Extreme Music
Expand your aural and sensory experiences with Extreme Music. An exploration of tomorrow's sounds (and silences) today. Michael Tau had spent years obsessed by the extremes of musical expression. Extreme Music: Silence to Noise and Everything In Between is the culmination of decades of research into the sounds (and silences) that comprise the outer limits and conceptual expressions that stretch the definition of music. Tau defines and categorizes these recorded sounds into sections that allow fans and newcomers to explore the fascinating world of musicians who defy convention. He explores a wide range of extremes including volume, speed, and vulgarity to packaging, recording methods, unplayable media, outdated technologies, and digital pioneers. He asks and answers the questions: Are all sounds music? Is silence music? Is a plate of rotting food once cataloged, packaged and sold by a distributor qualify as music? Extreme Music includes over 100 interviews with makers and musicians as Tau uses his background in psychiatry to help readers understand what motivates people to create and listen to non-mainstream music. As a fan of multiple avant-garde musical genres, Tau uncovers the pleasures (and sometimes pain and frustration) found at the outr矇 fringes of music. Extreme Music is the ideal guide for curious seekers, die-hard fans, and cultural investigators. Features images and curated links to samples of music.
Sounding Latin Music, Hearing the Americas
How is Latin American music heard, by whom, and why? Many in the United States believe Latin American musicians make "Latin music"--which carries with it a whole host of assumptions, definitions, and contradictions. In their own countries, these expatriate musicians might generate immense national pride or trigger suspicions of "national betrayals." The making, sounding, and hearing of "Latin music" brings into being the complex array of concepts that constitute "Latin Americanism"--its fissures and paradoxes, but also its universal aspirations. Taking as its center musicians from or with declared roots in Latin America, Jairo Moreno presents us with an innovative analysis of how and why music emerges as a necessary but insufficient shorthand for defining and understanding Latin American, Latinx, and American experiences of modernity. This close look at the growth of music-making by Latin American and Spanish-speaking musicians in the United States at the turn of the twenty-first century reveals diverging understandings of music's social and political possibilities for participation and belonging. Through the stories of musicians--Rub矇n Blades, Shakira, Arturo O'Farrill and the Afro-Latin Jazz Orchestra, and Miguel Zen籀n--Sounding Latin Music, Hearing the Americas traces how artists use music to produce worlds and senses of the world at the ever-transforming conjunction of Latin America and the United States.
Sounding Latin Music, Hearing the Americas
How is Latin American music heard, by whom, and why? Many in the United States believe Latin American musicians make "Latin music"--which carries with it a whole host of assumptions, definitions, and contradictions. In their own countries, these expatriate musicians might generate immense national pride or trigger suspicions of "national betrayals." The making, sounding, and hearing of "Latin music" brings into being the complex array of concepts that constitute "Latin Americanism"--its fissures and paradoxes, but also its universal aspirations. Taking as its center musicians from or with declared roots in Latin America, Jairo Moreno presents us with an innovative analysis of how and why music emerges as a necessary but insufficient shorthand for defining and understanding Latin American, Latinx, and American experiences of modernity. This close look at the growth of music-making by Latin American and Spanish-speaking musicians in the United States at the turn of the twenty-first century reveals diverging understandings of music's social and political possibilities for participation and belonging. Through the stories of musicians--Rub矇n Blades, Shakira, Arturo O'Farrill and the Afro-Latin Jazz Orchestra, and Miguel Zen籀n--Sounding Latin Music, Hearing the Americas traces how artists use music to produce worlds and senses of the world at the ever-transforming conjunction of Latin America and the United States.
Niggers Sing Redemption Songs
"Of all the various acts of inequity throughout time, none was more severe than the submission forced upon the indigenous peoples of the earth by their earthly demi-god counterparts. Robbing these peoples of their God given cultural and traditional knowledge of survival, void of cultural references and alienated from their traditional survival techniques and skills, the indigenous peoples had no other choice than to accept the ways of the earthly demi-gods, which was modernity and that came with many social disadvantages, worst of all, they would become second and third class citizens in a racially divided and dystopic world. The standard procedure was the implementation of acts that were intended to impart the greatest degree of fear, the fear of death and the fear of dying; whatever methods the noble savages thought would break the barbarian savages into submission. All manner of unthinkable acts of atrocity were employed against the indigenous peoples, because the objectives of the earthly demi-gods had to be met, which was to expropriate the lands and natural resources from these savages, these 'uncivilized' people." The work of Niggers Sing Redemption Songs: Reggae, The heart-beat of a people takes aim at reaffirming the psyche and glory of the Black self as of utter importance in our efforts to make our world a better place. The unconscionable disregard for the glory of the Black self and by refusing to use it, has successfully stripped away Black humanity from the Black indigenous peoples' collective consciousness; overall leading to a 'niggerization' process done for the benefits of the barbaric and ignobly self-acclaimed earthly demi-gods. The Black peoples of the world must bring back the 'Black' love of self and all things Black, that is your redemption and then, real life will be given to you. Additionally, what was most evidently conspicuous and surprising was a revelation that had emerged from the research of this study. The study has discovered evidences, which would indicate that because of social biases, for example, racial prejudices, and out-right arrogance, coupled with miss-education and deprecated mindsets, the attitudes of many Jamaican historians, the down trodden sectors of the Jamaican society were undermined and were not given meaningful historical documentations. The academics did not document, accurately, the accounts of Afro-Jamaican culture, for instance, the Rastafarians input into the cultural history of Jamaica. Although many academics of the time were themselves Afro- Jamaican, non-sympathizers to the Rasta movement, and, in most cases, just a generation or two removed from slavery, they were non-commiserated towards their people's history and struggles. So much so, that they did not consider the documentation of their Afro-Jamaican culture as a priority, and as such, a deficit in proper documentation of historical material exists today. This becomes quite evident in the footnotes, where due to the lack of material, there is a redundancy in reference materials Therefore, in order to add further depth to the stock of the genre of Black Liberation Literature, this work advances a redemptive process which is aimed, primarily, at every individual that has been niggerized by White supremacy and their racist systems. Therein, that each nigger would cultivate an awareness that would be congruent with his/her Black redemption, as is outlined in this literary work. Thus, that he/her would be empowered sufficiently, to rise above the White supremacist world that had ungratefully grafted him/ her and had restrained him/her to oppressive states of meaningless existences. Black people must rise above their common bound, the social degradation of niggerization, a social construct of the White racist demi-gods and to accept the fundamental merits and opportunities that a Black redemption would have provided, which is, the reconstructed Black self, with all its social advantages, because White Am...
Acid for the Children
With "virtuosic vulnerability" (The Atlantic), the iconic bassist and Red Hot Chili peppers co-founder pens a New York Times bestselling love letter to his wild Los Angeles youth in his raw and riveting coming-of-age memoir, now in paperback.In Acid for the Children, Flea takes readers on a deeply personal and revealing tour of his formative years, spanning from Australia to the New York City suburbs to, finally, Los Angeles. Through hilarious anecdotes, poetical meditations, and occasional flights of fantasy, Flea deftly chronicles the experiences that forged him as an artist, a musician, and a young man. His dreamy, jazz-inflected prose makes the Los Angeles of the 1970s and 80s come to gritty, glorious life, including the potential for fun, danger, mayhem, or inspiration that lurked around every corner. It is here that young Flea, looking to escape a turbulent home, found family in a community of musicians, artists, and junkies who also lived on the fringe. He spent most of his time partying and committing petty crimes. But it was in music where he found a higher meaning, a place to channel his frustration, loneliness, and love. This left him open to the life-changing moment when he and his best friends, soul brothers, and partners-in-mischief came up with the idea to start their own band, which became the Red Hot Chili Peppers. Acid for the Children is the debut of a stunning new literary voice, whose prose is as witty, entertaining, and wildly unpredictable as the author himself. It's a tenderly evocative coming-of-age story and a raucous love letter to the power of music and creativity from one of the most renowned musicians of our time. New York Times BestsellerA #1 LA Times BestsellerA USA Today BestsellerOne of NPR's "Favorite Books of 2019"
Beyond Sketches of Spain
Few musicians shaped Iberian jazz more than pianist Vicen癟 "Tete" Montoliu i Massana (1933-97). Fascinated by the modernist aesthetics of mid-century jazz, Montoliu was known for a carefully crafted mix of lyricism and dissonance, a penchant for discordant crashes, and a development of highly original compositions. Over the course of his career, he boasted some 100 recordings spanning Denmark, Germany, Holland, Spain, and the United States, and performed with the most notable jazz luminaries including Lionel Hampton, Rahsaan Roland Kirk, Dexter Gordon, and Archie Shepp. In drawing from the Black American jazz form, Montoliu fashioned an adjacent critical space shaped by his experiences as a Catalan and a person with congenital visual impairment living under the dictatorship of Francisco Franco. Beyond Sketches of Spain: Tete Montoliu and the Construction of Iberian Jazz explores the artist's life, musical production, and international reception within a cultural studies framework, invoking Fumi Okiji's notion of gathering in difference. In its investigation of this impressive and often overlooked transnational jazz legend, the book moves beyond mere sketches of Spanish nationhood, challenges conventional scholarly narratives, and recovers links between the United States, Barcelona, Catalonia, Spain, and Europe.
In the Beginning
In the Beginning is from the much larger performance piece Prophecies of War. Composed by Andrew Hanna it is a progressive Jazz-Fusion composition composed for alto saxophone, electric guitar, bass guitar, and keyboards.
Jazz Piano Fundamentals (Book 2)
Jazz Piano Fundamentals (Book 2) is master-teacher Jeremy Siskind's welcoming, clear, and detailed guide to intermediate jazz piano study.Jazz Piano Fundamentals (Book 2) guides intermediate jazz students through six months (or more) of jazz piano instruction by providing clear, thoughtful, and progressive lessons, improvisation exercises, rote exercises, written exercises, listening guides, transcription projects, and practice plans. Every unit includes frequently asked questions and exclusive video content to ensure that all subjects are presented clearly and with sufficient depth.Subjects include scale patterns, improvising with non-chord tones, improvising in minor keys, motivic development, advanced comping styles, closed-position and drop two voicings, shout-chorus voicings, rhythm changes, playing intros and endings, shell voicings, ballad playing, walking basslines, upper structures, and much more. In the five guided transcription projects, students are coached through completing their own transcriptions of solos by Miles Davis, Hank Mobley, Illinois Jacquet, Horace Silver, and Bud Powell. Then, they are shown how to assimilate elements of these masters' styles into their own improvisations.This book is designed to be used in conjunction with The Real Book, Volume 6.Praise for Jazz Piano Fundamentals, Book 1"I love this book - and plan on using it in at my own school. A must for any beginning jazz piano student!"- Martin Bejerano, jazz pianist/composer and professor, Frost School of Music, University of Miami"Jeremy Siskind's book creates a methodology and answers questions in a way that I have almost never seen done in a jazz educational tome. He breaks down the practice of improvisation to its smallest building blocks, and is careful to relate each lesson to real-life examples from the jazz canon....This book will be excellent for jazz beginners, players of other instruments who wish to bone up on their piano skills, and advanced improvisers may find ways to fill in gaps in their skill sets "- Mark Shilansky, pianist/composer, professor, Berklee College of Music"Jeremy's book is a reflection on who he is as a pianist - a true artist who has done his homework. Behind the meticulous attention to detail is a respect for jazz tradition and a desire to help pianists explore their own creativity."- Aimee Nolte, jazz pianist/vocalist and YouTube Star"Jeremy's book is not only perfect to start this wonderful journey called Jazz Piano, but also one to come back to... Thank you!!"- Otmaro Ruiz, Grammy-nominated jazz pianist and professor, UCLA
Gary Moore
"Gary Moore is definitely in my list of top five guitar influences, right up there with Jimi Hendrix, Eddie Van Halen, Stevie Ray Vaughan and Michael Schenker. He just blew me away from the first time I heard him." Kirk Hammett"The most powerful, genuine, authentic blues-rock guitarist of his day." Jack Bruce"Gary opened the door for me and a lot of other blues-rock guitarists. He was a legend, a musical titan and a very nice man." Joe Bonamassa Gary Moore delighted entire generations with his passionate guitar playing, from the driving rock of Thin Lizzy in the 1970s to his explorations in subsequent decades of jazz fusion, heavy metal, hard rock, blues rock, and more. Throughout that time, he could be seen on the world's biggest stages, yet the real Gary Moore was always hidden in plain sight, giving little away. Now, however, through extensive and revealing interviews with family members, friends, and fellow musicians, acclaimed rock biographer Harry Shapiro is able to take readers right to the heart of Gary's life and career.Despite his early death in 2011, Moore still has legions of devoted fans across the world who will be enthralled by this unique insight into the life of a guitar genius who did it his way and whose music lives on. Beginning with Gary as a teenage guitar prodigy in war-torn Ireland and continuing through the many highs and lows of more than forty years in rock, Shapiro paints an intimate portrait of a musician widely hailed as one of the greatest Irish bluesmen of all time.
Singing in the Rain
Woodstock has often been called the coming of age of a generation, but that was a convenient spin. Woodstock was the opportunity that a half-million people took to show the world that they were of age, and quite capable of demonstrating that living in peace, love, and kindness was a model the world should follow, that theirs were the footsteps that could change everything, for the better. Singing in the Rain: The Definitive Story of Woodstock at Fifty is an inside look at the creative energy and performances that formed the legacy of Woodstock. Citing hundreds of sources, Singing in the Rain provides a delightfully-meticulous rendering of one of the most important events in living history. It can take decades for all the details of a transformational event such as Woodstock to come to the forefront, and it takes a patient, rock-loving investigator to frame it with the same sardonic humor that characterized much of the events of that weekend in August, 1969. Any student of rock history, anyone interested in popular music, any Woodstock attendee, anyone who has seen the movie will have wondered "what else took place?" from August 15-18, 1969. Readers will be astounded by the chronology of events that shaped the festival. The trials and tribulations the producers and staff faced, the songs that were played during that wonderful weekend, the comments made by lucky fans who attended the festival have been mapped out and presented in this fascinating, critical and historical analysis. This book clarifies what happened before, during, and after a festival that has withstood the test of time, and remains one of the iconic events in our history. The author brings the event back for us in ways we did not consider, demonstrating why Woodstock was the shooting star that remains forever etched in our memories. Plecki counters the erroneous concepts fostered by mass media, by other Woodstock authors, by statements of musicians who performed and did not perform at Woodstock, by politicians bent on preserving what they viewed to be a "healthier" status quo, and by some of the festival's producers themselves. This book connects the dots, dispelling fake news from fact, combining first-hand accounts of the festival's chronology with stories that will delight readers, easing them back into a time before rain delays would have been so micro-managed that they would have been sponsored by the weather channel. It is within this fascinating milieu that the reader will come to understand and appreciate all the music, magic, and hijinks that formed the nonpolitical, political tableau that was Woodstock. Singing in the Rain gives us a very specific, humorous, and heart-warming look at a never-to-be-forgotten era, when, for a brief moment, horizons were unlimited and possibilities were endless--a time when all people, hippies or straight, draft resisters and war veterans, lived for four days in peace and harmony, while being entertained by the best music the rock world has ever witnessed. This is the Woodstock that comes to life when reading Singing in the Rain.
Singing in the Rain
Woodstock has often been called the coming of age of a generation, but that was a convenient spin. Woodstock was the opportunity that a half-million people took to show the world that they were of age, and quite capable of demonstrating that living in peace, love, and kindness was a model the world should follow, that theirs were the footsteps that could change everything, for the better. Singing in the Rain: The Definitive Story of Woodstock at Fifty is an inside look at the creative energy and performances that formed the legacy of Woodstock. Citing hundreds of sources, Singing in the Rain provides a delightfully-meticulous rendering of one of the most important events in living history. It can take decades for all the details of a transformational event such as Woodstock to come to the forefront, and it takes a patient, rock-loving investigator to frame it with the same sardonic humor that characterized much of the events of that weekend in August, 1969. Any student of rock history, anyone interested in popular music, any Woodstock attendee, anyone who has seen the movie will have wondered "what else took place?" from August 15-18, 1969. Readers will be astounded by the chronology of events that shaped the festival. The trials and tribulations the producers and staff faced, the songs that were played during that wonderful weekend, the comments made by lucky fans who attended the festival have been mapped out and presented in this fascinating, critical and historical analysis. This book clarifies what happened before, during, and after a festival that has withstood the test of time, and remains one of the iconic events in our history. The author brings the event back for us in ways we did not consider, demonstrating why Woodstock was the shooting star that remains forever etched in our memories. Plecki counters the erroneous concepts fostered by mass media, by other Woodstock authors, by statements of musicians who performed and did not perform at Woodstock, by politicians bent on preserving what they viewed to be a "healthier" status quo, and by some of the festival's producers themselves. This book connects the dots, dispelling fake news from fact, combining first-hand accounts of the festival's chronology with stories that will delight readers, easing them back into a time before rain delays would have been so micro-managed that they would have been sponsored by the weather channel. It is within this fascinating milieu that the reader will come to understand and appreciate all the music, magic, and hijinks that formed the nonpolitical, political tableau that was Woodstock. Singing in the Rain gives us a very specific, humorous, and heart-warming look at a never-to-be-forgotten era, when, for a brief moment, horizons were unlimited and possibilities were endless--a time when all people, hippies or straight, draft resisters and war veterans, lived for four days in peace and harmony, while being entertained by the best music the rock world has ever witnessed. This is the Woodstock that comes to life when reading Singing in the Rain.
Sheram
It is with great pleasure that we announce the publication of one of Armenia's most important ashoughs' works in transliterated English for the first time in history. Ashough Sheram is one of the most prominent Armenian traditional ashoughs (bard singers). Having been born in 1857 in Aleksandropol (currently Gyumri) as Grigor Talyan, he received "Sheram" as his musical avatar for weaving beautiful melodies.More than 100 songs of Sheram are included in this book, each with a music notation and Armenian lyrics transliterated into English. The reader also gets a deeper understanding of Sheram's ability as a poet of love by reading around thirty of his songs translated into English for the first time.There are five chapters in the book: Love Songs, From the Sad Past, Satirical, Dances, and Appendix. The first four chapters of this book contain transcriptions of songs written by Sheram's son, composer Vardges Talyan circa 1948. There are also transcriptions of several songs by another scholar, musicologist Aram Kocharyan.This book ends with transcriptions of the most popular songs of Sheram, as performed by two of his greatest interpreters, Araksya Gyulzadyan and Ofelia Hambardzumyan.
Who Hears Here?
Guthrie P. Ramsey, Jr., is an award-winning musicologist, music historian, composer, and pianist whose prescient theoretical and critical interventions have bridged Black cultural studies and musicology. Representing twenty-five years of commentary and scholarship, these essays document Ramsey's search to understand America's Black musical past and present and to find his own voice as an African American writer in the field of musicology. This far-reaching collection embraces historiography, ethnography, cultural criticism, musical analysis, and autobiography, traversing the landscape of Black musical expression from sacred music to art music, and jazz to hip-hop. Taken together, these essays and the provocative introduction that precedes them are testament to the legacy work that has come to define a field, as well as a rousing call to readers to continue to ask the hard questions and write the hard truths.
Opera as Art
Paul Thom argues that opera is a set of practices framed by the concepts of work, interpretation, performance, and art. His argument is that operatic works have the potential to be art, but so do operatic productions, independently of their value as interpretations of the works they stage.
The Beatles Rubber Soul to Revolver
The Beatles Rubber Soul to Revolver is the latest installment in Bruce Spizer's Beatles Album Series, covering two of the Beatles most important albums, Rubber Soul and Revolver, as well as Capitol's Yesterday And Today LP and the singles associated with these albums. Rubber Soul and Revolver set new standards for pop and rock records, and presented a maturing and evolving Beatles to the world. The 16 tracks recorded during the Rubber Soul sessions are among the group's finest. With Revolver, the Beatles were looking for more color in their recordings, trying new instruments and techniques. But they were not using studio wizardry to cover weaknesses; they were looking for new sounds to enhance their already brilliant songs. The book contains chapters on the British, American, and Canadian perspectives, an extensive treatment on the infamous Butcher Cover (featuring all of the significant images from the photo sessions and the true story behind the controversial cover). There are also chapters on the recording sessions and album covers, as well as on the news, music, and films of the era to place these albums in their proper context. And, of course, dozens of fan recollections.
Boogie Down Predictions
Essays that explore the connections between time, representation, and identity within hip-hop culture. "This book, edited by Roy Christopher, is a moment. It is the deconstructed sample, the researched lyrical metaphors, the aha moment on the way to hip-hop enlightenment. Hip-hop permeates our world, and yet it is continually misunderstood. Hip-hop's intersections with Afrofuturism and science fiction provide fascinating touchpoints that enable us to see our todays and tomorrows. This book can be, for the curious, a window into a hip-hop-infused Alter Destiny--a journey whose spaceship you embarked on some time ago. Are you engaging this work from the gaze of the future? Are you the data thief sailing into the past to U-turn to the now? Or are you the unborn child prepping to build the next universe? No, you're the superhero. Enjoy the journey."--from the introduction by Ytasha L. Womack Through essays by some of hip-hop's most interesting thinkers, theorists, journalists, writers, emcees, and DJs, Boogie Down Predictions embarks on a quest to understand the connections between time, representation, and identity within hip-hop culture and what that means for the culture at large. Introduced by Ytasha L. Womack, author of Afrofuturism: The World of Black Sci-Fi and Fantasy Culture, this book explores these temporalities, possible pasts, and further futures from a diverse, multilayered, interdisciplinary perspective.
Class, Control, and Classical Music
Why is classical music predominantly the preserve of the white middle classes? Contemporary associations between classical music and social class remain underexplored, with classical music primarily studied as a text rather than as a practice until recent years. In order to answer this question, this book outlines a new approach for a socio-cultural analysis of classical music, asking how musical institutions, practices, and aesthetics are shaped by wider conditions of economic inequality, and how music might enable and entrench such inequalities or work against them. This approach is put into practice through a richly detailed ethnography which locates classical music within one of the cultures that produces it - middle-class English youth - and foregrounds classical music as bodily practice of control and restraint. Drawing on the author's own background as a classical musician, this closely observed account examines youth orchestra and youth choir rehearsals as a space where young people learn the unspoken rules of this culture of weighty tradition and gendered control. It highlights how the middle-classes' habitual roles - boundary drawing around their protected spaces and reproducing their privilege through education - can be traced within the everyday spaces of classical music. These practices are camouflaged, however, by the ideology of 'autonomous art' that classical music carries. Rather than solely examining the social relations around the music, the book demonstrates how this reproductive work is facilitated by its very aesthetic, of 'controlled excitement', 'getting it right', precision, and detail. This book is of particular interest at the present moment, thanks to the worldwide proliferation of El Sistema-inspired programmes which teach classical music to children in underserved areas. While such schemes demonstrate a resurgence in defending the value of classical music, there has been a lack of debate over the ways in which its socio-cultural heritage shapes its conventions today. This book locates these contestations within contemporary debates on class, gender and whiteness, making visible what is at stake in such programmes.
Prog Rock Down-under
Follow-up and companion to the author's first book 'Progressive Rock Unmasked' this edition looks at some of Australia's top bands who remain outside the main-stream and public consciousness in general. Some have received international acclaim and attention such as Karnivool and Caligula's Horse. Many find Europe and the US a more satisfying touring circuit where their music is appreciated by larger audiences than at home. Prog Rock Down-Under explores the burgeoning progressive rock scene in Australia through personal discovery and remote interviews. Take a stroll into 'Prog Rock Down-under' to whet the aural senses from a musical genre sadly over-looked by mainstream press and media 'Down-under'. For over 50 years the author has been listening to progressive rock so included are 50 albums which made an important
The Music Dramas of Richard Wagner and His Festival Theatre in Bayreuth
The Music Dramas of Richard Wagner and His Festival Theatre in Bayreuth is an unchanged, high-quality reprint of the original edition of 1898. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.
Improvising Boogie-Woogie Volume Two
Improvising Boogie-Woogie Volume.2(Includes Downloadable audio)The second volume in a series of three comprehensive books to teach boogie-woogie piano.From the basics to more advanced techniques and everything in-between, this will give you the help and material you need.Everything will be covered, from the simplest left-hand pattern to right-hand riffs. It really suits a range of abilities, as it starts off easy and introduces more detail as the series progresses, growing as your skills themselves grow.If Boogie-Woogie is your thing, then this series is the most comprehensive available by far.Some examples of contentChord progressionsChords and scalesLeft-hand patternsLeft-hand techniquesRhythmic patternsWalking bass techniquesStride techniquesRight-hand vamping/compingRight-hand riffsRight-hand techniquesHow to use scalesCreating your own riffsAltering existing musicExample boogie-woogie piecesPractice IdeasIncludes Downloadable audio
Always Different, Always the Same
The Fall, led by Mark E. Smith, were one of the most intriguing, influential, and prolific post-punk groups in British popular culture. Always Different, Always the Same: Critical Essays on The Fall is a thorough and critical account of the group, engaging with the often complex and challenging creative work. In this groundbreaking text, volume editors Eoin Devereux and Martin J. Power bring together contributions from a wide variety of disciplinary homes, including ethnomusicology, sociology, literary theory, linguistics, journalism, cultural studies, and film and media studies. ContributorsKieran Cashell, Brian Clancy, Matt Davies, Eoin Devereux, Samuel Flannagan, John Fleming, Gavin Friday, Mike Glennon, K. A. Laity, Ben Lawley, John McFarland, David Meagher, Michael Mary Murphy, Martin Myers, Martin J. Power, Suzanne Smith, Elaine Vaughan, Paul Wilson.
Bach in the World
Johann Sebastian Bach's works are often classified as either sacred or secular. While this distinction is fraught, it seems to provide a useful way to distinguish between Bach's vocal works for the liturgy and those he wrote to honor courts and members of the nobility. But even so, the lines cannot be drawn clearly. The political and social systems of the time relied on religion as an ideological foundation, and public displays of political power almost always included religious rituals and thus required some form of sacred music. Social constructs, such as class and gender, were also embedded in religious frameworks. In Bach in the World, author Markus Rathey offers a new exploration of how Bach's music functioned as an agent of affective communication within rituals, such as the installation of the town council, and as a place where socio-political norms were perpetuated and sometimes even challenged. The book does so by analyzing public manifestations of the social order during Bach's time in large-scale celebrations, processions, public performances, and visual displays.
Debt and Redemption in the Blues
This volume explores concepts of freedom and bondage in the blues and argues that this genre of music explicitly calls for a reckoning while expressing faith in a secular justice to come. Placing blues music within its historical context of the post-Reconstruction South, Jim Crow America, and the civil rights era, Julia Simon finds a deep symbolism in the lyrical representations of romantic and sexual betrayal. The blues calls out and indicts the tangled web of deceit and entrapment constraining the physical, socioeconomic, and political movement of African Americans. Surveying blues music from the 1920s to the early twenty-first century, Simon's analyses focus on economic relations, such as sharecropping, house contract sales, debt peonage, criminal surety, and convict lease. She demonstrates how the music reflects this exploitative economic history and how it is shaped by commodification under racialized capitalism. As Simon assesses the lyrics, technique, and styles of a wide range of blues musicians, including Bessie Smith, Blind Lemon Jefferson, Big Bill Broonzy, Muddy Waters, B. B. King, Albert Collins, and Kirk Fletcher, she argues forcefully that the call for racial justice is at the heart of the blues.A highly sophisticated interpretation of the blues tradition steeped in musicology, social history, and critical-cultural hermeneutics, Debt and Redemption not only clarifies blues as an aesthetic tradition but, more importantly, proves that it advances a theory of social and economic development and change.
The Politics of Musical Time
How do the temporal features of sacred music affect social life in South Asia? Due to new time constraints in commercial contexts, devotional musicians in Bengal have adapted longstanding features of musical time linked with religious practice to promote their own musical careers.The Politics of Musical Time traces a lineage of singers performing a Hindu devotional song known as kīrtan in the Bengal region of India over the past century to demonstrate the shifting meanings and practices of devotional performance. Focusing on padābalī kīrtan, a type of devotional sung poetry that uses long-duration forms and combines song and storytelling, Eben Graves examines how expressions of religious affect and political belonging linked with the genre become strained in contemporary, shortened performance time frames. To illustrate the political economy of performance in South Asia, Graves also explores how religious performances and texts interact with issues of nationalism, gender, and economic exchange.Combining ethnography, history, and performance analysis, including videos from the author's fieldwork, The Politics of Musical Time reveals how ideas about the sacred and the modern have been expressed and contested through features of musical time found in devotional performance.
The Do-Re-Mi of Singing
Teach Yourself to Sing!Discover everything you need to start your singing journey with this two-part singing lessons book.Whether you're just starting out or a seasoned singer that wants to learn new techniques for different genres, this guide will help.Learn about all the singing skills you need, as well as the best techniques to practice them.Start improving your singing today, because this is designed for singers of all genres and capabilities.Get it now.Part One: Singing Lessons for BeginnersLearn the singing fundamentals that every artist needsExplore various genres and find the best one for youDiscover your own soundFind the the best tools and practices depending on your chosen genrePart Two: Intermediate Singing LessonsAdvanced singing exercisesDiscussions and explanations of specific singing techniquesPractical ways of keeping up with trends and techniquesIn-depth practices and toolsLearn about singers' anxiety and how to best treat itIncludes a glossary to explain industry specific wordingLimited Time Only...Get your copy of The Do-Re-Mi of Singing today and you will also receive: Free SF Nonfiction Books new releasesExclusive discount offersDownloadable sample chaptersBonus content... and more!Reach new heights no matter your skill level, because this book contains the most effective vocal exercises around... and more.Get it now.
The Do-Re-Mi of Singing
Teach Yourself to Sing!Discover everything you need to start your singing journey with this two-part singing lessons book.Whether you're just starting out or a seasoned singer that wants to learn new techniques for different genres, this guide will help.Learn about all the singing skills you need, as well as the best techniques to practice them.Start improving your singing today, because this is designed for singers of all genres and capabilities.Get it now.Part One: Singing Lessons for BeginnersLearn the singing fundamentals that every artist needsExplore various genres and find the best one for youDiscover your own soundFind the the best tools and practices depending on your chosen genrePart Two: Intermediate Singing LessonsAdvanced singing exercisesDiscussions and explanations of specific singing techniquesPractical ways of keeping up with trends and techniquesIn-depth practices and toolsLearn about singers' anxiety and how to best treat itIncludes a glossary to explain industry specific wordingLimited Time Only...Get your copy of The Do-Re-Mi of Singing today and you will also receive: Free SF Nonfiction Books new releasesExclusive discount offersDownloadable sample chaptersBonus content... and more!Reach new heights no matter your skill level, because this book contains the most effective vocal exercises around... and more.Get it now.
The Book of Praise
The Book of Praise - From the Best English Hymn Writers is an unchanged, high-quality reprint of the original edition of 1871. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.
Archaic Instruments in Modern West Java: Bamboo Murmurs
Archaic Bamboo Instruments explores how current residents of Bandung, Indonesia, have (re-) adopted bamboo musical instruments to forge meaningful bridges between their past and present-between traditional and modern values.
Rick’s Song Book # Eight
Moose Hide Books presents 40 original songs by song writer Richard Mousseau. Country / Celtic / Folk / Rock / Contemporary / Blues, various genre for the amateur and professional musician.
Troubling Inheritances
This book provides an interdisciplinary focus on music, memory, and ageing by examining how they intersect outside of a formal therapeutic context or framework and by offering a counter-narrative to age as decline. It contributes to the development of qualitative research methodologies by utilizing and reflecting on methods for studying music, memory, and ageing across diverse and interconnected contexts. Using the notion of inheritance to trouble its core themes of music, memory, ageing, and methodology, it examines different ways in which the concept of inheritance is understood but also how it commonly refers to the practice of passing on, and the connections this establishes across time and space. It confronts the ageist discourses that associate popular music predominantly with youth and that focus narrowly, and almost exclusively, on music's therapeutic function for older adults. By presenting research which examines various intersections of music and ageing outside of a therapeutic context or framework, the book brings a much-needed intervention.
Heavy Metal Music in Latin America
In Heavy Metal Music in Latin America: Perspectives from the Distorted South, the editors bring together scholars engaged in the study of heavy metal music in Latin America to reflect on the heavy metal genre from a regional perspective. The contributors' southern voices diversify metal scholarship in the global north. An extreme musical genre for an extreme region, the contributors explore how issues like colonialism, dictatorships, violence, ethnic extermination and political persecution have shaped heavy metal music in Latin America, and how music has helped shape Latin American culture and politics.
A View of Berg’s Lulu
After 50 years of analysis we are only beginning to understand the quality and complexity of Alban Berg's most important twelve-tone work, the opera Lulu. Patricia Hall's new book represents a primary contribution to that understanding--the first detailed analysis of the sketches for the opera as well as other related autograph material and previously inaccessible correspondence to Berg. In 1959, Berg's widow deposited the first of Berg's autograph manuscripts in the Austrian National Library. The complete collection of autographs for Lulu was made accessible to scholars in 1981, and a promising new phase in Lulu scholarship unfolded. Hall begins her study by examining the format and chronology of the sketches, and she demonstrates their unique potential to clarify aspects of Berg's compositional language. In each chapter Hall uses Berg's sketches to resolve a significant problem or controversy that has emerged in the study of Lulu. For example, Hall discusses the dramatic symbolism behind Berg's use of multiple roles and how these roles contribute to the large-scale structure of the opera. She also revises the commonly held view that Berg frequently invoked a free twelve-tone style. Hall's innovative work suggests important techniques for understanding not only the sketches and manuscripts of Berg but also those of other twentieth-century composers. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.
A View of Berg’s Lulu
After 50 years of analysis we are only beginning to understand the quality and complexity of Alban Berg's most important twelve-tone work, the opera Lulu. Patricia Hall's new book represents a primary contribution to that understanding--the first detailed analysis of the sketches for the opera as well as other related autograph material and previously inaccessible correspondence to Berg. In 1959, Berg's widow deposited the first of Berg's autograph manuscripts in the Austrian National Library. The complete collection of autographs for Lulu was made accessible to scholars in 1981, and a promising new phase in Lulu scholarship unfolded. Hall begins her study by examining the format and chronology of the sketches, and she demonstrates their unique potential to clarify aspects of Berg's compositional language. In each chapter Hall uses Berg's sketches to resolve a significant problem or controversy that has emerged in the study of Lulu. For example, Hall discusses the dramatic symbolism behind Berg's use of multiple roles and how these roles contribute to the large-scale structure of the opera. She also revises the commonly held view that Berg frequently invoked a free twelve-tone style. Hall's innovative work suggests important techniques for understanding not only the sketches and manuscripts of Berg but also those of other twentieth-century composers. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.
New Highway
Celebrated singer-songwriter and guitarist Dave Alvin is, first and foremost, a storyteller. The Grammy winning artist's disarmingly well-crafted lyrics represent just one of the many expressions of his unique ability to capture the gritty and beautiful moments of life with the written word. This anthology of his writing is a companion piece to Dave's considerable musical output, and presents a staggering cross section of his work.New Highway includes a generous selection of his celebrated poetry; excerpts of his moving prose; newspaper articles and essays on artists including Frank Zappa, Bo Diddley, and Ray Charles (which earned Dave a Grammy nomination); tributes to influences such as Merle Haggard; a long-lost interview with Buck Owens; and, of course, a carefully curated representation of his inimitable lyrics. Packed with rich imagery and poignant observations, New Highway follows Dave's previous collections Nana, Big Joe & the Fourth of July, and Any Rough Times Are Now Behind You: Selected Poems & Writings: 1979-1995.If you know Dave Alvin for his music, this collection will give you deeper insight into the heart of an artist whose pen knows no boundaries.
No Machos or Pop Stars
After punk's arrival in 1976, many art students in the northern English city of Leeds traded their paintbrushes for guitars and synthesizers. In bands ranging from Gang of Four, Soft Cell, and Delta 5 to the Mekons, Scritti Politti, and Fad Gadget, these artists-turned-musicians challenged the limits of what was deemed possible in rock and pop music. Taking avant-garde ideas to the record-buying public, they created Situationist antirock and art punk, penned deconstructed pop ditties about Jacques Derrida, and took the aesthetics of collage and shock to dark, brooding electro-dance music. In No Machos or Pop Stars Gavin Butt tells the fascinating story of the post-punk scene in Leeds, showing how England's state-funded education policy brought together art students from different social classes to create a fertile ground for musical experimentation. Drawing on extensive interviews with band members, their associates, and teachers, Butt details the groups who wanted to dismantle both art world and music industry hierarchies by making it possible to dance to their art. Their stories reveal the subversive influence of art school in a regional music scene of lasting international significance.
A Bibliography of Electronic Music
This exhaustive bibliography, reflecting current interest in electronic music, includes all available citations of books, articles, and monographs pertaining to "musique concr癡te," "Elektronische Musik," "tape music," and "computer music" from publications in fourteen languages. Organized alphabetically by author, or, in the case of unsigned works, by title, and including a classified subject index, this book will appeal primarily to persons or organizations who are founding or maintaining electronic music centres, composing or performing electronic music, or pursuing original research in experimental music and related disciplines.
No Machos or Pop Stars
After punk's arrival in 1976, many art students in the northern English city of Leeds traded their paintbrushes for guitars and synthesizers. In bands ranging from Gang of Four, Soft Cell, and Delta 5 to the Mekons, Scritti Politti, and Fad Gadget, these artists-turned-musicians challenged the limits of what was deemed possible in rock and pop music. Taking avant-garde ideas to the record-buying public, they created Situationist antirock and art punk, penned deconstructed pop ditties about Jacques Derrida, and took the aesthetics of collage and shock to dark, brooding electro-dance music. In No Machos or Pop Stars Gavin Butt tells the fascinating story of the post-punk scene in Leeds, showing how England's state-funded education policy brought together art students from different social classes to create a fertile ground for musical experimentation. Drawing on extensive interviews with band members, their associates, and teachers, Butt details the groups who wanted to dismantle both art world and music industry hierarchies by making it possible to dance to their art. Their stories reveal the subversive influence of art school in a regional music scene of lasting international significance.
Sound Communities in the Asia Pacific
The popularization of radio, television, and the Internet radically transformed musical practice in the Asia Pacific. These technologies bequeathed media broadcasters with a profound authority over the ways we engage with musical culture. Broadcasters use this power to promote distinct cultural traditions, popularize new music, and engage diverse audiences. They also deploy mediated musics as a vehicle for disseminating ideologies, educating the masses, shaping national borders, and promoting political alliances. With original contributions by leading scholars in anthropology, ethnomusicology, sound studies, and media and cultural studies, the 12 essays this book investigate the processes of broadcasting musical culture in the Asia Pacific. We shift our gaze to the mechanisms of cultural industries in eastern Asia and the Pacific islands to understand how oft-invisible producers, musicians, and technologies facilitate, frame, reproduce, and magnify the reach of local culture.
Scary Monsters
Popular music and masculinity have rarely been examined through the lens of research into monstrosity. The discourses associated with rock and pop, however, actually include more 'monsters' than might at first be imagined. Attention to such individuals and cultures can say things about the operation of genre and gender, myth and meaning. Indeed, monstrosity has recently become a growing focus of cultural theory. This is in part because monsters raise shared concerns about transgression, subjectivity, agency, and community. Attention to monstrosity evokes both the spectre of projection (which invokes familial trauma and psychoanalysis) and shared anxieties (that in turn reflect ideologies and beliefs). By pursuing a series of insightful case studies, Scary Monsters considers different aspects of the connection between music, gender and monstrosity. Its argument is that attention to monstrosity provides a unique perspective on the study of masculinity in popular music culture.
Half Sound, Half Philosophy
From the late 1990s until today, China's sound practice has been developing in an increasingly globalized socio-political-aesthetic milieu, receiving attentions and investments from the art world, music industry and cultural institutes, with nevertheless, its unique acoustic philosophy remaining silent. This book traces the history of sound practice from contemporary Chinese visual art back in the 1980s, to electronic music, which was introduced as a target of critique in the 1950s, to electronic instrument building fever in the late 1970s and early 1980s, and to the origins of both academic and nonacademic electronic and experimental music activities. This expansive tracing of sound in the arts resonates with another goal of this book, to understand sound and its artistic practice through notions informed by Chinese qi-cosmology and qi-philosophy, including notions of resonance, shanshui (mountains-waters), huanghu (elusiveness and evasiveness), and distributed monumentality and anti-monumentality. By turning back to deep history to learn about the meaning and function of sound and listening in ancient China, the book offers a refreshing understanding of the British sinologist Joseph Needham's statement that "Chinese acoustics is acoustics of qi." and expands existing conceptualization of sound art and contemporary music at large.
Irish American Civil War Songs
Irish-born and Irish-descended soldiers and sailors were involved in every major engagement of the American Civil War. Throughout the conflict, they shared their wartime experiences through songs and song lyrics, leaving behind a vast trove of ballads in songbooks, letters, newspaper publications, wartime diaries, and other accounts. Taken together, these songs and lyrics offer an underappreciated source of contemporary feelings and opinions about the war. Catherine V. Bateson's Irish American Civil War Songs provides the first in-depth exploration of Irish Americans' use of balladry to portray and comment on virtually every aspect of the war as witnessed by the Irish on the front line and home front. Bateson considers the lyrics, themes, and sentiments of wartime songs produced in America but often originating with those born across the Atlantic in Ireland and Britain. Her analysis gives new insight into views held by the Irish migrant diaspora about the conflict and the ways those of Irish descent identified with and fought to defend their adopted homeland. Bateson's investigation of Irish American song lyrics within the context of broader wartime experiences enhances our understanding of the Irish contribution to the American Civil War. At the same time, it demonstrates how Irish songs shaped many American balladry traditions as they laid the foundation of the Civil War's musical soundscape.
Tommy Malboeuf
Adopted as a child from the Masonic Home for Children at Oxford, Tommy Malboeuf grew up in Troutman, North Carolina before enlisting in the Navy in the early 1950s. After his military service, Tommy found occasional work surveying and operating heavy equipment, and he also found a personal passion in bluegrass fiddling. He performed and recorded with A.L. Wood and the Smokey Ridge Boys, Roy McMillan's High Country Boys, the Border Mountain Boys, L.W. Lambert and the Blue River Boys, C.E. Ward and his band, Garland Shuping, and Wild Country, among others. In the late 1990s, Tommy began teaching fiddle, maintaining a steady stream of students until at least the early 2000s. He continued to perform as a fiddler, filling in for a variety of local bands and recording cuts on records for bands such as Big Country Bluegrass. This text documents Tommy's life, from his humble beginnings to his lengthy fiddle career. Contextualizing Tommy's work within the Statesville-Troutman bluegrass "scene," chapters also explore the local bluegrass culture of the time. Tommy's extensive repertoire is also listed, including his spectacular fiddle contest wins, band recordings, local jam field recordings, and songs recorded for students, all of which highlight his talent and expertise as a fiddler.
Hip-Hop en Fran癟ais
This edited volume presents an overview of the emergence and development of hip-hop culture in France, French Caribbean, Canada, and Francophone Africa from its origins until today. Contributors discuss the artists' interactions with media arts, social media, literature, race, political landscapes, as well as hip-hop based education.
Vibe Merchants: The Sound Creators of Jamaican Popular Music
Vibe Merchants offers an insider's perspective on the development of Jamaican Popular Music, researched and analysed by a thirty-year veteran with a wide range of experience in performance, production and academic study. This rare perspective, derived from interviews and ethnographic methodologies, focuses on the actual details of music-making practice, rationalized in the context of the economic and creative forces that locally drive music production. By focusing on the work of audio engineers and musicians, recording studios and recording models, Ray Hitchins highlights a music creation methodology that has been acknowledged as being different to that of Europe and North America. The book leads to a broadening of our understanding of how Jamaican Popular Music emerged, developed and functions, thus providing an engaging example of the important relationship between music, technology and culture that will appeal to a wide range of scholars.
Jon W. Bauman - Nocturnes for Piano (2008)
These are the Nocturnes for Solo Piano written by Dr. Jon Ward Bauman. This edition is part of "The Bauman Project" - a project aimed at promoting, reviving, celebrating, and sharing the music of Jon W. Bauman
Renegade Rhymes
A close look at how Taiwanese musicians are using rap music as a creative way to explore and reconcile Taiwanese identity and history. Like many states emerging from oppressive political rule, Taiwan saw a cultural explosion in the late 1980s, when nearly four decades of martial law under the Chinese Nationalist Party ended. As members of a multicultural, multilingual society with a complex history of migration and colonization, Taiwanese people entered this moment of political transformation eager to tell their stories and grapple with their identities. In Renegade Rhymes, ethnomusicologist Meredith Schweig shows how rap music has become a powerful tool in the post-authoritarian period for both exploring and producing new knowledge about the ethnic, cultural, and political history of Taiwan. ​ Schweig draws on extensive ethnographic fieldwork, taking readers to concert venues, music video sets, scenes of protest, and more to show how early MCs from marginalized ethnic groups infused rap with important aspects of their own local languages, music, and narrative traditions. Aiming their critiques at the educational system and a neoliberal economy, new generations of rappers have used the art form to nurture associational bonds and rehearse rituals of democratic citizenship, making a new kind of sense out of their complicated present.
