Popular Music in Brazil
This Element outlines an overview of popular music made in Brazil, from the nineteenth century to the beginning of the twenty-first century. Initially addressing the definition of the 'popular' category, discussion then follows on the ways a Brazilian music identity was built after the country's independence in 1822 until the end of the 1920s. An idea of 'popular music' was consolidated throughout the twentieth century, from being associated with rural musical performances of oral tradition to the recorded urban musical genres that were established through radio and television. After exploring the world of mass popular music, the relationships between traditional and modern, the topics of cultural diversity, multiculturalism, and the impact of digitalization, as well as the musical kaleidoscope of the twenty-first century, the Element ends with an insight into music genres in the era of digital platforms.
Popular Music in Brazil
This Element outlines an overview of popular music made in Brazil, from the nineteenth century to the beginning of the twenty-first century. Initially addressing the definition of the 'popular' category, discussion then follows on the ways a Brazilian music identity was built after the country's independence in 1822 until the end of the 1920s. An idea of 'popular music' was consolidated throughout the twentieth century, from being associated with rural musical performances of oral tradition to the recorded urban musical genres that were established through radio and television. After exploring the world of mass popular music, the relationships between traditional and modern, the topics of cultural diversity, multiculturalism, and the impact of digitalization, as well as the musical kaleidoscope of the twenty-first century, the Element ends with an insight into music genres in the era of digital platforms.
Hoeller: Piano Sonata No. 4
(BH Piano). Commissioned by Radio France and premiered by the dedicatee Bertrand Chamayou in Paris at the beginning of 2023, the ten-minute work follows the Beethovenian 'development type'. Like Holler's two preceding piano sonatas, it is a one-movement piece. At the centre is the processing of one harmonic, one rhythmic, one scale element each, as well as a 'sound form' as it determines Holler's entire compositional thinking. It is formed from three phrases of 6, 7 and 8, i.e. 21, tones, and 'at times appears like a kind of cantus firmus', according to the composer. The interplay between these very different poles unfolds in many virtuoso figurations, which aresometimes reminiscent of Debussy and which require a meticulous dose of pedaling.
Collaboration, Engagement, and Tradition in Contemporary and Electronic Music
Collaboration, Engagement, and Tradition in Contemporary and Electronic Music: NoiseFloor Perspectives illuminates practices at the forefront of modern music-making and is built on a rich collection of concerts and talks, representing over a decade of artistic insight and creative practice showcased at the annual NoiseFloor event. Exploring the themes of collaboration, engagement, and tradition, this cutting-edge collection offers chapters on a range of pressing issues, including AI in music, audiovisual composition, environmental sound, and interactive sound systems. NoiseFloor's aim is to showcase research and original works by international composers and performers and has attracted prolific artists in a wide range of related fields - many of whom have contributed to this volume. This book provides a timely snapshot of new and emerging developments in the broad field of contemporary music-making. Collaboration, Engagement, and Tradition in Contemporary and Electronic Music will be of interest to postgraduates and advanced undergraduates working in the areas of contemporary music, electronic music, and music technology. This book is also ideal for composers, artists, and researchers investigating theoretical concepts and compositional practices in contemporary music.
Rags of Light
Creatively bringing the songs, prayers, and poetry of Leonard Cohen into conversation with Scripture, this book deeply grounds Cohen's work in the landscape of the biblical imagination, paying special attention to Jesus together with the prophetic and priestly voices of Scripture. What emerges is a compellingly lyrical work of theology that deepens our understanding of both Cohen and biblical faith. Leonard Cohen has undoubtedly been a liturgist for our time, a cantor singing for all those clothed in rags of light, a prophet in the ruins, and a priest who greets us "from the other side of sorrow and despair."
Under Pressure
In 1981, David Bowie and Queen both happened to be in Switzerland: They met and made "Under Pressure." Recorded on a lark, the song broke the path for subsequent pop anthems. In Under Pressure, Max Brzezinski tells the classic track's story, charting the relationship between pop music, collective politics, and dominant institutions of state, corporations, and civil society. Brzezinski shows that, like all great pop anthems, "Under Pressure" harnesses collective sentiments in order to model new ways of thinking and acting. As we continue to live under the sign of the global oppressive power the song names, analyzes, and attempts to move beyond, we remain, in Bowie and Freddie Mercury's phrase, under pressure.
Oasis Talking Shite
A hilarious unofficial tribute to the most opinionated and entertainingly cantankerous band in rock and roll history. Hello and listen up. In 1994, with the shock of the lightning that was Oasis's force-of-nature debut album, the British band's cigarettes-and-alcohol-fueled founding brothers Liam and Noel Gallagher went supernova all around the world. Most artists would have responded to this fame by opting to cast no shadow, saying less in public, or at least being more cautious when they did, reluctant to add to the weight of the world on their shoulders. Not Liam and Noel, who did a strange thing. As if born on a different cloud, they refused to be quiet ones and acquiesce to the typical masterplan for celebrity. For the next thirty years, they never stopped opening their big mouths and shouting out loud their opinions on everything underneath the sky. Whether as stormy as a cloudburst, as playful as a shakermaker, as wise as a headshrinker in a rockin' chair, as uncouth as a girl in a dirty shirt with mucky fingers, or as lewd as fuckin' in the bushes, their heathen chemistry was always electric--some might say as addictive as morning glory. Oasis Talking Shite celebrates these songbirds' refreshing candor, constructing a magic pie of memorable quotes and photographs into a wall of wonder. Here they go let it out on nearly every topic imaginable, including religion, politics, technology, sports, aging, America, aliens, the Big Bang Theory, open-toed shoes, Christmas, SpongeBob SquarePants, other bands, and of course their all-time favorite subject: each other. Timed to the long-awaited Oasis reunion tour in summer 2025, in which they are keeping the dream alive despite just getting older, this book will help you stop crying your eyes out if you didn't get tickets. In fact, it's an eyeball tickler. D'you know what I mean? It's something to read while waiting for the rapture. It won't let you down and gives you something about which to talk tonight or on a Sunday morning call--an opportunity to look back in appreciation (not anger) as well as a reminder of why Liam and Noel will never slide away and definitely (not maybe) live forever as two of the most supersonic rock 'n' roll stars to ever turn up the sun. So put yer money where yer mouth is, bring it on down to the bookstore register, and bag it up.
Long Live
This lushly illustrated package is the ultimate fan guide for Swifties! It covers the Taylor Swift multiverse from all angles with a journey through fandom history, exclusive interviews, and behind-the-scenes detail on her career across eras, including The Tortured Poets Department. Whether you've been with Taylor from the start or are a new fan, this guide is for you. Use it to catch up on all the lore and inside jokes from the beginning, or to discover forgotten details from the past. From MySpace comments to T-Party invites to Secret Sessions and beyond, Long Live explores the evolution of Taylor as well as the ride that fans have been on with her through two decades of personal milestones--hers and ours, both good and bad. With Long Live you'll: Take a trip through Taylor's eras from the start of her career, with stops at each album and its iconic songs, the hidden Easter Eggs, and relationships that have informed the star's music. Have fun looking back on concert traditions and inside jokes, roll your eyes at the most embarrassing clowning moments, take in era-specific Swiftie style lessons, read exclusive stories of fan encounters and author Nicole Pomarico's own experiences meeting Taylor Swift and her parents. Be amazed by how the relationship between Taylor and her fans has been so well nurtured that it has become a cultural force building the career of one of the biggest stars of all time. Featuring stylish illustrations and photos throughout, this is an essential look at the artist's career and fandom. The complete package for Taylor Swift fans!
Traditional English Session Tunes
65 of the most popular traditional English session tunes, with tablature for the C/G Anglo concertina so you can join local music sessions and play the tunes in the most common keys of G and D. Also includes over 100 QR code links to videos of a variety traditional musicians who you can play along with, from field recording to pub session, solo fiddlers to loud folkrock. THE TUNES: A Hundred Pipers, Albert Farmer's Bonfire Tune, Astley's Ride, Banbury Bill, Banks of the Dee, Beatrice Hill's Three-Handed Reel, Bonny Breast Knot, Bonny Kate, Brighton Camp, Buttered Peas, Captain Lanoe's Quick March, The Chestnut Tree, Clee Hill, Curly-Headed Ploughboy, Donkey Riding, Dorset Four Hand Reel, Dorsetshire Hornpipe, Down the Road, Durham Rangers, Enrico, The Fiery Clockface, Fairy Dance, Galopede, Grandfather's Tune, Harper's Frolic, Horses Brawl, Hunting the Hare, Huntsman's Chorus, Jamie Allen, Jenny Lind, Keel Row, Lemmy Brazil's No. 2, Linnen Hall, Little Diamond, The Man in the Moon, Michael Turner's Waltz, New Rigged Ship, Off She Goes, Orange in Bloom, The Oyster Girl, Portsmouth, Princess Royal, The Quaker, Rakes of Mallow, The Railway, Redowa Polka, Rochdale Coconut Dance, Rogue's March, The Roman Wall, The Rose Tree, Roxborough Castle, Salmon Tails up the Water, Scan Tester's Polka No. 2, Seven Stars, Shepton Mallett Hornpipe, The Sloe, Smash the Windows, Speed the Plough, Three Around Three, Tip Top Polka, Uncle Bernard's, Walter Bulwer's Polka No. 1, Walter Bulwer's Polka No. 2, Winster Gallop, Woodland Revels, Young May Moon.
It's The Truth
The Only Ones were the most important band to emerge in 1977, artistically if not commercially. Their eponymous first LP presents a wonderful sense of possibilities and excitement, of a band standing on the verge of something fantastic. And the presence of 'Another Girl, Another Planet' - 'arguably the best rock single ever recorded' - illustrates how not being a hit can extend the shelf life of a song. Working from new interviews with the band members, Simon Wright documents the formation and early days of this enigmatic group and explains why they never achieved the massive success they deserved. Illustrated with previously unseen photographs, it's an account of how four musicians from very different backgrounds made an exhilarating LP which grafted punk attitude onto rock 'n' roll rootstock. Odds-on that your favourite musician has this LP in their collection: read this book to find out why. This second edition contains a discography.
Two-Headed Doctor
A forensic investigation into a single LP: Dr. John, the night tripper's Gris-gris. Two-Headed Doctor is a forensic investigation into a single LP: Dr. John, the night tripper's Gris-gris. Though released in 1968 to poor sales and a minimum of critical attention, Gris-gris has accumulated legendary status over subsequent decades for its strangeness, hybridity, and innovative production. It formed the launch pad for Dr. John's image and lengthy career and the ghostly presence of its so-called voodoo atmosphere hovers over numerous cover versions, samples, and re-invocations. Despite the respect given to the record, its making is shrouded in mystery, misunderstandings, and false conclusions. The persona of Dr. John, loosely based on dubious literary accounts of a notorious voodooist and freed slave, a nineteenth-century New Orleans resident known as Doctor John, provided Malcolm "Mac" Rebennack with a lifelong mask through which to transform himself from session musician in order to construct a solo career. Somewhere between puzzle, experimental rhythm, blues disguised as rock, and elaborate hoax, Gris-gris was a collaborative project between Rebennack and producer/arranger Harold Battiste (at the time musical director for Sonny & Cher). A few brief sessions held at Gold Star Studios in Los Angeles brought together many of New Orleans' finest musicians, including Shirley Goodman, John Boudreaux, Plas Johnson, Jessie Hill, Ernest McLean, and Tami Lynn. Along with their complex histories, the cast of characters implicated in the story includes Ornette Coleman, Lafcadio Hearn, Zora Neale Hurston, Cher, Sonny Bono, Sam Cooke, Ishmael Reed, Black Herman, Prince La La, and many others. The story details in discursive style the historical context of the music, how it came together, its literary sources, production and arrangements, and the nature of the recording studio as dream state, but also examines as a disturbing undercurrent the volatile issue of race in twentieth-century music, the way in which it doomed relationships and ambitious projects, exploited great talents, and distorted the cultural landscape.
Fairouz and the Arab Diaspora
With a discography of over 1000 songs, 20 musicals and three motion pictures, the Lebanese singer and performer, Fairouz, is an artist of pan-Arab appeal, who has connected with listeners from diverse backgrounds and geographies for over four often tumultuous decades. In this book, Dima Issa explores the role of Fairouz's music in creating a sense of Arab identity amidst changing political, economic context. Based on two years of research including 60 interviews, it takes an ethnographic approach, focussing on audience reception of Fairouz's music among the Arab diasporas of London and Doha. It shows that for discussants, talking about Fairouz meant discussing diasporic life, bringing to the surface notions of Arabness and authenticity, presence and absence, naturalization and citizenship, and the issue of gender. Conversations with the research respondents shed light on the idea of iltizam (commitment), or how members of the Arab diaspora hold on to attributes that they feel define and differentiate them from others.
Intimate Entanglements in the Ethnography of Performance
Honourable Mention for Society for Ethnomusicology - Ellen Koskoff Edited Volume Prize Offers expansive and intersecting understandings of erotic subjectivity, intimacy, and trauma in performance ethnography and in institutional and disciplinary settings. Focused on research within Africa and the African diaspora, contributors to this volume think through the painful iterations of trauma, systemic racism, and the vestiges of colonial oppression as well as the processes of healing and emancipation that emerge from wounded states. Their chapters explore an acoustemology of intimacy, woman-centered eroticism generated through musical performance, desire and longing in ethnographic knowledge production, and listening as intimacy. On the other end of the spectrum, authors engage with and question the fetishization of race in jazz; examine conceptions of vulgarity and profanity in movement and dance-ethnography; and address pain, trauma, and violation, whether physical, spiritual, intellectual, or political. Authors in this volume strive toward empathetic, ethical, and creative ethnographic engagements that summon vulnerability and healing. They propose pathways to aesthetic, discursive transformation by reorienting conceptions of knowledge as emergent, performative, and sonically enabled. The resulting book explores sensory knowledge that is frequently left unacknowledged in ethnographic work, advancing conversations about performed sonic and somatic modalities through which we navigate our entanglements as engaged scholars.
The Last Romantic in His Own Words
The Last Romantic in His Own Words combines carefully curated personal and professional letters with reminiscences, pedagogical essays, and statements on public affairs that Hungarian musician Ernst von Dohn獺nyi (1877-1960) wrote throughout his lengthy career. Also included are a selection of interviews he gave in various capacities: as a celebrated and versatile performer, as the composer of beloved masterworks, as an internationally respected pedagogue, and as a leader in Hungary's leading musical institutions. These texts--many of which have never appeared in English--shed new light on Dohn獺nyi's singular aesthetics, as well as on his career as a charismatic and at times controversial public figure who was one of the most influential musicians of the twentieth century, particularly in Hungary. The result of twenty-five years of archival research in England, Hungary, and the United States, the documents outline the major chapters in Dohn獺nyi's long and fascinating life, from his joyful childhood in Hungary, through a globetrotting career that witnessed the advent of the radio as well as air travel, and ultimately to his final years in political exile. Along the way, readers will gain valuable insights into not only Dohn獺nyi's musical influences and personal philosophies as a performer, music educator, and composer, but more broadly musical life and the dissemination of musical knowledge and public taste in the first half of the twentieth century. The documents facilitate a much-needed reevaluation of a public figure and private individual caught up in the web of twentieth-century politics, resulting in a picture that is more complete than ever of one of the most elusive musicians of the twentieth century.
I Dreamed I Saw Joe Hill Last Night
Joe Hill emigrated from Sweden to the United States in 1902, eventually joining the Industrial Workers of the World and becoming the most celebrated labor songwriter in the country. In 1915, he was executed for a crime that is widely believed he did not commit, and in the 1930s, the song "Joe Hill" was created to honor this legendary labor martyr. This book, the first to tell the story of the song "Joe Hill," follows the song's national and international diaspora as it developed from a labor union ballad into an international anti-war anthem and rallying cry for all people to rise up against their oppressors. Included are the historical contexts of the song's many eras and the performers who ensured its continued relevance, such as Paul Robeson, Joan Baez, Pete Seeger, and Utah Phillips.
Chicagoland at 45 RPM
The greater Chicagoland area of the Midwest--Illinois, Indiana, Wisconsin, Michigan, and Iowa--well represented the profuse pop rock playlist of the mid-1960s. This prolific area produced a significant soundtrack from late 1965 into 1972 that reverberated across the country. The vibrant suburban scene produced nearly 40 singles that reached the record charts locally and regionally, with several of the 45s placing on the national listings. Some of the Chicagoland hits include "Kind of a Drag," "Vehicle," "Bend Me, Shape Me," and "Gloria," recorded by the Buckinghams, Ides of March, American Breed, and Shadows of Knight. This book, a geomusicultural chronicle, documents a multitude of Chicagoland bands and their music. They sounded across neighborhoods, thriving teen clubs, television dance and variety shows, renowned recording studios, local independent and major record labels--and through the pervasive AM airwaves of two 50,000-watt downtown radio stations, WLS and WCFL, featuring lineups of dynamic disc jockeys. This period piece portrays a momentous mark within "that toddlin' town's" rich music heritage.
Ponk!
A punk rock anti-memoir told through the eyes of a biracial Afrolatino punk academic.癒P?NK! follows Moose, an alienated academic and lead guitarist for Pipebomb!, as he navigates through spaces in and out of South East Los Angeles: punk clubs, college classrooms, family gatherings, street protests, and euphoric backyard shows. Oscillating between autofiction, memoir, and lyric, Clayton blurs genres while articulating the layered effects of racism, trauma, immigration, policing, Black hair, performance, and toxic academic language to uncover how one truly becomes an "ally." Borrowing from the spatial lyricism of Claudia Rankine, the genre-bending storytelling of Alexander Chee, and the racial musings of James Baldwin, 癒P?NK!'s narrative takes back punk rock and finds safe space in the mosh pit.
Weep, Shudder, Die
"Looking at opera from the standpoint of its texts, as only a gifted poet and librettist can do, Dana Gioia examines why a surprisingly small number of operas have attained a secure place in the repertory. His insight into the workings of this uniquely lyrical fusion of the arts makes Weep, Shudder, Die not only a definitive assessment of the importance of poetry to the operatic undertaking, but a gift to opera lovers everywhere. Read...Reflect...Delight!"--Ted Libbey, author of The NPR Listener's Encyclopedia of Classical Music"Weep, Shudder, Die should be read by anyone who enjoys opera, or who cares about its place in today's world. Dana Gioia explores, with imagination and insight, the relationship between the libretto and the music. I learned a great deal in reading it, and at the same time enjoyed the experience immensely."--Henry Fogel, Former President, Chicago Symphony Orchestra and League of American OrchestrasA unique book about opera--personal, impassioned, and provocative. Weep, Shudder, Die explores opera from the perspective by which the art was originally created, as the most intense form of poetic drama. The great operas have an essential connection to poetry, song, and the primal power of the human voice. The aim of opera is irrational enchantment, the unleashing of emotions and visionary imagination.Gioia rejects the conventional view of opera which assumes that great operas can be built on execrable texts. He insists that in opera, words matter. Operas begin as words; strong words inspire composers, weak words burden them. Ultimately, singers embody the words to give the music a human form for the audience.Weep, Shudder, Die is a poet's book about opera. To some, that statement will suggest writing that is airy, impressionistic, and unreliable, but a poet also brings a practical sense of how words animate opera, lend life to imaginary characters, and give human shape to music. Written from a lifelong devotion to the art, Gioia's book is for anyone who has wept in the dark of an opera house.
Taylor Swift Tour Colouring & Activity Book
She's without doubt the biggest star on the planet, one of the most exciting and innovative artists in the music industry today and loved by millions of us around the world. And with over 150 shows in more than 50 cities across five continents, Taylor Swift's groundbreaking Eras Tour is already one of the biggest and best the world has ever seen. Split into ten distinct acts, it takes fans on an audiovisual adventure through her career so far, from her beginnings as a teen country starlet, to the genre-shifting global sensation she has become.Now it's time to celebrate her tour de force in creative style! In this book, you can unleash your inner artist and test your Swiftie knowledge. There are 36 Eras Tour-themed illustrations ready for you to customise with colour, plus a selection of fun puzzles to solve and quizzes to answer. So whether you were lucky enough to get tickets for the tour or not, let's grab some colours and get started...
Britten, Opera and Film
Investigates cinematic qualities in opera and reveals why Benjamin Britten's operas lend themselves to TV and film interpretations. Benjamin Britten's 1954 opera The Turn of the Screw, based on Henry James's ghost story, has been described by many critics and commentators as cinematic. Along with Peter Grimes, The Turn of the Screw is one of the most frequently televised or filmed of Britten's operas. Some of these productions have used location footage and/or studio work, and others are based on theatrical settings. This book explores the notion of cinematic opera in the context of The Turn of the Screw and filmed opera in general, and questions what inherent cinematic qualities exist in the work which make it particularly conducive for screen interpretation, an aspect of Britten's compositional style which has rarely been examined in detail before. Contrary to the prevailing narrative around Britten's disdain for cinema and television, the composer engaged with film as both a cinemagoer and film music composer early in his career and these experiences informed his compositional and dramatic choices. Archival research reveals clues to the composer's adaptation process. By tracing the progress from Henry James's original novella to operatic stage and screen production, via the development of Myfanwy Piper's libretto and Britten's score, the journey of adaptation is discussed in detail. A key part of the book looks at the subsequent interpretation of the opera on screen. Case studies evaluate eight directors' interpretations of the opera ranging from 1959 up to the 2020s. Included is a special study of Peter Morley's 1959 ITV version, which had previously been thought lost. This reveals the roots of Britten's subsequent engagement with screen media, culminating in his television opera Owen Wingrave. The book also briefly explores the influence of cinema on stage productions of the opera which have not been filmed.
The Evolution of Chinese Popular Music
Ya-Hui Cheng examines the emergence of popular music genres - jazz, rock, and hip-hop - in Chinese society, covering the social underpinnings that shaped the development of popular music in China and Taiwan, from imperialism to westernization and from modernization to globalization. The political sensitivities across the strait have long eclipsed the discussion of these shared sonic intimacies. It was not until the rise of the digital age, when entertainment programs from China and Taiwan reached social media on a global scale, that audiences realized the existence of this sonic reciprocation. Analyzing Chinese pentatonicism and popular songs published from 1927 to the present, this book discusses structural elements in Chinese popular music to show how they aligned closely with Chinese folk traditions. While the influences from Western genres are inevitable under the phenomenon of globalization, Chinese songwriters utilized these Western inspirations to modernize their musical traditions. It is a sensitivity for exhibiting cultural identities that enabled popular music to present a unique Chinese global image while transcending political discord and unifying mass cultures across the strait.
Musical Psychedelia
Psychedelic music is a fascinating yet under-researched field of study. This thought-provoking collection offers a broad introduction to the field of psychedelic music studies, bringing together scholarly work on psychedelic music in genres like rock, folk, electronic dance music and pop. Through an expanded purview on psychedelic music, an emerging trend in research, the collection affords students and academics alike an introduction to a rich, multi-faceted field.The contributing authors explore a range of different facets of musical psychedelia: its transgressive and transcendent aspects, its foregrounding of timbre and texture, the way it changes our perception of time, its influence on "non-psychedelic" music, key composition and production techniques that composers and musicians use in its creation, how it is mediated by different places and spaces, and the interplay between psychedelic visual and sonic aesthetics.This interdisciplinary work reveals both commonalities in musical psychedelic experiences and the contestation inherent in a field of study that juxtaposes music of different genres and eras with a variety of theoretical approaches and methodologies. In broadening the scope of psychedelic music research, the collection not only makes for varied and absorbing reading on the subject level but also stimulates reflexive thought about interdisciplinary research.
The Art of Dancing Explain'd
The Art of Dancing Explain'd is an original work of text and engravings, first published by the author in London in 1735. While contemporary books of dance notations were intended mainly for masters, Kellom Tomlinson's treatise was aimed at a wider, however affluent, public. In it, he details dance steps expected of the genteel of his day, including the coupee, bouree, rigadoon, galliard, pirouette, and many variations upon the minuet. The thirty copper engravings ushered in a groundbreaking method of communication technology, combining the notations of dance steps on the ground with a dancing figure performing them.This edition is digitally restored and revised, making both the text and images more legible and accessible for modern readers. Featuring a new foreword by Gabriella Karl-Johnson to give context to Tomlinson's innovative book, it's the perfect companion resource for dance enthusiasts and academics.
The Anglo Concertina Music of William Kimber
William Kimber is widely remembered for his essential role in the revival of English Morris dance in the early twentieth century. He was also an iconic English musician who played for late 19th century village social dances as well as for Morris. His crisp and buoyant playing of the Anglo concertina has inspired generations of traditional musicians. The Anglo Concertina Music of William Kimber examines both his personal history and the history of the village of Headington Quarry where he developed as a bricklayer, family man, Morris dancer, and musician. It contains an analysis of and tutorial for his unique playing style, as well as complete transcriptions of all his recorded tunes. His accompaniment techniques on the two-row Anglo concertina are straightforward and intuitive, and offer much to those who wish to play dance music in a traditional manner.
Keeping Time
Keeping Time: Dialogues on music and archives in Honour of Linda Barwick explores current issues in ethnomusicology and the archiving and repatriation of ethnographic field recordings.The 19 chapters by 36 authors consider archiving practices as a site of interaction between researchers and cultural heritage communities; cross-disciplinary approaches to understanding song; and the role of musical transcription in non-Western music.This volume is international in scope with case studies with Indigenous and minority peoples from Papua New Guinea, China, India, the Torres Strait and mainland Aboriginal Australia; the latter being the focus of the majority of chapters.Topics include the revival of songs from early written sources, creation of new songs based in old genres, the concept of "sing" in other languages, spirits as the origin of song knowledge, and how to manage ethnographic records over time. Keeping Time approaches Indigenous practices from a range of disciplines, including linguistics, history and performing arts, as well as Indigenous Studies, cultural revitalisation (including reclamation of Indigenous languages), Indigenous knowledge and application to climate change.Offered in honour of Emeritus Professor Linda Barwick, the founder of the Indigenous Music, Language and Performing Arts series, Keeping Time offers a diverse range of opinions on ethnographic research practices and their value to society.There are 3 audio examples available to be listened to here: https: //open.sydneyuniversitypress.com.au/keeping_time.html
Opening Doors
What is the role of classical music in the 21st century? How will classical musicians maintain their relevance and purpose?This book follows the working activities of professional orchestral musicians and opera singers as they move off stage into schools, community centres, prisons, libraries, and corporations, engaging with their communities in new, rich ways through education and community engagement programmes. Key examples of collaborative partnerships between orchestras, opera companies, schools and music services in the delivery of music education are investigated, with a focus on the UK's Music Hub system. The impact of these partnerships is examined, both in terms of how they inspire and foster the next generation of musicians as well as the extent to which they broaden access to quality music education. Detailed case studies are provided on the impact of classical music education programmes on social cohesion, health and wellbeing, and the education outcomes for students from low socio-economic communities. The implications for the future training of classical musicians are analysed, as are the new career paths for orchestral musicians and composers straddling performance and education.Opening Doors: Orchestras, Opera Companies and Community Engagement investigates the ways in which the classical music industry is reinventing its sense of purpose, never a more important or urgent pursuit than in the present decade.
Crowded House
When Crowded House arrived with their debut album and hit single 'Don't Dream It's Over' in 1986, the seed of a unique musical journey was planted into our collective musical consciousness. The Aussie/Kiwi trio created a sound as playful as Split Enz - out of which two of its members graduated - with an adventurous spirit inspired by The Beatles, and crafted genuinely enduring melodies. Earworm-worthy songs like 'Weather With You', 'Distant Sun', 'Better Be Home Soon' and so many others have become genre-bending, sing-along-able and timeless creations. What began with three buddies, led by songwriter Neil Finn, playfully frolicking, and mugging the camera in music videos, developed into mature artists reflecting on life, love and mortality after the death of their beloved drummer. In time, this blossomed once again into a true family band as the younger Finns joined their father as permanent members. Along the way, Crowded House consistently churned out unforgettable melody after intoxicatingly unforgettable melody over eight studio albums. This track-by-track exploration of their poetic lyrics and musical legacy recognises the quality that has brought them the love and admiration of music fans and fellow musicians from around the world.
Women Writing Musicals
The first-ever book to tell the stories of over 300 inspiring women who wrote Broadway and Off-Broadway musicals that Publishers Weekly calls "an exhaustive tribute to women whose contributions to Broadway musical history have often been overlooked." Library Journal praises the book, saying, "Tepper has fashioned a winning book on the unsung heroines of Broadway musicals that will be appreciated by readers of women's studies and theater lore." Kirkus Reviews says it's an "encyclopedic reference" and a "long-overdue tribute to female lyricists and composers." From the composers who pounded the pavement selling their music in Tin Pan Alley at the turn of the twentieth century; to the lyricists who broke new ground writing shows during the Great Depression; to the book writers who penned protest musicals fighting for social justice during the 1970s; to those who are revitalizing the landscape of American theatre today, Women Writing Musicals tells the stories of over 300 inspiring women who wrote Broadway and Off-Broadway musicals.Jennifer Ashley Tepper's definitive book covers prolific and celebrated Broadway writers like Betty Comden and Jeanine Tesori, women who have written musicals but gained fame elsewhere like Dolly Parton and Sara Bareilles, and dramatists you've never heard of--but definitely should have. Among the gems shared here are the stories of Clara Driscoll, who saved the Alamo and also wrote a Broadway musical; Micki Grant, whose mega-hit musical about the Black experience made her the first woman to write book, music, and lyrics for a Broadway show; Mar穩a Grever, who made her Broadway debut at age 56 and who was the first Mexican female composer to achieve international success; and the first all-female writing team for a Broadway musical, in 1922: Annelu Burns, Anna Wynne O'Ryan, Madelyn Sheppard, and Helen S. Woodruff. This book is a treasure trove for theatre-loving readers that Tony and Emmy Award-winning actor and singer Kristin Chenoweth praises as "a wonderful resource for actors, and an important read for anyone interested in theatre."
High and Rising
A stunning cultural biography of De La Soul, the era-defining hip-hop trio that touched millions of lives and changed rap forever.De La Soul burst onto the scene with the release of their groundbreaking 1989 album 3 Feet High & Rising, an "anything goes" hip-hop masterpiece hailed as a new masterwork from a bygone era of Black experimentation.Formed in Long Island in 1988 by Kelvin "Posdnuos" Mercer, Dave "Trugoy the Dove" Jolicoeur, and Vincent "Maseo" Mason, De La Soul rebuked classification and appealed to the Black alternative. Their music was positive and psychedelic, their imagery full of flowers and peace signs. It was rap with a broad sonic palette which set the blueprint for an entire generation of artists who followed. But as quickly as De La ascended, they were faced with the pressures of a changing industry and bitter legal battles.Completed in the wake of Dave's passing and the group's arrival on streaming platforms after years in digital purgatory, High and Rising tells the story of one of the most influential rap groups of all time. In the process, acclaimed music journalist Marcus J. Moore braids in a deeply personal coming-of-age story about his journey through life with De La as a backdrop.The first book about De La Soul, High and Rising shows that De La Soul is Black history, American history, world history, our history. This is a tale about staying the course, and how holding true to your virtue can lead to dynamic results.
Music and Dance as Everyday South Asia
Music and Dance as Everyday South Asia offers an inclusive lens through which to study the music, dance, and allied arts of South Asia, its diasporas, and the people who produce and use these cultural expressions. The authors in this collection--ethnomusicologists, dance scholars, anthropologists, and practitioners--understand music and dance as everyday lived experience. "The everyday" comprises practices of South Asians in multiple countries, whose identities include numerous castes, classes, tribes, genders, sexualities, religions, nationalities, more than twenty languages, and other affiliations. With the goal to de-emphasize an approach that fetishizes analysis of classical form and its technical virtuosity, this book instead contextualizes the understanding of aesthetic meaning within six themes: place and community; style, genre, and function; intersectional identities of caste, class, and tribe; gender and sexuality; technology, media, and transmission; and diaspora and globalization. The thirty chapters in this collection demonstrate how the arts are meaningful expressions of human identities and relationships for ordinary people as well as virtuosic performers. Each author ties their thesis to hands-on, participatory exercises that provide multiple entryways to understand and engage with cultural meaning. In so doing, they empower classroom dialogue that treats embodied experience as a vital mode of enquiry, supplementing critical textual analysis to cultivate attentive, responsive, and ethical dispositions toward the music and dance practices of other humans and their life experiences.
The Cambridge Companion to Music in Australia
As a companion to 'music in Australia', rather than 'Australian music', this book acknowledges the complexity and contestation inherent in the term 'Australia', whilst placing the music of Aboriginal and Torres Strait Islander people at its very heart. This companion emphasizes a diversity of musical experiences in the breadth of musical practice that flows though Australia, including Indigenous song, art music, children's music, jazz, country, popular music forms and music that blurs genre boundaries. Organised in four themed sections, the chapters present the latest research alongside perspectives of current creative artists to explore communities of practice and music's ongoing entanglements between Indigenous and non-Indigenous cultural practices, the influence of places near and far, of continuity, tradition, adaptation, and change. In the final chapter, we pick up where these chapters have taken us, asking what is next for music in Australia for the future.
Bruckner's Fourth
Anton Bruckner's Fourth Symphony is one of the most beloved and frequently performed works in the orchestral repertoire. Despite this, a great deal about the work and its genesis has been either unknown, poorly understood, or starkly misrepresented. The work's extraordinary history is the source of much of this confusion. Bruckner worked on the Fourth over fifteen years before he finally published the score in 1889. During the process, he created several earlier versions of the work, which remained unknown until decades after his death. The first attempts to comprehend the work's compositional history were made by German scholars in the 1930s, but these not only proved partial but sowed the seeds of a long tradition of misunderstanding. This book offers the first complete and coherent account, which draws upon numerous previously overlooked sources, of the extraordinary compositional evolution of this magnificent symphony. What emerges is the story of Bruckner's remarkable efforts to produce a symphony that would, as he put it, be able to "make its effect" in performance. The heart of the book is an exploration, based on comprehensive archival research and critical analysis, of the creative development of the Fourth Symphony. It explains the nature and significance of the different versions through which the work passed, considers the impact of early performances, delves into the complicated roles played by Bruckner's collaboration with other musicians in the later stages of the work's evolution, and situates all of this in Bruckner's biographical, social, and musical context. The book also critiques the conventional wisdom about the so-called problem posed by the versions of Bruckner's works by deconstructing long-established myths, developing new insights, and bringing the musical logic of Bruckner's approach into clear focus. The book offers a searching yet accessible account of the music of the Fourth and a critical survey of the varying ways the work has been interpreted in performance and, starting in the 1930s, on recordings.
Kill Your Masters
All the unwritten rules of rap say it doesn't happen like this. Yet Killer Mike, a Black man from Atlanta, Georgia, and El-P, a white man from Brooklyn, New York, have transformed what should have been the twilight of their careers as rappers into their biggest spotlight yet. Known as the hip-hop duo Run The Jewels, they have headlined festivals worldwide, become action figures and Marvel comic book characters, spearheaded a worldwide countercultural movement, and played a significant role in the last two presidential elections. This is the buddy-movie-like story of how they got there. It is a tale that parallels the incredible changes the music industry has gone through over the past twenty-five years--charting a course from the highs around the turn of the century to the collapse of the CD format and the eventual rise of streaming media--while also mapping the evolution of both pop culture and its sociopolitical climate. From the surging popularity of afrofuturism and the fall of the Twin Towers to the rise of the Black Lives Matter movement and the kneeling of Colin Kaepernick, such events all tie into how their budding bromance transformed Killer Mike and El-P from solo artists in underground hip-hop to pop cultural icons recognized all over the globe.
Flowers In The Rain
In the pantheon of rock history - The Move have been overlooked but no longer. How do you describe The Move - one of the greatest British bands to come out the 1960s beat boom? Who incorporated the hippest, pop rock and mod soul influences. All in a unique dazzling fashion. Their residency at The Marquee in London's Soho. Marked them out immediately, as a formidable live outfit. Few (if any) bands on the fertile scene, could follow an incendiary Move set. They also had an emerging uber-talent in songwriter Roy Wood. A fast-developing songwriter. Wood under pressure, composed four top ten hits for the five-piece original band. And a later run of singles that charted until 1972. Like all great acts - the seeds of destruction may have been gestating from day one. Energy and talent was spread across the five charismatic, young men. An edgy, combustible combination. This overdue book examines their event-filled career including their crowning and most damning moment: Being sued by Harold Wilson; the extant British Prime Minister. 'Flowers In The Rain' sprouted all the way to the Number 2 spot in the charts. The catchy single, followed an edgy and careless publicity stunt by manager Tony Secunda. A limited-edition postcard - pushed through the door of Number 10 Downing Street. Depicting the PM with Marcia Falkender in an intimate moment. The "scandalous" image - brought the fury of the UK establishment down on The Move. Including surveillance by MI5, Britain's homeland Secret Intelligence Service Like The Sex Pistols furore, ten years later. The Move were punk forerunners in attitude and outrage. This book will examine in detail the High Court case. Plus, the machinations leading to Roy Wood losing all the royalties from the 'Flowers In The Rain' single. Along with Rob Caiger, the main archivist of The Move and their history, Jim McCarthy provides a detailed and illuminating reading experience.
Anarcho-Punk
Anarcho-Punk: Music and Resistance in London 1977-1988 by David Insurrection is the distillation of three years work. It's the story of an oft overlooked scene. Anarcho-punk in the 1980s truly rocked the boat. Much more than music it set out to change the world and in a not insignificant way did just that. It inspired a generation of activists, artists and musicians to take up the fight for a better fairer world. They tore down the walls. The Sex Pistols may have opened the door but the Crass punks charged through it. This is their story. As we return to the embattled 1970s and 1980s David takes us on a journey where we visit some of the scene's most significant locations and hot spots, to places where change mattered and the spirit of revolt burned brightest.
Rags of Light
Creatively bringing the songs, prayers, and poetry of Leonard Cohen into conversation with Scripture, this book deeply grounds Cohen's work in the landscape of the biblical imagination, paying special attention to Jesus together with the prophetic and priestly voices of Scripture. What emerges is a compellingly lyrical work of theology that deepens our understanding of both Cohen and biblical faith. Leonard Cohen has undoubtedly been a liturgist for our time, a cantor singing for all those clothed in rags of light, a prophet in the ruins, and a priest who greets us "from the other side of sorrow and despair."
Singing Utopia
Singing Utopia is a unique and ambitious work which asks us to listen differently to voice in musical theatre. Across fifteen case studies from Florodora to Hadestown, Ben Macpherson hears something utopian in the extraordinary, emotional, and situational directness of singing voices as they escape the confines of everyday life. Yet, as this book discovers, the very nature of utopia is paradoxical, fraught with undercurrents of nostalgia, melancholy, and the perpetual threat of the dystopian. Singing Utopia listens across these fault lines in our understanding of utopia and asks what it means for a musical to give voice to an imagined world which is always a contradiction in terms. Who gets to inhabit such a world? Who is excluded? How can we locate utopia in musical theatre voices, and what might be the consequences when its complexities are exposed? Listening for answers to these questions, implicitly connected with concerns of class, race, gender, and culture, the author draws on a diverse range of approaches, including voice studies, musicology, sound studies, literary studies, political philosophy, and ethnography. In doing so, Singing Utopia examines current ways of listening while moving beyond them to develop a series of new terms, including 'decadent appropriation', 'simuloquism', two kinds of 'voiceworld', and three new approaches to the chorus and ensemble. This book offers an original and provocative account of musical theatre singing, exposing the power, possibilities, and paradoxes heard in voices that promise 'something better'-whatever, in the end, that might be.
Singing in the Saddle
Ranger Doug Green's immensely popular history of Western Music! A singing cowboy himself, Douglas B. Green is uniquely suited to write the story of the singing cowboy, from the early days of vaudeville and radio, through the heyday of movie westerns before World War II, to the current revival. He provides rich and careful analysis of the studio system that made Gene Autry and Roy Rogers famous, and he documents the role that country music and regional television stations played in carrying on the singing cowboy tradition after the war. Green's story reveals how the imagery of the singing cowboy has become such a potent force that even now country musicians don cowboy hats to symbolically take part in the legend.
The Cambridge Companion to Music in Australia
As a companion to 'music in Australia', rather than 'Australian music', this book acknowledges the complexity and contestation inherent in the term 'Australia', whilst placing the music of Aboriginal and Torres Strait Islander people at its very heart. This companion emphasizes a diversity of musical experiences in the breadth of musical practice that flows though Australia, including Indigenous song, art music, children's music, jazz, country, popular music forms and music that blurs genre boundaries. Organised in four themed sections, the chapters present the latest research alongside perspectives of current creative artists to explore communities of practice and music's ongoing entanglements between Indigenous and non-Indigenous cultural practices, the influence of places near and far, of continuity, tradition, adaptation, and change. In the final chapter, we pick up where these chapters have taken us, asking what is next for music in Australia for the future.
Grand OLE Opry 2025 Wall Calendar
Wish the members of the Grand Ole Opry happy birthday with this 12-month wall calendar showcasing birthdays for each current member of the Opry from the show's 100-year history alongside colorful photographs from the home of country music. Celebrate 100 years of the Grand Ole Opry with this 12-month wall calendar featuring over 100 birthdays of current Opry members alongside photographs of beloved stars and super stars. From Dolly Parton and Kelsea Ballerini to Luke Combs and Darius Rucker, your year will shine bright with the stars of country music. Features include: 12" x 12" (12" x 24" open) Printed on FSC-certified paper with soy-based ink Planning spread for September-December 2024 Spans January-December 2025 Generous grid space for notes, appointments, and reminders Official major world holidays and observances Moon phases, based on Universal Time Over 100 birthdays of current Opry members and colorful photographs
Punk Rock Women Alive and Well in South Philly
How is the Philadelphia Punk Rock scene defying gender stereotypes and empowering women to push boundaries and transform their lives?Drawing on personal experience and interviews, this book explores the important part women play in the Philadelphia Punk Rock scene as creators, cultural producers, community and infrastructure builders, and institutional developers. Author Anne Cecil examines the rise of the Philly scene in the wider Punk context and how, based on location and community, it diverged from the aggressive, masculine stereotype.Discussing themes of social identity, community, and empowerment, this book is ideal reading for students of Fashion and Style, Gender Studies, Sociology, and Cultural Anthropology.
Partridge: Grade by Grade, Book 2 the Complete Resrouce Violin and Piano Book with Online Material
(Boosey & Hawkes Chamber Music). The Grade by Grade series draws on the rich and varied Boosey & Hawkes catalogue of classical, contemporary and educational repertoire, highlighting composers including Serge Prokofieff, Dmitri Shostakovich, Karl Jenkins, Carol Barratt and Christopher Norton, alongside arrangements of traditional music from around the world by Peter Wastall, Edward Huws Jones and others. Carefully selected by Liz Partridge, this practical anthology provides the complete repertoire resource for the aspiring Grade 2 violinist and creates the perfect package for teaching, exam preparation and performance. Each volume contains: a diverse collection of pieces, each complemented by a useful practice and performance tip grade-appropriate scales and arpeggios linked to the repertoire through bespoke text and exercises brand new sight-reading, music-theory and improvisation activities newly-commissioned aural awareness tasks a piano accompaniment booklet Full performance demonstrations, piano accompaniment tracks and grade-appropriate aural awareness resources available online. Liz Partridge is an experienced performer and teacher. She began her career as a quartet player and with ensembles at the BBC and the English National Opera before taking up the position of Sub-Principal First Violin at the Royal Opera House, Covent Garden. As a freelance player she has performed in concert halls, theatres and recording studios around the world. She currently performs freelance with the BBC Symphony Orchestra. As a teacher, Liz regularly coaches and mentors individuals and ensembles of all ages and abilities. Her teaching experience informed her work as an examiner for Trinity College London and now as a festival adjudicator.
Partridge: Grade by Grade, Book 5: The Complete Resource for Violin and Piano Book with Online Material
(Boosey & Hawkes Chamber Music). The Grade by Grade series draws on the rich and varied Boosey & Hawkes catalogue of classical, contemporary and educational repertoire, highlighting composers including Serge Prokofieff, Dmitri Shostakovich, Karl Jenkins, Carol Barratt and Christopher Norton, alongside arrangements of traditional music from around the world by Peter Wastall, Edward Huws Jones and others. Carefully selected by Liz Partridge, this practical anthology provides the complete repertoire resource for the aspiring Grade 5 violinist and creates the perfect package for teaching, exam preparation and performance. Each volume contains: a diverse collection of pieces, each complemented by a useful practice and performance tip grade-appropriate scales and arpeggios linked to the repertoire through bespoke text and exercises brand new sight-reading, music-theory and improvisation activities newly-commissioned aural awareness tasks a piano accompaniment booklet Full performance demonstrations, piano accompaniment tracks and grade-appropriate aural awareness resources available online. Liz Partridge is an experienced performer and teacher. She began her career as a quartet player and with ensembles at the BBC and the English National Opera before taking up the position of Sub-Principal First Violin at the Royal Opera House, Covent Garden. As a freelance player she has performed in concert halls, theatres and recording studios around the world. She currently performs freelance with the BBC Symphony Orchestra. As a teacher, Liz regularly coaches and mentors individuals and ensembles of all ages and abilities. Her teaching experience informed her work as an examiner for Trinity College London and now as a festival adjudicator.
Partridge: Grade by Grade, Book 1: The Complete Resource for Violin and Piano Book with Online Material
(Boosey & Hawkes Chamber Music). The Grade by Grade series draws on the rich and varied Boosey & Hawkes catalogue of classical, contemporary and educational repertoire, highlighting composers including Serge Prokofieff, Dmitri Shostakovich, Karl Jenkins, Carol Barratt and Christopher Norton, alongside arrangements of traditional music from around the world by Peter Wastall, Edward Huws Jones and others. Carefully selected by Liz Partridge, this practical anthology provides the complete repertoire resource for the aspiring Grade 1 violinist and creates the perfect package for teaching, exam preparation and performance. Each volume contains: a diverse collection of pieces, each complemented by a useful practice and performance tip grade-appropriate scales and arpeggios linked to the repertoire through bespoke text and exercises brand new sight-reading, music-theory and improvisation activities newly-commissioned aural awareness tasks a piano accompaniment booklet Full performance demonstrations, piano accompaniment tracks and grade-appropriate aural awareness resources available online. Liz Partridge is an experienced performer and teacher. She began her career as a quartet player and with ensembles at the BBC and the English National Opera before taking up the position of Sub-Principal First Violin at the Royal Opera House, Covent Garden. As a freelance player she has performed in concert halls, theatres and recording studios around the world. She currently performs freelance with the BBC Symphony Orchestra. As a teacher, Liz regularly coaches and mentors individuals and ensembles of all ages and abilities. Her teaching experience informed her work as an examiner for Trinity College London and now as a festival adjudicator.
Partridge: Grade by Grade, Book 4: The Complete Resource for Violin and Piano Book with Online Material
(Boosey & Hawkes Chamber Music). The Grade by Grade series draws on the rich and varied Boosey & Hawkes catalogue of classical, contemporary and educational repertoire, highlighting composers including Serge Prokofieff, Dmitri Shostakovich, Karl Jenkins, Carol Barratt and Christopher Norton, alongside arrangements of traditional music from around the world by Peter Wastall, Edward Huws Jones and others. Carefully selected by Liz Partridge, this practical anthology provides the complete repertoire resource for the aspiring Grade 4 violinist and creates the perfect package for teaching, exam preparation and performance. Each volume contains: a diverse collection of pieces, each complemented by a useful practice and performance tip grade-appropriate scales and arpeggios linked to the repertoire through bespoke text and exercises brand new sight-reading, music-theory and improvisation activities newly-commissioned aural awareness tasks a piano accompaniment booklet Full performance demonstrations, piano accompaniment tracks and grade-appropriate aural awareness resources available online. Liz Partridge is an experienced performer and teacher. She began her career as a quartet player and with ensembles at the BBC and the English National Opera before taking up the position of Sub-Principal First Violin at the Royal Opera House, Covent Garden. As a freelance player she has performed in concert halls, theatres and recording studios around the world. She currently performs freelance with the BBC Symphony Orchestra. As a teacher, Liz regularly coaches and mentors individuals and ensembles of all ages and abilities. Her teaching experience informed her work as an examiner for Trinity College London and now as a festival adjudicator.
