Shaping Sound and Society
Drawing on interdisciplinary approaches to connect the material aspects of musical instruments with their social functions, this volume brings together leading voices from new wave of research on musical instruments at the center of cultural interactions. An essential read for students, academics and general readers of music.
Free Action
Advancing the New Jazz Studies by focusing on questions of intermediality and cultural catalysis, this book demonstrates the role jazz played in the re-making of West German culture in the post-war era.The shadow of National Socialism, a history of German polarisation by jazz, and the influences of occupation and division, meant that jazz catalysed influential young creative artists. These included writers such as Nobel Laureate G羹nter Grass, Young German Cinema filmmakers like Hansj羹rgen Pohland, and abstract visual artists like KRH S繪nderborg. Jazz provided an impulse to take into extra-musical artforms, and an impetus to reflect on what art and culture were. Through considering poetry, the novel, photography, film and television, graphic design and the fine arts, this volume reveals how German creatives were influenced not only by American jazz culture, but also by cultural innovations from elsewhere, and by German traditions they considered less compromised by the Nazi era. The book also explores the limits of this catalysis, examining for example how African-Americans received the German representation of jazz culture.Written in an accessible style, this important contribution to New Jazz Studies and German Studies scholarship will appeal to both graduate and undergraduate students or researchers in the fields of jazz history, twentieth-century musicology, and European or German cultural studies.
Right Back Where I Started
Right Back Where I Started is a musical odyssey of the heart, mind, and spirit, a journey from the innocent Pacific Northwest of the 1960s to China, Slovenia, Italy, Romania, the Middle East, and countless locations in America, crossing paths with the likes of Renee Fleming, Bill Clinton, James Earl Jones, Maya Angelou, and William Shatner. In Maestro Itkin's world, thrilling performances, memorable collaborations, and exotic travel occur in tandem with professional stumbles, difficult choices, and heartbreak, viewed through riveting anecdotes and glimpses into his personal and professional philosophy. But through it all, we never doubt that the music made, the friends acquired, and the lessons learned made it all worthwhile.
Reston Hardcore
Reston Hardcore: An oral history of jam for man and beyond by Andy KeilerNorthern Virginia in the `80s and `90s was the greatest independent music scene that almost nobody has ever heard of. Drawing inspiration from the raw energy of DC hardcore and the distinctive sound of Inner Ear Studios, this burgeoning scene spread throughout the suburbs, blending with the rising forces of Go-Go and hip-hop. Reston alone birthed members of iconic bands like Gwar, Scream, Avail, Branch Manager, and Deceased. Independent labels such as DSI, Simple Machines, Teen Beat, WGNS, Torque, and Victrola gave voice to this underground movement. These kids built a DIY community that supported one another, and the Jam for Man shows led to lives of lifelong activism through music."The Potomac River is not particularly mighty, but it does draw an indelible line between Washington DC and Northern Virginia. I have to believe that the isolation that compelled people, mostly kids, in DC to create their own musical community was also the driver for those in Northern Virginia who did the same. Here, in their own words, is how that scene came to be." - Ian MacKaye / Dischord Records, Minor Threat, Fugazi, Evens."While the DC punk community is famously influential, there always were creative, inspiring outshoots in the suburbs and exurbs of the city. Reston, VA was one of those tributaries, where a scene ignited by DC punk's musical freedom and social commitment took deep root and flourished. This is its story and that of its most well known culmination, the "Jam For Man" benefit concert series, told by the people who lived it. I learned a lot reading this, finding lesson and inspiration. This book reminds us that there is always something to be done, no matter how challenging the context. More than worth your time!" - Mark Andersen / Positive Force DC.
Performing Arts and Gender in Postcolonial Western Uganda
Focusing on runyege, the main traditional performance genre of the Banyoro and Batooro people, this book explores the entanglement of traditional music, dance, and theater with gender and postcolonialism in Western Uganda. Drawing on archival research and extensive fieldwork in the regions of Bunyoro and Tooro, Linda Cimardi examines the connection between traditional performing arts and gender in western Uganda. The book focuses on runyege, the main genre of the Banyoro and Batooro people, exploring its different components of singing, instrument playing, dancing, and acting and identifying their complex relationships to gender models and expressions. Today mainly performed at Ugandan school festivals and by semiprofessional ensembles, repertoires like runyege adhere to stage conventions that have developed over several decades. Some of these conventions are powerful devices allowing the actors involved (performers, teachers, students, adjudicators, and audiences) to collectively shape an image of local culture grounded in a gender binary that is perceived as traditional. At the same time, stage conventions are exploited by some performers to negotiate their gender identities and expressions in unconventional ways, thus challenging hegemonic gender models. Moving between analysis of historical recordings, oral accounts, and present-day fieldwork data and experiences, the book engages in a comprehensive analysis of the postcolonial entanglement of arts and gender. Audio and video recordings presented in the book can be accessed on the book's companion website, http: //hdl.handle.net/1802/37373.
A Church Hymn Book, With Metrical Psalms, And The Canticles Pointed For Chanting, Ed. By C.j. Chester
White Screens, Black Dance
White Screens, Black Dance analyzes the film and television dances of male screen stars in the United States during the mid-twentieth century. Unpacking the complex physical and visual codes performed by four case studies--the Nicholas Brothers, Gene Kelly, Elvis Presley, and Sammy Davis, Jr.--it argues that each employs Black (Africanist) dance and movement vocabularies in distinct ways, all using them to construct shifting models of masculinity over the course of their careers. In so doing, this book theorizes a practice of appropriation called blackbodying, whereby non-Black performers use Black dance and movement styles without using blackface makeup. Applying methodologies from both film and media studies and dance studies, it offers an interdisciplinary reading of these men's star texts and their screen-dances throughout the midcentury period. To best understand the nuances of their performances, White Screens, Black Dance considers not only the ever-changing, often ambiguous and contradictory signifiers of racial and gender identity from the 1940s-1960s, but also the ways that class, and the differing industrial and visual environments of Hollywood film vs. broadcast television, further shape how all five men danced their masculinities for the camera(s). It ultimately reveals how these resultant midcentury masculinities have continued to influence danced masculinity ever since.
Make Rappers Rap Again
In Make Rappers Rap Again: Interrogating the Mumble Rap "Crisis," author Heidi R. Lewis interrogates the ways Mumble Rap has been subjugated within real Hip Hop. Many critics claim mumble rappers are ignorant about Hip Hop history, disrespectful toward their Hip Hop elders, too similar, unskilled, prone to rapping about nonsense, and too feminine. In contrast, Lewis argues Mumble Rap is real Hip Hop. To do so, she examines Mumble Rap's congruence with oft forgotten or subjugated Hip Hop cornerstones like illegibility, melody, the DJ, and the subgenre, as well as the ways most mumble rappers practice citational and collaborative politics congruent with real Hip Hop. Following an analysis of the Mumble Rap sound, Lewis explains the subgenre's subjugation by situating it as southern and examining the ways it challenges real Hip Hop masculinity norms.
The Ultimate Christian Hymns Collection with Musical Notes
David Bowie and the Moving Image
The central image of David Bowie's "Life on Mars?" could have been ripped from his own experience: a child sits "hooked to the silver screen," reliving fantastical scenes played out on film. Throughout his life, Bowie was similarly transfixed by the power of film. From his first film role in The Image to his final music video before his death, "Lazarus," Bowie's musical output has long been intrinsically linked to images. Analyzing Bowie's music videos, planned film projects, acting roles, and depictions in film, David Bowie and the Moving Image provides a comprehensive view of Bowie's work with film and informs our understanding of all areas of his work, from music to fashion to visual art. It enters the debate about Bowie's artistic legacy by addressing Bowie as musician, actor, and auteur.
Last Waltz
Craig Harris dives deeply into The Band, including the myths and confusions surrounding its members, and provides a wide-ranging account from their very beginnings with Ronnie Hawkins, collaboration with Bob Dylan, to the present. A half-century after The Band's original lineup, Robbie Robertson, Rick Danko, Richard Manuel, and Garth Hudson, and Levon Helm played together for a final time at a star-studded concert-the "Last Waltz"-on Thanksgiving 1976. The group's blend of folk, blues, country, Dixieland, and rock 'n' roll is revered as a root of Americana music. Harris interweaves original and previously unpublished interviews with the late Robertson, Danko, and Hawkins, as well as producer/sideman Aaron "Professor Louie" Hurwitz, drummer Rick Ciarlante, the Helm Band's Larry Campbell and his wife Teresa Williams, and others. Recordings, concerts, festivals, film appearances, Robertson's soundtracks for Martin Scorsese, and others are assessed closely. But this isn't just a story celebrating the group's countless hits, successes, and victories. Despite their lasting influence, The Band's journey was far from smooth. Drug and alcohol abuse, poor health, bankruptcies, and bitter conflicts over songwriting credits took their toll. Craig Harris looks at it all.
Amazing Sounds in a Midwestern Town
Between 1846 and 1966, in the unlikely creative world of Bartholomew County, Indiana, innovation prevailed and quality of life was pursued. We can't divorce innovation then from what is available now; . The past led to the present, and the present shapes the future. Performers, educators, and philanthropists of a bygone era actively brought forth new ideas. Worlds of church, school, and community overlapped and interacted almost seamlessly for decades as a backdrop for musical creativity.There were no "stodgy" old-timers as a cursory view of music history might falsely suggest. Joseph I. Irwin, A. D. Fillmore, Francis J. Crump, John Smith Crump, J. G. Schwartzkopf, Benjamin Hutchins, William and Jennie Bates, Arthur Mason, Will Harding, Jessie Kitchen, Ida Edinburn, G. Chester and Elise Kitzinger, Gary F. Davis Sr., Elsie Sweeney, Nettie Sweeney Miller, J. Irwin Miller, the Barbour brothers, and E. Wayne Berry, and many more, were innovators (often in their twenties and thirties!), not maintainers of a sacred status-quo.So is our world of instant musical gratification better, richer, and more diverse? The final answer is ours to decide. Putting our minds and imaginations in the world of some outstanding people during the 120-year scope of this book can enrich our viewpoint and help us assess our self-indulgent musical souls. As you read this book, escape your present by turning to the past, then return to your present with a fresh perspective on what to do with it.
Amazing Sounds in a Midwestern Town
Between 1846 and 1966, in the unlikely creative world of Bartholomew County, Indiana, innovation prevailed and quality of life was pursued. We can't divorce innovation then from what is available now; . The past led to the present, and the present shapes the future. Performers, educators, and philanthropists of a bygone era actively brought forth new ideas. Worlds of church, school, and community overlapped and interacted almost seamlessly for decades as a backdrop for musical creativity.There were no "stodgy" old-timers as a cursory view of music history might falsely suggest. Joseph I. Irwin, A. D. Fillmore, Francis J. Crump, John Smith Crump, J. G. Schwartzkopf, Benjamin Hutchins, William and Jennie Bates, Arthur Mason, Will Harding, Jessie Kitchen, Ida Edinburn, G. Chester and Elise Kitzinger, Gary F. Davis Sr., Elsie Sweeney, Nettie Sweeney Miller, J. Irwin Miller, the Barbour brothers, and E. Wayne Berry, and many more, were innovators (often in their twenties and thirties!), not maintainers of a sacred status-quo.So is our world of instant musical gratification better, richer, and more diverse? The final answer is ours to decide. Putting our minds and imaginations in the world of some outstanding people during the 120-year scope of this book can enrich our viewpoint and help us assess our self-indulgent musical souls. As you read this book, escape your present by turning to the past, then return to your present with a fresh perspective on what to do with it.
Who Listens?
Imagine someone who attended a Beethoven Symphony in 1805. Now imagine a listener attending the same symphony today. Both create meanings by relying on previous experiences, but no one assumes they leave their concerts with the same experience. Yet, when analyzing music, we often rely on "ideal listeners," presuming all have the same experience. Who Listens? Experience, Cognition, and Musical Meaning is a fascinating look into the importance of who is listening and how. Author Janet Bourne presents a new set of cognitively-based tools for analyzing music from the perspective of the listener. This book shows how listening is an active and creative act, and that many people make sense of music largely by drawing on their previous experiences, particularly experiences with music. According to research in cognitive science, listeners use a musical form of analogy and categorization to relate what they previously heard to what they hear in the moment. To demonstrate that listeners draw on this experience to perceive meaning when listening, Bourne combines music analytic tools, empirical psychological methods, and reception history. Drawing on analogy and categorization, Bourne has designed cognitively-based tools for analyzing music from the perspective of the listener to create different interpretations for different listeners. While Part 1 outlines the analytical tools, Part 2 analyzes pieces by Beethoven from the perspective of three groups of listeners: Beethoven's early 19th-century contemporaries; late 20th- and 21st-century musicians and music scholars; and 21st-century film-goers. In so doing, this book illuminates how musical meanings change when considering different listeners' backgrounds and ways of listening, giving voice to overlooked reception histories and musical meanings.
Listen to Jazz!
Listen to Jazz!: Exploring a Musical Genre explores jazz as both an American musical genre and a global creative exchange, with a focus on 50 must-hear musicians, composers, bands, groups, albums, and songs. Rather than focusing on jazz as a solely American genre with a limited set of established jazz greats, Listen to Jazz! explores the diversity of jazz's sounds, compositions, recordings, and styles. A background chapter concisely surveys the genre's sounds, concepts, performance practices, and interactions with the sound recording industry and technological advances in recording. The A-to-Z Must-Hear Music entries include recent jazz musicians from around the world, jazz musicians and recordings that have been marginalized or overlooked, as well as musicians, songs, and albums that have been recognized already for contributing to the defining aspects of specific jazz styles. Chapters on the impact of jazz on popular culture and its legacy, as well as a bibliography, enhance the historical and analytical content found in many jazz resources. This book stands out for its inclusive and comparative listening-centered approach, often pairing or grouping musicians and recordings in its entries. Music concepts such as improvisation, syncopation, tone color, musical structure, harmonic and rhythmic patterns, and music production techniques are introduced and explained thoroughly, making the book accessible to high school and undergraduate students without any previous musical background while still being of interest to jazz aficionados and scholars.
Beyonc矇 the Stories Behind the Songs
Discover the full story behind every single song Beyonc矇 has ever released. From Destiny's Child to Cowboy Carter, this is the definitive guide to one of music's greatest ever talents, covering hundreds of songs including: - hit singles- hidden gems- soundtracks- cover versions - deep cuts ...and much more besides. Award-winning music writer Annie Zaleski (Rolling Stone, Billboard, the Guardian) explores and explains the fascinating details of every song, from early group hit 'Say My Name' to solo work such as 'Crazy In Love' and 'Run The World (Girls)' - and including the all-conquering Cowboy Carter. A journey through pop, hip-hop, R&B, gospel and even country, this is Beyonc矇's story told through her incredible music.
The Cambridge Companion to the Rite of Spring
A Companion not only to the historic, path-breaking ballet production by Diaghilev, Nijinsky, Roerich and Stravinsky that premiered in Paris in 1913, but also to its legacy across the centuries. The newly commissioned essays will guide students and ballet-goers as they encounter this fascinating work and enable them to navigate the complex artistic currents it set in motion, intertwining music, theatrical ballet and modern dance with the wider world of ideas. The book embraces The Rite of Spring as a spectrum of creative possibility that has impacted the arts, politics, gender, race and national identity, and even popular culture, from the 1910s to the present day. It distils an enormous body of literature, sharing insights from the very latest research while inviting readers to rethink standard scholarly narratives, and brings together contributions from specialists across multiple disciplines: music history, theory and analysis, dance and theatre studies, art history, Russian history, and European modernism.
The Cambridge Companion to the Rite of Spring
A Companion not only to the historic, path-breaking ballet production by Diaghilev, Nijinsky, Roerich and Stravinsky that premiered in Paris in 1913, but also to its legacy across the centuries. The newly commissioned essays will guide students and ballet-goers as they encounter this fascinating work and enable them to navigate the complex artistic currents it set in motion, intertwining music, theatrical ballet and modern dance with the wider world of ideas. The book embraces The Rite of Spring as a spectrum of creative possibility that has impacted the arts, politics, gender, race and national identity, and even popular culture, from the 1910s to the present day. It distils an enormous body of literature, sharing insights from the very latest research while inviting readers to rethink standard scholarly narratives, and brings together contributions from specialists across multiple disciplines: music history, theory and analysis, dance and theatre studies, art history, Russian history, and European modernism.
![Hymns of the Church Universal [Selected by J. and E.a. Rylands]](https://cdn.kingstone.com.tw/english/images/product/2477/9781023882477m.webp?Q=a5c5f "Hymns of the Church Universal [Selected by J. and E.a. Rylands]")
