years in Europe, and on traveling to a new country could pick up a few phrases in short order, soon speaking to the locals and even composing songs in their native tongue. In Sax Expat: Don Byas, author Con Chapman argues that Byas's relative obscurity arises from his choice to live in Europe, where he missed out on recording opportunities and exposure in the US that would have made him renowned and wealthier. His numerous achievements, including his solo on Count Basie's "Harvard Blues," which is a model of restrained invention; his interpretation of the sentimental movie theme "Laura"; and his duets with bassist Slam Stewart were included in the Smithsonian Collection of Classic Jazz and secured Byas's place in jazz history. This biography brings to life an amazing jazz story.
Oasis
Jill has been documenting the phenomenon that is Oasis since 1994 and the Definitely Maybe tour, through the tense and difficult shows for Dig Out Your Soul in 2009 and, following a hiatus, to a new beginning in 2025. Featuring more than 500 exceptional photographs from her archive, this book includes acclaimed and classic shots alongside swathes of candid, behind-the-scenes images, many of which are published here for the very first time. With unprecedented access, Jill was able to capture strikingly emotive images, recording the band's raw energy, humor, and--at times--their vulnerability. "Oasis permitted closeness," she commented, "and that was a great gift to me as a photographer." Weaving sequences together to craft stories and stitch montages, the book brings you right into the room with the musicians. Noel's foreword is followed by an introduction by Jill, while three expansive pieces by acclaimed author Simon Spence, publicist and writer Johnny Hopkins, and music columnist and novelist Laura Barton chart Oasis's early, mid and late eras. Jill and Noel's reflections, alongside the photos, give the inside track on key moments, revealing the intimate friendship between band and photographer and reminding us of a remarkable era in music history, right to the edge of their 2025 reunion tour. This is a book to treasure long after the final encore.
Taylor Swift All the Songs
A behind-the-scenes look at the music and creative process of worldwide phenomenon Taylor Swift, as told through the writing and recording of every song. * An Associated Press Holiday Gift Guide pick * An HGTV Best Gift for the Taylor Swift Fan pick Step into the world of Taylor Swift from her beginnings as a teenage country singer to her record-breaking "Eras Tour." This is an all-encapsuling deep dive into her music, album-by-album and track-by-track, detailing her greatest hits, the hidden meanings in her lyrics, and the evolution of her sound. Each song entry includes recording studio information such as insights into Taylor's collaborations with musicians like Ed Sheeran, Kendrick Lamar, and Haim; her long-standing work with producer Jack Antonoff; and how her Taylor's Versions albums differ from the originals. Exploring every Easter egg and melody, and packed with hundreds of photographs, this is a must-have for every Swiftie.
Southern Mountain Music
This work represents a lifetime of research by Wayne Erbsen, professor of old-time and bluegrass music at the University of North Carolina at Asheville, who interviewed many legendary figures in Appalachian music. Often the first and only scholar to ever collect their stories, he provides in this book an indispensable history of bluegrass and old-time music in Appalachia for generations to come. The book begins with stories featuring many pioneers of old-time and bluegrass music. Next are chapters on brother duets from the 1930s, legendary banjo pickers and fiddle players, plus tales of 19th-century songwriters whose songs still populate bluegrass music. Also covered are wide-ranging and whimsical topics such as the Ghost of Scotty Stoneman, cowboys in bluegrass music, Charlie Cline's powerful snoring, a near-encounter with Bigfoot, and Hoss Cartwright's hat.
Teddy Boys
With their draped suits, suede creepers and immaculately greased hair, the Teddy Boys defined a new era for a generation of teenagers raised on a diet of drab clothes, Blitz playgrounds and tinned dinners. From the Edwardian origins of their fashion to the tabloid fears of delinquency, drunkenness and disorder, the story of the Teds throws a fascinating light on a British society that was still reeling from the Second World War. In the 1950s, working-class teenagers found a way of asserting themselves in how they dressed, spoke and socialised on the street. When people saw Teds, they stepped aside. Musician and author Max D矇charn矇 traces the rise of the Teds and the shockwave they sent through post-war Britain, from the rise of rock 'n' roll to the Notting Hill race riots. Full of fascinating insight, deftly sketching the milieu of Elvis Presley and Derek Bentley, Billy Fury and Oswald Mosley, Teddy Boys is the story of Britain's first youth counterculture.
Tango in Japan
Why do Japanese people love tango? Starting with this question, which the author frequently received while working as a tango violinist in Argentina, Tango in Japan reveals histories and ethnographies of tango in Japan dating back to its first introduction in the 1910s to the present day. While initially brought to Yokohama by North American tango dancers in 1914, tango's immediate popularity in Japan quickly compelled many Japanese performers and writers to travel to Argentina in search of tango's "origin" beginning in the 1920s. Many Japanese musicians, dancers, aficionados, and the wider public have, since then, approached tango as a new vehicle of expression, entertainment, and academic pursuit. The sounds of tango provided comfort and a sense of hope to many during the most turbulent years of the twentieth century, carving out distinctive characteristics of contemporary Japanese tango culture. Bypassing the West-East axis of understanding cultural transmission, Tango in Japan uncovers the processes of attraction, rejection, and self-transformation, illuminating the tension of cosmopolitan endeavors away from the Euro-American West. Based on Yuiko Asaba's field and archival work undertaken in both Japanese and Spanish languages in Japan and Argentina across two decades, and drawing on her own background as a tango violinist who performed as a member of tango orchestras in both countries, the discussions move between historical and ethnographic narratives, offering a comprehensive account of tango culture as it emerged in the history of a Japan-Argentina connection. Serving as the first in-depth work on the Japan-Argentina musical relationship, Tango in Japan tells a story that reflects the modern transformations of Japan and Argentina, and the global historical backdrops surrounding both countries.
Made in Thailand
Made in Thailand: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, culture, and musicology of twentieth and twenty-first century popular music in Thailand.
One Bourbon, One Scotch, One Beer: Three Tales of John Lee Hooker
Legendary bluesman John Lee Hooker lived more life in one of his songs than the collective lifetimes of many. Spanning several decades of the American experience, One Bourbon, One Scotch, One Beer tells three tales of Hooker's storied life through the perspective of those who lived within his massive orbit, weaving textured and interpretative stories that rise to the lofty creative heights of his music and fall to the gritty reality of trying to thrive in several unforgiving eras.
Taylor Swift
Taylor Swift: The Star, The Songs, The Fans includes new work from interdisciplinary scholars who focus on Swift's star persona; the lyrics, themes and meanings of Swift's songs; and the ways that fans interact with Swift's work and with each other.
Nirvana
Nirvana's meteoric rise and tragic end, details their impact on music with a day-by-day account.After Nirvana, everything changed. Kurt Cobain and his band ushered in a new era in music, bringing the authenticity of US underground punk to mainstream rock audiences. Award-winning biographer and music critic Marc Burrows dives into the world of Nirvana, providing an exhaustive day-by-day account of the lifespan of the band, from their early days touring the dive bars of the Pacific North-West through the release of 'Smells Like Teen Spirit' and Nevermind, the dark masterpiece of In Utero and Kurt Cobain's tragic death in 1994. The timeline is augmented by hyper-detailed footnotes, diving deep into the songs and albums, the impact and the fascinating unexplored corners of one of the most exciting and impactful bands that have ever been.
Taylor Swift
If you're a passionate Swiftie who wants to know EVERYTHING about your favorite icon--especially her music--this luxuriously illustrated deep dive should take center stage. Featuring fresh insights from all eleven studio albums--from Taylor Swift to The Tortured Poets Department--Taylor Swift: Album by Album mines her life, lyrics, and music like nothing else before it. This book also features several chapters on all the Taylor's Version albums released to date, with panel discussions from noted Swift scholars accompanied by vibrant photography that captures Swift in each and every era, from an aspiring country musician to the dominant global force she is today. Swift's artistry, awards, and accolades are hard to encompass, from the youngest artist with a No. 1 song on the Hot Country chart to the first recipient of Billboard's Woman of the Decade award. Swifties will find that and more inside, including: Fresh insight into her lyrics, life, and loves from her earliest days as a recording artistTons of sidebars that explore her influences, lyrical references, musical knowledge, and moreDetails on album personnel, special guests, awards, and toursA special section on the Taylor's Version albums that explains how they came about and why they matter to Taylor and scores of Swifties everywhereTaylor Swift: Album by Album is more than just pretty pictures; it's a door into how and why this talented musician continues to inspire fans around the world. Young or old, OG or new Swiftie, this book has it all.
Remember the Times
Grammy Award-winning R&B and hip-hop legend Teddy Riley recounts his journey from growing up in the projects in Harlem to inventing the genre New Jack Swing, selling out shows at Madison Square Garden, and creating music for Michael Jackson, Snoop Dogg, Pharrell, and more. Since the early '80s, Teddy Riley has revolutionized the music industry, from his creation of New Jack Swing to his work in R&B, hip-hop, gospel, soul, and pop that forever changed the industry. His profound influence still resonates today, and he has been inducted into the Hip-Hop Hall of Fame, awarded the Soul Train Legend Award and given his own star on the Hollywood Walk of Fame. Now, Riley--with coauthor, award-winning biographer Jake Brown--lifts the curtain on his fascinating and inspiring journey with this unforgettable memoir of talent, resilience, collaboration, betrayal, and creativity. With heart and humor, Riley reflects on his beginnings as musical prodigy growing up in Harlem and the highs and lows of working with some of the biggest names in the industry. From masterminding his own acclaimed groups, such as Guy and Blackstreet, to producing groundbreaking hits such as Bobby Brown's "My Prerogative" and writing and producing with legends like Michael Jackson, Whitney Houston, Mary J. Blige, Lady Gaga, and more, Riley takes us on a remarkable journey that parallels the explosion of new genres and Black influence in the contemporary music landscape. Remember the Times also candidly illustrates the evolution of popular music through the '80s to today, taking us behind the scenes directly from the man who grew "to define the sound and reinvigorate contemporary R&B and hip-hop" (Mixdown Magazine, Australia).
Nairobi Hip Hop Flow
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Nairobi Hip Hop Flow combines ethnographic methods, political history, and music and performance analysis to illustrate the richness of hip hop's embodied performance practices. RaShelle R. Peck examines how hip hop artists in Nairobi's underground rap culture engage with political seriousness in lyrics and sound by fostering a creative playfulness using bodily movement. This unprecedented study shows how Nairobi artists circulate diasporic blackness while at the same time indigenizing hip hop music to interrogate Kenya's sociopolitical landscape.
Wise Words Oasis
No-one delivers one-liners quite like Noel and Liam Gallagher. Ahead of the hugely anticipated Oasis reunion tour, relive the funniest insights, insults, arguments and everything in between from the biggest mouths in Brit Pop. From snide asides by Noel... "[Liam is] like a man with a fork in a world of soup" "I liked [my mum]... until she gave birth to Liam." ... to positive affirmations and advice on maintaining a healthy lifestyle from Liam... "I suppose I do get sad, but not for too long. I just look in the mirror and go, `What a f***ing good-looking f*** you are.` And then I brighten up!" "Rock stars exercising? I don't think it's right. You either got it or you ain't."
The Broken Spoke
James and Annetta White opened the Broken Spoke in 1964, then a mile south of the Austin city limits, under a massive live oak, and beside what would eventually become South Lamar Boulevard. White built the place himself, beginning construction on the day he received his honorable discharge from the US Army. And for more than fifty years, the Broken Spoke has served up, in the words of White's well-worn opening speech, ". . . cold beer, good whiskey, the best chicken fried steak in town . . . and good country music." White paid thirty-two dollars to his first opening act, D. G. Burrow and the Western Melodies, back in 1964. Since then, the stage at the Spoke has hosted the likes of Bob Wills, Dolly Parton, Ernest Tubb, Ray Price, Marcia Ball, Pauline Reese, Roy Acuff, Kris Kristofferson, George Strait, Willie Nelson, Jerry Jeff Walker, Asleep at the Wheel, and the late, great Kitty Wells. But it hasn't always been easy; through the years, the Whites and the Spoke have withstood their share of hardship--a breast cancer diagnosis, heart trouble, the building's leaky roof, and a tour bus driven through its back wall. Today the original rustic, barn-style building, surrounded by sleek, high-rise apartment buildings, still sits on South Lamar, a tribute and remembrance to an Austin that has almost vanished. Housing fifty years of country music memorabilia and about a thousand lifetimes of memories at the Broken Spoke, the Whites still honor a promise made to Ernest Tubb years ago: they're "keepin' it country."
Goth
Following his memoir Cured, a fascinating deep dive into the dark Romanticism of Goth music, a misunderstood genre and culture, by co-founder of The Cure, Lol Tolhurst GOTH is an entertaining and engaging historical memoir, a journey through Goth music and culture, and an exploration of a place that offered refuge for the misfits of the 1980s and ever since. Written by Lol Tolhurst, cofounder of The Cure, GOTH is infused with stories from Tolhurst's personal trove of memories, as well as anecdotes about the musicians, magicians, and artists who made it all happen--a veritable garden of earthly delights for the longtime Goth fan and newcomer alike. Equal parts teacher and storyteller, Tolhurst explores early art and literature that inspired the genre and looks into the work of T. S. Eliot, Edgar Allan Poe, Sylvia Plath, and more. He outlines the path of Gothic forebears and shows how some musicians played in punk bands before transitioning into Goth endeavors. He introduces readers to the "Architects of Darkness"--BAUHAUS, SIOUXSIE AND THE BANSHEES, JOY DIVISION, and THE CURE--and discusses a group he calls the "Spiritual Alchemists," bands like DEPECHE MODE and COCTEAU TWINS. He tracks the expansion of the genre overseas, from England to New York, Los Angeles, and beyond. Gothic fashion was an important part of the movement as well, and Tolhurst discusses the clothing that accompanied and complemented the music. Finally, Tolhurst examines the legacy of Goth music, and shows how its influence can still be seen to this day. As thoughtful and thorough as it is utterly bewitching, GOTH is a timeless testament to why Goth matters--and why it always will.
Trip Magazeen
Exported out of Chicago and Detroit in the late 80s, House and Techno music washed back up on US shores in the early 90s, repackaged as 'Rave' (Hardcore Techno) by the English, Belgians, Germans, et al. UK live acts like The Shamen, 808 State, Altern-8 and The Prodigy began to put a face to what most Americans considered to be 'faceless' music while the Alternative Dance Music era of American clubbing faded into the background.Before the World Wide Web made connecting with like-minded heads as easy as a few clicks, news of underground dance culture spread through word-of-mouth and DIY fanzines--called 'zines--published and distributed by fellow DJs, artists, and insiders at record shops, clothing stores, and other hangouts.Based in the city of Tampa in Central Florida, one of America's most fertile scenes, TRiP MAGAZEEN publishers Peter Wohelski, DJ Three, and Grumptronix document burgeoning US rave culture whilst keeping tempo with the global village from 1992 through 1994. Across 16 issues, never before compiled online or in print, TRiP traverses the underground through the eyes of its progenitors during the peak & dissolution of Rave as a major label commodity. Over 750 multi-genre record reviews and DJ/retail charts provide a detailed sonic roadmap along the way.Created pre-internet on early desktop publishing tools, TRiP conducted over 60 of the earliest American interviews from recording artists, DJs and luminaries including Aphex Twin, The Prodigy, Moby, Richie Hawtin & John Acquaviva (Plus 8), DJ Hell, J. Saul Kane (Vinyl Solution), Cabaret Voltaire, Orbital, The Orb, Autechre, Laurent Garnier, Dubtribe Sound System, Hardkiss Music, Caspar Pound (Rising High Records), Mixmaster Morris, Inner City, Terre Thaemlitz (aka DJ Sprinkles), Paul van Dyk, Seefeel, Black Dog Productions, Future Sound Of London, Global Communications, jungle/drum n bass pioneers Dan Donnelly (Suburban Bass), Rob Playford, A Guy Called Gerald, and the late psychedelic explorer / counterculture author / rave philosopher Terence McKenna.In over 2 1/2 years of publishing, TRiP's coverage garnered the attention of bigger UK dance culture bibles DJ Magazine, Mixmag, and Jockey Slut, as well as German fanzine Size, with credited quotes from its interviews appearing in stories on Aphex Twin, Future Sound of London, and Laurent Garnier. TRiP even received a postcard from enigmatic Underground Resistance co-founder Mad Mike Banks expressing his utmost respect for TRiP's coverage of Detroit artists and releases.
Dreaming in Ensemble
A revelatory new account of Black innovation in American opera, showing how composers, performers, and critics redefined the genre both aesthetically and politically in the early twentieth century. The inauguration of a "golden age" in Black opera is often dated to 1955, when Marian Anderson became the first Black singer to perform in a leading role at New York's Metropolitan Opera. Yet Anderson's debut was actually preceded by a rich Black operatic tradition that developed in the first half of the twentieth century. Lucy Caplan tells the stories of the Black composers, performers, critics, teachers, and students who created this vibrant opera culture, even as they were excluded from the genre's most prominent institutions. Their movement, which flourished alongside the Harlem Renaissance, redefined opera as a wellspring of aesthetic innovation, sociality, and antiracist activism. Caplan argues that Black opera in the early twentieth century had decidedly countercultural ambitions. In opera's sonic grandeur and dramatic maximalism, artists found creative resources for expressing the complexity of Black life. The protagonists of this story include composers Harry Lawrence Freeman and Shirley Graham, whose operas boldly interpreted Black diasporic history; performers Caterina Jarboro and Florence Cole-Talbert, who both starred in the racially fraught role of Aida; and critics Sylvester Russell and Nora Holt, who wrote imaginatively about the genre in the Black press. Yet Caplan also focuses on the many Black students, amateurs, opera house staff, and listeners who contributed indelibly to opera's meanings. With the creation of new companies, choruses, and audiences, opera not only circulated in the Black public sphere but itself became a public sphere with radical potential.
Music and Devotion in New Spain
Much engagement with the cathedral music of New Spain has been through lens of exoticism. This book challenges this view by uncovering how colonial repertories mixed European aesthetics with locally composed pieces to create canons both tailored to local liturgies and shaped by European tradition. Building upon material from the archives of Mexico City, Durango, and Puebla cathedrals, author Drew Edward Davies examines how composers, some of them priests, communicated theological doctrine through music genres. The book also offers a new understanding of cultural encounter, both by assessing how music was used for indoctrination and by rethinking stereotypes in villancicos through the lens of topic theory. Illuminating the unique mix of devotional subjects stressed in New Spain, Davies argues that topicality rather than style differentiated New Spanish musical repertory from that of Europe. Concluding with a history of the early music movement's revival of New Spanish music beginning in the 1960s, Davies suggests that exoticism and the imagination continue to shape performances in ways that may not be plausible historically, but nonetheless resonate with audiences in the contemporary world. In so doing, he invites performers and scholars alike to engage with broader repertories of New Spanish music moving forward.
