Punk Revolution!
The most wide-ranging and provocative look at punk rock as a social change movement told through firsthand accounts Punk rock has been on the front lines of activism since exploding on the scene in the 1970s. Punk Revolution! is a reflection on this cultural movement over the past 45 years, told through firsthand accounts of hundreds of musicians and activists. John Malkin brings together a wide cast of characters that include major punk and postpunk musicians (members of The Ramones, Bad Religion, Crass, Dead Kennedys, Patti Smith's band, Gang of Four, Sex Pistols, Iggy & the Stooges, Talking Heads, The Slits, and more), important figures influenced by the punk movement (Noam Chomsky, Kalle Lasn, Keith McHenry, Marjane Satrapi, Laurie Anderson, and Kenneth Jarecke), and underground punk voices. These insightful, radical, and often funny conversations travel through rebellions against Margaret Thatcher, Ronald Reagan, Donald Trump, and Vladimir Putin, to punk activism that has taken on nuclear war, neoliberalism, modern warfare, patriarchy, white supremacy, the police, settler colonialism, the climate crisis, and more. The result is a fresh and unique, global history of punk throughout the ages.
The Master Arpeggio System for Jazz Improvisation II
ATTENTION GUITARISTS!!Improvisation is the art of composing in the moment with freedom of expression. Do you want to get on the fast track to improvising with modern jazz style?The second book in the Master Arpeggio System series continues where the first one left off, where we work smarter, not harder with this efficient method-a fretboard navigation system-for learning to improvise in a jazz context that bypasses boring, tedious exercises and endless music theory so we can play now and think later. Make fundamental changes in your playing today!Improvise NOW: Use minor and harmonic minor sounds to improvise over minor ii-V-i changes like a PRO.Use arpeggios (triads, shell voicings, quartal and inversions), scales, pentatonic scales and chromaticism to create sophisticated modern lines.Use voice-leading and target tones intuitively without tons of rote memorization exercises.Use tension and resolution skillfully to create melodic inside and outside sounds in your playing.Use diminished sounds for more interesting lines.Play over common jazz turnarounds and learn to develop soloing strategies to expertly tackle the chord progressions found in traditional jazz standards where you're constantly moving through different key centers.Apply everything from the first two books in a solo over 24 bars of a 12 bar jazz blues.Techniques and approaches that are universal to bebop, hard bop, post bop, jazz blues, smooth jazz, jazz funk, contemporary jazz, rock fusion, Latin, Afro-Cuban, avant-garde, cool jazz, Ethno and World jazz, European (Euro), jazz pop, jazz rock, modal, swing, noir, nu jazz, soul jazz, West Coast, punk jazz, etc. Learn and Apply: Arpeggios, triads and inversionsTarget tonesVoice leadingQuartal arpeggiosSuperimpositionPentatonic scalesMinor scaleHarmonic minor and Phrygian dominantAltered Scale (super Locrian)Diminished scale and arpeggiosChromatic approach notes, passing tones and enclosuresTension and resolution (inside and outside playing)Motivic ideas (motifs)Call and response linesMinor ii-V-i and V-iStatic harmonyCommon jazz turnarounds12 bar jazz bluesThe ideas presented in The Master Arpeggio System for Jazz Improvisation are an excellent introduction to jazz improvisation for guitarists who want to explore the possibilities of this expansive genre and also those who want to add new sounds to their existing style, whether blues, rock, metal, progressive, pop or jam band. The MASTER ARPEGGIO SYSTEM approaches learning complex concepts from a new perspective that distills the information into an easy to learn and apply method that helps musicians to think in intervals, triads and arpeggios first and scales second in a way that results in an endless variety of melodic ideas that's as easy as connecting the dots. The MASTER ARPEGGIO SYSTEM is an excellent method for guitar teachers! Once learned, this method is easy to communicate, making teaching it a breeze and the ideas are easy to learn and understand and produce musical results very quickly. In TABLATURE & MUSIC NOTATION.AUDIO AVAILABLE ONLINE (see inside book or visit mas4ji.com)
101 Hymn Stories
This book shares the inspiring true stories behind 101 favorite hymns. With a collection of uplifting, informative hymn stories, 101 Hymn Stories includes each hymn's full text and musical score, as well as information about the author, composer, and Scripture that inspired the song. Some of the hymns included are: - A Mighty Fortress - Amazing Grace - Fairest Lord Jesus - Holy, Holy, Holy - How Great Thou Art - It Is Well with My Soul - Jesus Loves Me - Rock of Ages - Silent Night - The Old Rugged Cross Excellent for uses like devotional reading, sermon illustrations, and bulletin inserts, as well as historical or biographical research, 101 Hymn Stories has been a beloved resource for forty years. Now a new generation can discover the beautiful foundations of faith upon which these songs were built. "A fascinating book that is enjoyable for general reading or reference."--Christian Life "This book is a valuable source of illustrations for pastors and teachers, and it provides a wealth of background information for song leaders. But it should be introduced to all Christians as a personal and family devotional book."--Bookstore News
The Choral Foundation of the Chapel Royal, Dublin Castle
The first investigation into the choral foundation of the Chapel Royal, Dublin Castle. The Chapel Royal, Dublin Castle, was the place of worship of the British monarch's representative in Ireland from 1814 until the inception of the Irish Free State in 1922. It was founded and maintained by the joint efforts of church and state, and thus its history provides valuable insights into how the relationship between religion and politics shaped Irish society and identity. The Dublin Chapel was established in imitation of the Chapel Royal of St James's Palace, London, and was served by a staff of clergy and musicians. Its musical foundation was a formal and independent entity, with its own personnel and performance traditions. Its distinctive repertoire included music from the English and Irish cathedral traditions, as well as works written by composers associated directly with the Chapel. This study investigates the Chapel's constitution, liturgy and music through an examination of previously unexplored primary material. Discussion of the circumstances of the Chapel's founding and its governance structures situates the institution in the context of the church-state relationship that existed following the Union of 1800. Further, by exploring architecture, churchmanship and musical style, O'Shea demonstrates how the Chapel was part of a wider aesthetic and liturgical tradition. The choral foundation is brought to life with accounts of the Chapel's clergy, organists, boy choristers and gentleman singers, which provide insights into Dublin's social history during a period of significant change. This book reflects on the Dublin Chapel Royal's legacy a century after its closure and offers a new perspective into a forgotten corner of Irish cultural, religious and political history.
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.
The Bee Gees in the 1970s
For better or worse, The Bee Gees' music and image has long been synonymous with the 1970s, and the career trajectory of brothers Barry, Robin, and Maurice Gibb in that ten-year span meanders between dizzying highs and devastating lows. The Bee Gees began 1970 as non-existent - bitterly split after succumbing to the pressures and excesses of their first wave of international fame in the latter part of the 1960s. By 1979, they were one of the most successful music acts on the planet. In between, the brothers crafted timeless works that defied genre, transcended societal boundaries, and permeated generations of listeners. The Bee Gees would go on to sell over 200 million records, making them among the best-selling music artists of all time; they would be inducted into the Rock and Roll Hall of Fame, the Australian Recording Industry's Hall of Fame, and the Songwriters Hall of Fame, and receive lifetime achievement awards from the British Phonographic Industry, the American Music Awards, World Music Awards and the Grammys. According to Billboard magazine the Bee Gees are one of top three most successful bands in their charts' history. In the 1970s, The Bee Gees established themselves as innovative and versatile artists, and their songs scored a turbulent decade of global cultural change and discovery.
Sonic Sovereignty
Honorable Mention, 2024 Alan Merriam Prize, given by the Society for Ethnomusicology What does sovereignty sound like? Sonic Sovereignty considers how contemporary Indigenous musicians champion self-determination through musical expression in Canada and the United States. The framework of "sonic sovereignty" connects self-definition, collective determination, and Indigenous land rematriation to the immediate and long-lasting effects of expressive culture. Liz Przybylski covers online and offline media spaces, following musicians and producers as they, and their music, circulate across broadcast and online networks. Przybylski documents and reflects on shifts in both the music industry and political landscape over the course of a decade: as the ways in which people listen to, consume, and interact with popular music have radically changed, extensive public conversations have flourished around contemporary Indigenous culture, settler responsibility, Indigenous leadership, and decolonial futures. Sonic Sovereignty encourages us to experiment with temporal possibilities of listening by detailing moments when a sample, lyric, or musical reference moves a listener out of normative time. Nonlinear storytelling practices from hip hop music and other North American Indigenous sonic practices inform these generative listenings. The musical readings presented in this book thus explore how musicians use tools to help listeners embrace rupture, and how out-of-time listening creates decolonial possibilities.
Dark Horse Records
In 1974, as Apple was winding down, George Harrison and RIngo Starr both wanted to help new artists, so rather than trying to salvage Apple Records, each ex-Beatle created their own label. Ringo Starr established Ring'o Records, while George Harrison created Dark Horse Records, set up to be a much smaller scale label, releasing records from new artists as well as some of his old friends, with an eye to eventually releasing his own solo music. While Dark Horse had an encouraging beginning with a hit single from Splinter in 1974, the label started suffering some problems, failing to establish itself the way Harrison hoped. However, some incredible music from a variety of artists was created from 1974 to 1977 and some of Harrison's best solo material would come out on that label. In the end, Dark Horse Records would only release George Harrison's solo work (for the most part), but since 2020, Dhani Harrison has taken over the reins and has made Dark Horse a viable label once again, signing Cat Stevens, Billy Idol and releasing music from Joe Strummer and Leon Russell. Finally, in 2023, it was announced that Harrison's entire solo catalogue was going to be rereleased on Dark Horse. This book tells the story of the label from the beginning, through its struggles and to its new and exciting renaissance.
From My Life
From My Life is the autobiography of Eduard Hanslick, one of the most noted and honored music critics in nineteenth-century Vienna who made his mark with his relatively brief disquisition On the Musically Beautiful first issued in 1854. His highly informative autobiography has never appeared in complete translation to English or any other language.
The Performative Power of Vocality
The Performative Power of Vocality offers a fresh perspective on voice as a subject of critical inquiry by employing an interdisciplinary and cross-cultural approach. Conventional treatment of voice in theatre and performance studies too often regards it as a subcategory of actor training, associated with the established methods that have shaped voice pedagogy within Western theatre schools, conservatories, and universities. This monograph significantly deviates from these dominant models through its investigation of the non-discursive, material, and affective efficacy of vocality, with a focus on orally transmitted vocal traditions. Drawing from her performance training, research collaborations, and commitment to cultural diversity, Magnat proposes a dialogical approach to vocality. Inclusive of established, current, and emerging research perspectives, this approach sheds light on the role of vocality as a vital source of embodied knowledge, creativity, and well-being grounded in process, practice, and place, as well as a form of social and political agency. An excellent resource for qualitative researchers, artist-scholars, and activists committed to decolonization, cultural revitalization, and social justice, this book opens up new avenues of understanding across Indigenous and Western philosophy, performance studies, musicology, ethnomusicology, sound and voice studies, anthropology, sociology, phenomenology, cognitive science, physics, ecology, and biomedicine. The Open Access version of this book, available at http: //www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
Theology and the Avett Brothers
Theology and the Avett Brothers features contributions that offer a rich contemplation on how these brothers from North Carolina help listeners navigate the religious consciousness of today's world.
Green Day
Green Day are one of rock history's greatest and most successful bands. Singer/guitarist Billie Joe Armstrong, bassist Mike Dirnt, and drummer Tr矇 Cool have been together creating rock music with a punk heart for over three decades. The trio has reigned supreme, shattering previously conceived notions of how commercially successful a punk rock band can be. They helped extend the boundaries of the genre by adding excellent pop/rock songwriting. Green Day harnessed alternative music's creativity with a passion and fire that ignited two of rock's best albums, the influential Dookie, which sold 20 million, and the culturally important rock opera American Idiot, which sold 16 million and went on to become a Broadway show. In their 30-plus years, Green Day revolutionized rock musically and lyrically, inspiring countless bands. During the 1990s, they lead the pop-punk charge, and in the 2000s, they inspired a second generation of fans and bands through a lyrically intelligent and musically complex style of hard rock. Green Day: On Track takes a journey through the Rock N' Roll Hall of Fame band's career, analyzing every album and song in their storied catalogue.
Learning Jazz
Learning Jazz: Jazz Education, History, and Public Pedagogy addresses a debate that has consumed practitioners and advocates since the music's early days. Studies on jazz learning typically focus on one of two methods: institutional education or the kinds of informal mentoring relationships long associated with the tradition. Ken Prouty argues that this distinction works against a common identity for audiences and communities. Rather, what happens within the institution impacts--and is impacted by--events and practices outside institutional contexts. While formal institutions are well-defined in educational and civic contexts, informal institutions have profoundly influenced the development of jazz and its discourses. Drawing on historical case studies, Prouty details significant moments in jazz history. He examines the ways that early method books capitalized on a new commercial market, commandeering public expertise about the music. Chapters also discuss critic Paul Eduard Miller and his attempts to develop a jazz canon, as well as the disconnect between the spotlighted "great men" and the everyday realities of artists. Tackling race in jazz education, Prouty explores the intersections between identity and assessment; bandleaders Stan Kenton and Maynard Ferguson; public school segregation; Jazz at Lincoln Center; and more. He further examines jazz's "public pedagogy," and the sometimes-difficult relationships between "jazz people" and the general public. Ultimately, Learning Jazz posits that there is room for both institutional and noninstitutional forces in the educational realm of jazz.
From Biblical Book to Musical Megahit
Many churchgoers will recognize the name William Bradbury, a nineteenth-century American composer of popular hymns still sung at Sunday services. Bradbury's name may also bring to mind Esther, the Beautiful Queen, his choral setting of a text based on the biblical Book of Esther. The uncomplicated score became enormously popular almost immediately after its initial publication in 1856. In From Biblical Book to Musical Megahit: William B. Bradbury's "Esther, the Beautiful Queen, " Juanita Karpf traces the work's rich performance and reception history. Bradbury emphatically stated that he intended Esther to be sung as an unadorned religious and educational piece. Yet many music directors exploited the potential for his score, producing elaborately staged events with costumes, scenery, and acting. Although directors retained Bradbury's original music, they nonetheless facilitated Esther's rapid entr矇e into the realm of music theater. This stylistic transformation ignited a firestorm of controversy. Some clergy and religiously pious citizens condemned theatrical representations of biblical texts as the epitome of debauchery, sacrilege, and sin. In contrast, more tolerant and open-minded theater enthusiasts welcomed the dramatic staging of Esther as wholesome entertainment and as evidence of a refreshingly enlightened approach to biblical interpretation. However heated this debate seemed at times, it did little to quell the continued rise in popularity of Esther. In fact, by the late 1860s, Bradbury's score had worked its way across the continent, north to Canada and, eventually, to Great Britain, Australia, Asia, and Africa. With performances recorded over a century after Bradbury published his score, Esther became, by any measure, an international megahit.
Learning Jazz
Learning Jazz: Jazz Education, History, and Public Pedagogy addresses a debate that has consumed practitioners and advocates since the music's early days. Studies on jazz learning typically focus on one of two methods: institutional education or the kinds of informal mentoring relationships long associated with the tradition. Ken Prouty argues that this distinction works against a common identity for audiences and communities. Rather, what happens within the institution impacts--and is impacted by--events and practices outside institutional contexts. While formal institutions are well-defined in educational and civic contexts, informal institutions have profoundly influenced the development of jazz and its discourses. Drawing on historical case studies, Prouty details significant moments in jazz history. He examines the ways that early method books capitalized on a new commercial market, commandeering public expertise about the music. Chapters also discuss critic Paul Eduard Miller and his attempts to develop a jazz canon, as well as the disconnect between the spotlighted "great men" and the everyday realities of artists. Tackling race in jazz education, Prouty explores the intersections between identity and assessment; bandleaders Stan Kenton and Maynard Ferguson; public school segregation; Jazz at Lincoln Center; and more. He further examines jazz's "public pedagogy," and the sometimes-difficult relationships between "jazz people" and the general public. Ultimately, Learning Jazz posits that there is room for both institutional and non-institutional forces in the educational realm of jazz.
What a Difference a Day Makes
In What a Difference a Day Makes: Women Who Conquered 1950s Music, Steve Bergsman highlights the Black female artists of the 1950s, a time that predated the chart-topping girl groups of the early 1960s. Many of the singers of this era became wildly famous and respected, and even made it into the Rock 'n' Roll Hall of Fame. However, there were many others, such as Margie Day, Helen Humes, Nellie Lutcher, Jewel King, and Savannah Churchill, who made one or two great records in the 1950s and then disappeared from the scene. The era featured former jazz and blues singers, who first came to prominence in the 1940s, and others who pioneered early forms of rock 'n' roll. In a companion volume, Bergsman has written the history of white women singers of the same era. Although song styles were parallel, the careers of Black and white female singers of the period ran in very different directions as the decade progressed. The songs of African American vocalists like Dinah Washington and Etta James were segregated to the R&B charts or covered by pop singers in the early and mid-1950s but burst into prominence in the last part of the decade and well into the 1960s. White singers, on the other hand, excelled in the early 1950s but saw their careers decline with the advent of rock music. In this volume, Bergsman takes an encyclopedic look at both the renowned and the sadly faded stars of the 1950s, placing them and their music back in the spotlight.
All I Want Is Loving You
In All I Want Is Loving You: Popular Female Singers of the 1950s, author Steve Bergsman focuses on the white, female artists of the 1950s, a time that predated the chart-topping girl groups of the early 1960s. These popular performers, many of whom graduated out of the big bands of the 1940s, impacted popular music in a huge way. As the last bastion of traditional pop and the last sirens of swing, they undeniably shined in the spotlight. Yet these singers' fame dimmed relatively quickly with the advent of rock 'n' roll. A fortunate few, like Doris Day, Patti Page, Peggy Lee, and Debbie Reynolds, experienced some of their biggest hits in the late 1950s, and Eydie Gorm矇 broke out in the 1960s. The luckiest, including Dinah Shore and Rosemary Clooney, ventured to television with varying degrees of success. Others would become major attractions at nightclubs in Las Vegas or, like Teresa Brewer, shift into the jazz world. Though the moment did not last, these performers were best-selling singers, darlings of the disk jockeys, and the frenetic heartbeat of fan clubs during their heyday. In a companion volume, Bergsman has written the history of African American women singers of the same era. These Black musicians transitioned more easily as a new form of music, rock 'n' roll, skyrocketed in popularity. In both books, Bergsman reintroduces readers to these talented singers, offering a thorough look at their work and turning up the volume on their legacy.
Roots Punk
Punk rock evokes dissent and disruption, abrasive and anarchic musicality, and a host of countercultural aesthetics. Featuring original interviews and over one hundred images, Roots Punk: A Visual and Oral History by longtime music journalist and author David A. Ensminger focuses on how punk merged with roots music to create a rich style that incorporated honky-tonk, rockabilly, doo-wop, reggae, ska, jazz, folk, blues, and labor ballads. This engagement transformed the notion of punk to include a wide array of vintage source material that seems more aligned with bolo ties and Stetsons than Doc Martens and safety pins. Ensminger explores the music's aesthetics, traits, and themes. He contextualizes, clarifies, maps, and probes roots punk's hybrid nature as well as its diverse, queer-inclusive, and multicultural strains. By painting a broad, nuanced, and well-documented picture of the genre from its earliest incarnation, he forms a kind of people's history of the movement. Roots Punk features original interviews with members of Minutemen, MDC, the Dicks, the Plimsouls, Tex and the Horseheads, Dils/Rank and File, X, the Flesh Eaters, Beatnigs, Alejandro Escovedo, Robert "El Vez" Lopez, Blasters, and more. Whether covering sarcastic novelty forms or sincere embraces, Ensminger reveals and revels in a punk tradition lined with blues records, acoustic ballads, country, and hillbilly romp. In a time of growing conformity, replication, and commercialization, roots punk (sometimes dubbed cow-punk) offers a tantalizing revitalization and reimagination of the American songbook.
All I Want Is Loving You
In All I Want Is Loving You: Popular Female Singers of the 1950s, author Steve Bergsman focuses on the white, female artists of the 1950s, a time that predated the chart-topping girl groups of the early 1960s. These popular performers, many of whom graduated out of the big bands of the 1940s, impacted popular music in a huge way. As the last bastion of traditional pop and the last sirens of swing, they undeniably shined in the spotlight. Yet these singers' fame dimmed relatively quickly with the advent of rock 'n' roll. A fortunate few, like Doris Day, Patti Page, Peggy Lee, and Debbie Reynolds, experienced some of their biggest hits in the late 1950s, and Eydie Gorm矇 broke out in the 1960s. The luckiest, including Dinah Shore and Rosemary Clooney, ventured to television with varying degrees of success. Others would become major attractions at nightclubs in Las Vegas or, like Teresa Brewer, shift into the jazz world. Though the moment did not last, these performers were best-selling singers, darlings of the disk jockeys, and the frenetic heartbeat of fan clubs during their heyday. In a companion volume, Bergsman has written the history of African American women singers of the same era. These Black musicians transitioned more easily as a new form of music, rock 'n' roll, skyrocketed in popularity. In both books, Bergsman reintroduces readers to these talented singers, offering a thorough look at their work and turning up the volume on their legacy.
Mr. Bojangles, Dance
Three men's lives, told through the story of one song. Jerry Jeff Walker, the singer and writer behind the classic hit "Mr. Bojangles," never would have expected that his song, inspired by an experience in a New Orleans jail cell, would make Richard Nixon cry, or that it would be covered by Sammy Davis, Jr., the entertainment giant and, controversially, a supporter of Nixon. This work, told through the perspective of writer, performer and listener, traces these three men's overlapping journeys through the American consciousness. Chapters discuss the history of Walker's song, Davis's rise from rags to riches, Nixon's journey from grocer's son to president, and more.
From Biblical Book to Musical Megahit
Many church-goers will recognize the name William Bradbury, a nineteenth-century American composer of popular hymns still sung at Sunday services. Bradbury's name may also bring to mind Esther, the Beautiful Queen, his choral setting of a text based on the biblical Book of Esther. Written for amateur singers, the uncomplicated score became enormously popular almost immediately after its initial publication in 1856. In From Biblical Book to Musical Megahit: William B. Bradbury's "Esther, the Beautiful Queen, " Juanita Karpf traces the work's rich performance and reception history. Bradbury emphatically stated that he intended Esther to be sung as an unadorned religious and educational piece. Yet many music directors exploited the potential for his score, producing elaborately staged events with costumes, scenery, and acting. Although directors retained Bradbury's original music, they nonetheless facilitated Esther's rapid entr矇e into the realm of music theater. This stylistic transformation ignited a firestorm of controversy. Some clergy and religiously pious citizens condemned theatrical representations of biblical texts as the epitome of debauchery, sacrilege, and sin. In contrast, more tolerant and open-minded theater enthusiasts welcomed the dramatic staging of Esther as wholesome entertainment and as evidence of a refreshingly enlightened approach to biblical interpretation. However heated this debate seemed at times, it did little to quell the continued rise in popularity of Esther. In fact, by the late 1860s, Bradbury's score had worked its way across the continent, north to Canada and, eventually, to Great Britain, Australia, Asia, and Africa. With performances recorded over a century after Bradbury published his score, Esther became, by any measure, an international megahit.
Roots Punk
Punk rock evokes dissent and disruption, abrasive and anarchic musicality, and a host of countercultural aesthetics. Featuring original interviews and over one hundred images, Roots Punk: A Visual and Oral History by longtime music journalist and author David A. Ensminger focuses on how punk merged with roots music to create a rich style that incorporated honky-tonk, rockabilly, doo-wop, reggae, ska, jazz, folk, blues, and labor ballads. This engagement transformed the notion of punk to include a wide array of vintage source material that seems more aligned with bolo ties and Stetsons than Doc Martens and safety pins. Ensminger explores the music's aesthetics, traits, and themes. He contextualizes, clarifies, maps, and probes roots punk's hybrid nature as well as its diverse, queer-inclusive, and multicultural strains. By painting a broad, nuanced, and well-documented picture of the genre from its earliest incarnation, he forms a kind of people's history of the movement. Roots Punk features original interviews with members of Minutemen, MDC, the Dicks, the Plimsouls, Tex and the Horseheads, Dils/Rank and File, X, the Flesh Eaters, Beatnigs, Alejandro Escovedo, Robert "El Vez" Lopez, Blasters, and more. Whether covering sarcastic novelty forms or sincere embraces, Ensminger reveals and revels in a punk tradition lined with blues records, acoustic ballads, country, and hillbilly romp. In a time of growing conformity, replication, and commercialization, roots punk (sometimes dubbed cow-punk) offers a tantalizing revitalization and reimagination of the American songbook.
What a Difference a Day Makes
In What a Difference a Day Makes: Women Who Conquered 1950s Music, Steve Bergsman highlights the Black female artists of the 1950s, a time that predated the chart-topping girl groups of the early 1960s. Many of the singers of this era became wildly famous and respected, and even made it into the Rock 'n' Roll Hall of Fame. However, there were many others, such as Margie Day, Helen Humes, Nellie Lutcher, Jewel King, and Savannah Churchill, who made one or two great records in the 1950s and then disappeared from the scene. The era featured former jazz and blues singers, who first came to prominence in the 1940s, and others who pioneered early forms of rock 'n' roll. In a companion volume, Bergsman has written the history of white women singers of the same era. Although song styles paralleled, the careers of Black and white female singers of the period ran in very different directions as the decade progressed. The songs of African American vocalists like Dinah Washington and Etta James were R&B segregated or covered by pop singers in the early and mid-1950s but burst into prominence in the last part of the decade and well into the 1960s. White singers, on the other hand, excelled in the early 1950s but saw their careers decline with the advent of rock music. In this volume, Bergsman takes an encyclopedic look at both the renowned and the sadly faded stars of the 1950s, placing them and their music back in the spotlight.
That's the Joint!
This newly expanded and revised third edition brings together the most important and up-to-date hip-hop scholarship in one comprehensive volume.
Song, Landscape, and Identity in Medieval Northern France
Song, Landscape, and Identity in Medieval Northern France offers a new perspective on how medieval song expressed relationships between people and their environments. Informed by environmental history and harnessing musicological and ecocritical approaches, author Jennifer Saltzstein draws connections between the nature imagery that pervades songs written by the trouv癡res of northern France to the physical terrain and climate of the lands on which their authors lived. In doing so, she analyzes the different ways in which composers' lived environments related to their songs and categorizes their use of nature imagery as realistic, aspirational, or nostalgic. Demonstrating a cycle of mutual impact between nature and culture, Saltzstein argues that trouv癡re songs influenced the ways particular groups of medieval people defined their identities, encouraging them to view themselves as belonging to specific landscapes. The book offers close readings of love songs, pastourelles, motets, and rondets from the likes of Gace Brul矇, Adam de la Halle, Guillaume de Machaut, and many others. Saltzstein shows how their music-text relationships illuminate the ways in which song helped to foster identities tied to specific landscapes among the knightly classes, the clergy, aristocratic women, and peasants. By connecting social types to topographies, trouv癡re songs and the manuscripts in which they were preserved presented models of identity for later generations of songwriters, performers, listeners, patrons, and readers to emulate, thereby projecting into the future specific ways of being on the land. Written in the long thirteenth century during the last major era of climate change, trouv癡re songs, as Saltzstein demonstrates, shape our understanding of how identity formation has rested on relationships between nature, culture, and change.
The Stephen Sondheim Encyclopedia
Praise from Jesse Green, New York Times Chief Theater Critic, Arts, in the 2023 Holiday Gift Guide: "From A (the director George Abbott) to Y ('You Could Drive a Person Crazy'), The Stephen Sondheim Encyclopedia, by Rick Pender, offers an astonishingly comprehensive look, in more than 130 entries, at the late master's colleagues, songs, shows and methods."The Stephen Sondheim Encyclopedia is a wonderfully detailed and comprehensive reference devoted to musical theater's most prolific and admired composer and lyricist. Entries cover Sondheim's numerous collaborators, from composers and directors to designers and orchestras; key songs, such as his Academy Award winner "Sooner or Later" (Dick Tracy); and major works, including Assassins, Company, Follies, Sweeney Todd, and West Side Story. The encyclopedia also profiles the actors who originated roles and sang Sondheim's songs for the first time, including Ethel Merman, Angela Lansbury, Mandy Patinkin, and Bernadette Peters.Featuring a detailed biographical entry for Sondheim, a chronology of his career, a listing of his many awards, and discussions of his opinions on movies, opera, and more, this wide-ranging resource will attract musical theater enthusiasts again and again.
From an Arabic Language Hymnal
The hymns are of various themes and give the glory to God. They were translated with similar meters to that found in the Arabic language. The hymns are my translations of hymns from an Arabic language hymnal that was used by evangelical churches in Lebanon.
Rock Music, Authority and Western Culture, 1964-1980
The history of rock and roll music can be seen in a long arc of Western civilization's struggle for both greater individual expression and societal stability. In the 1960s, the West's relationship with authority ruptured, in part due to the rock revolution. The lessons and implications of this era have yet to be fully grasped. This book examines the key artists, music, and events of the classic rock era--defined here as 1964 to 1980--through a virtual psychoanalysis of the West. Over these years, important truths unfold in the stories of British Invaders, hippies, proto-punks, and more, as well as topics to include drugs, primal scream therapy, the occult, spirituality, and disco and its detractors, to name just a few. Through a narrative that is equal parts entertaining, scholarly, and even spiritual, readers will gain a greater appreciation for rock music, better understand the confusing world we live in today, and see how greater individuality and social stability may be better reconciled moving forward.
Gospel Musings
""Let the word of Christ dwell in you richly"" (Col 3:16). Regain the art of meditation, aided by simple versification of Scripture and hymnody that is firmly based on the word of God. Aptly suited to enrich private or family devotions, Gospel Musings: An Anthology of Scriptural Poetry & Hymnody brings new life to longstanding tradition. Highlighting the doctrines of grace, these poems promote Reformed theology in systematic and liturgical fashion. As meditations put to music, Gospel Musings engages in ""teaching and admonishing one another,"" all the while bringing praise to our Lord. Children and adults alike can use these songs to engage in thoughtful worship, ""singing with grace in your hearts to the Lord.""
Wired for Music
"Beautifully written... a riveting account of how melodies and rhythms connect us, and help us deal with alienation and anxiety."--Dr. Bessel van der Kolk, author of The Body Keeps the ScoreIn this captivating blend of science and memoir, a health journalist and former cellist explores music as a source of health, resilience, connection, and joy.Music isn't just background noise or a series of torturous exercises we remember from piano lessons. In the right doses, it can double as a mild antidepressant, painkiller, sleeping pill, memory aid--and enhance athletic performance while supporting healthy aging. Though music has been used as a healing strategy since ancient times, neuroscientists have only recently discovered how melody and rhythm stimulate core memory, motor, and emotion centers in the brain. But here's the catch: We can tune into music every day and still miss out on some of its potent effects.Adriana Barton learned the hard way. Starting at age five, she studied the cello for nearly two decades, a pursuit that left her with physical injuries and emotional scars. In Wired for Music, she sets out to discover what music is really for, combing through medical studies, discoveries by pioneering neuroscientists, and research from biology and anthropology. Traveling from state-of-the-art science labs to a remote village in Zimbabwe, her investigation gets to the heart of music's profound effects on the human body and brain. Blending science and story, Wired for Music shows how our species' age-old connection to melody and rhythm is wired inside us.
Stampfel on Weber and the Complete Boston Broadsides 1964-1967
Puccini in Context
Exploring the many dimensions of Giacomo Puccini's historical legacy and significance, this book provides new perspectives on the life and work of a much-loved opera composer and demonstrates how political concerns shape the way we approach and perform his works in the present day. Accessibly written chapters by a range of international experts explore Puccini's interests, attitudes, and relationships, and examine how his works reflected the cultural, political, and social zeitgeist of their time. The essays first map Puccini's personal and professional networks, the regions and cities that meant so much to him, and his travels for both work and leisure. They go on to probe the composer's attitudes towards contemporary developments in music, literature, film, and drama and investigate his collaboration with librettists, publishers, singers, and conductors. The book closes with chapters on Puccini's compositional legacy, performance history, relationship with popular culture, and place in the international operatic canon.
Teller of Tales
Here is a richly textured musical adventure about the charismatic author of Treasure Island. Young Robert Louis Stevenson defies chronic ill health and Victorian family traditions by going places and taking risks. His high spirits and sparkling talent dazzle London's literati until a turbulent romance sends him on a reckless odyssey to California. A stranger in colorful old Monterey he finds that winning at love becomes a life and death struggle to salvage his writing career and save himself. Launched with simultaneous premieres in Scotland and California Teller of Tales has a powerful script witty lyrics and a memorable musical score ranging from reel to ragtime.
Pageant
Judges selected from the audience actually vote and determine the winner who therefore may be different at each performance. The show takes its shots not by mocking the pageant from the outside but by being one. The six contestants compete for the title of Miss Glamouresse (Glamouresse being a cosmetics company). Miss Deep South Miss West Coast Miss Great Plains Miss Bible Belt Miss Industrial Northeast. and Miss Texas and compete in evening gowns talent swim-wear and spokemodeling plus the finalists answer actual calls from the Glamouresse Beauty Crisis Hotline.
Cougar
Cougar The Musical unleashes three divine but disillusioned women who develop a taste for hot young men. They let their inner cougar roar and purr finding self-love and empowerment in the process. The sexy ferocious cast of three fabulous-over-forty women and one multi-talented boy toy sing and dance their way through a satiating range of original songs from grinding blues to doo-wop to pop to "Julio " a romantic ballad sung to a vibrator. Hilarious soulful and heartwarming Co
Taking a Stand
As Timothy McGee says in his introduction, 'It is not an exaggeration to say that John Beckwith has been the single most important influence on Canadian music over the past forty years.' Beckwith's career as a composer, performer, teacher, administrator, author, editor, and promoter of Canadian music is unparalleled. It is fitting, then, that this group of papers, organized as a tribute to him, reflects not only his contribution, but also the current major directions of Canadian music.The contributions fall under the headings of composers and compositions, music education, comparative studies of music in Canada and the United States, and general views of music in Canada. The composers discussed include Bruce Cockburn, Istvan Anhalt, John Hawkins, and of course, John Beckwith. One essay looks at the way in which music was taught in nineteenth-century Toronto; another deal with music education in Canada today. The comparative studies include a consideration of sacred music in the early years and a look at the different ways in which American and Canadian composers treat native music. One essay probes what is typically Canadian about our study of own music. Another examines the role played the private patrons in supporting our cultural institutions.The essays reflect the variety of musical culture in our country. The music of Canada - past and present; popular, folk, and classical; its creator, collectors, and educators - is presented, discussed, and analysed by prominent scholars. Collectively the essays summarize the current state of research on Canadian music; individually they provide standards, patterns, approaches, and directions for future research.
Siouxsie and the Banshees - The Early Years
Monday 20th September 1976 saw one of the most unexpected moments in music history when what was to become one of the most iconic, important and mimicked bands of the 1970s, 1980s and 1990s took to the stage at The 100 Club in Oxford Street, London. A last-minute addition to the '100 Club Punk Special' that included The Clash, Sex Pistols, Buzzcocks and The Damned, an unknown Siouxsie and The Banshees, comprising Sid Vicious, Steve Severin, Marco Pirroni and Siouxsie Sioux, unleashed twenty minutes of 'performance art' improvisation, featuring fragments of 'Deutschland, Deutschland, Uber Alles', 'Twist And Shout' and 'Satisfaction'. 'The Lord's Prayer', which was to become a staple of Siouxsie and The Banshees' early live repertoire, was a white-noise assault on the senses and a barometer of the alienation many teenagers felt from the bloated nature of mid-1970s 'arena rock'. Several line-up changes later, in 1978, Siouxise and The Banshees were propelled into the pop stratosphere. Signed to a major record label, the band released 'Hong Kong Garden' and wrote one of the most influential post-punk albums of all time, The Scream, a savage critique of curtain-twitching suburbia, the cheap titillation of the tabloids, and the dangers of believing and following any one doctrine. 1979's Join Hands, influenced by the political landscape in Britain and further afield, and the catastrophic loss of life in World War One, was a milestone of the band's increasing maturity, from the adrenaline-fuelled stomp of 'Icon' to the phased guitar, saxophone and bells of 'Playground Twist'. After a tour fraught with fractiousness, a new line up with Slits' drummer Budgie and Magazine guitarist John McGeoch, together with Siouxsie Sioux and Steve Severin, released the band's most experimental album, Kaleidoscope, which was a heady mix of psychedelia and sonorous adventures including the singles 'Happy House' and 'Christine'. Siouxsie and The Banshees The Early Years explores the adventures, trials and tribulations of a band defying categorisation. Their uncompromising brilliance is exemplified by three unique albums, which are chronicled in the pages of this authoritative survey.
Nektar
Of all the British bands that blasted to fame in rock's golden age, Nektar remain the most mysterious and least documented. Because they chose to base themselves in West Germany, until now commentators in their native land have tended to overlook them. They're all but excluded from prog's official narrative even though Remember The Future is a classic of the genre and one of very few European art rock albums to conquer the US. This book reveals Nektar as much more than just a hit LP, celebrating a catalogue rich in works of equal stature which, uniquely for the time, poured so effortlessly from the players. Whether you know only the clutch of 1970s albums that are Nektar at the pinnacle, or you've followed their progress under leaders Roye Albrighton and now Derek Moore, here's everything you need to complete your understanding of an agile, continuously intriguing and as distinctive as their covers, as dazzling as their light show, and as warm as their fans. It documents how Germany was both boon and bane for the band, how America tore them apart and pulled them back together, and how from Journey To The Centre Of The Eye to The Other Side Nektar have a vision and a connection that brings them much closer to our small scared lives than any other band of their stature.
M. A. Zani de Ferranti
The twenty-four compositions presented in this edition include both transcriptions and originals. The source is a set of manuscripts owned by descendants of M. A. Zani de Ferranti. The compositions in these manuscripts were possibly gathered by M. A. Zani de Ferranti towards the end of his life with plans for publication. They provide a broad view of his composition style from the 1820s to the 1860s, with some pieces taken from his early publications and some apparently never published. The full set of manuscripts with annotations are provided along with new engravings. Contents - M. A. Zani de Ferranti - Transcriptions favorites & Fragments m矇lodiques - Transcriptions favorites No. 1 La S矇r矇nade, Schubert No. 2 Sombre For礙t, Rossini No. 3 La Favorite, Donizetti No. 4 Andante, Beethoven No. 5 Le Moine, Meyerbeer No. 6 Thekla, Schubert No. 7 El pa簽uelo de mi majo, A. Rius - Fragments m矇lodiques No. 8 Souvenir de Tancredi, Rossini No. 9 Souvenir allemand No. 10 Celui qui sut toucher mon coeur, S. Gail No. 11 Air national hollandaise No. 12 Andante pour Violon, A. Rolla No. 14 Assisa a pi癡 d'un salice, Rossini No. 15 Souvenir de Preziosa, Weber No. 16 M矇lodie anglaise No. 17 Nocturne original No. 18 La jeune Bateli癡re, F. Masini No. 19 La Tyrolienne No. 26 M矇nuet de Don Giovanni, Mozart No. 27 O matutini albori, Rossini No. 28 Pens矇e originale No. 29 Romance de F. Masini No. 30 M矇lodie originale No. 31 O cara memorie, Caraffa - Transcriptions favorites manuscript facsimile - Fragments m矇lodiques manuscript facsimile
Play Like a Man
As a member of Poster Children, Rose Marshack took part in entwined revolutions. Marshack and other women seized a much-elevated profile in music during the indie rock breakthrough while the advent of new digital technologies transformed the recording and marketing of music. Touring in a van, meeting your idols, juggling a programming job with music, keeping control and credibility, the perils of an independent record label (and the greater perils of a major)--Marshack chronicles the band's day-to-day life and punctuates her account with excerpts from her tour reports and hard-learned lessons on how to rock, program, and teach while female. She also details the ways Poster Children applied punk's DIY ethos to digital tech as a way to connect with fans via then-new media like pkids listservs, internet radio, and enhanced CDs. An inside look at a scene and a career, Play Like a Man is the evocative and humorous tale of one woman's life in the trenches and online.
Nick Lucas
For more than seven decades Nick Lucas was an entertainer, beginning as a child street musician and becoming one of the most popular singer-guitarists of all time. He was a popular sideman in bands, and his solo career conquered radio, recordings, vaudeville, Broadway, films, night clubs and television. He is credited with being the first musician to replace the banjo with the guitar in big bands and on records, and with initiating the "intimate style" of singing, making him the first crooner. Nick Lucas' guitar playing contributed significantly to the instrument's popularity, and he influenced generations of players with his instruction books and by having a line of popular guitar picks bearing his name. He was the first guitarist to have a custom-made model, "The Nick Lucas Special." This biography comprehensively covers Nick Lucas' career as he entertained audiences in the United States, England and Australia, becoming a beloved star and influencing popular music to the present day.
Taylor Swift
This illustrated biography celebrates Taylor Swift's many hits and achievements Taylor Swift's discography spans multiple genres, and her narrative songwriting, which is often inspired by her personal life, has received widespread media coverage and critical praise. She has scored eight Billboard Hot 100 number-one songs, and won 11 Grammy Awards (including three Album of the Year wins), an Emmy Award, 34 American Music Awards. She featured on Rolling Stone's 100 Greatest Songwriters of All Time (2015) and Billboard's Greatest of All Time Artists list (2019). Having sold over 200 million records around the world she is one of the best selling music artists of all time. Named the Woman of the 2010s Decade by Billboard and the Artist of the 2010s Decade by the American Music Awards, Swift has been recognized for her influential career as well as advocacy of artists' rights and women's empowerment in the music industry. This is her story.
Kinetic Cultures
Belle 矇poque Paris adored dance. Whether at the music hall or in more refined theaters, audiences flocked to see the spectacles offered to them by the likes of Isadora Duncan, Diaghilev's flashy company, and an embarrassment of Salom矇s. After languishing in the shadow of opera for much of the nineteenth century, ballet found itself part of this lively kinetic constellation. In Kinetic Cultures, Rachana Vajjhala argues that far from being mere delectation, ballet was implicated in the larger republican project of national rehabilitation through a rehabilitation of its citizens. By tracing the various gestural complexes of the period--bodybuilding routines, appropriate physical comportment for women, choreographic vocabularies, and more--Vajjhala presents a new way of understanding histories of dance and music, one that she locates in gesture and movement.
Twenty Four Hours from Tulsa
1960s recording star Gene Pitney decides to broaden his career beyond singing and takes on the career management of two young, innocent and naive pop stars. He helps them navigate the music business by battling to keep them out of the greedy hands of both a down-at-the-heels, small time record label owner as well as a scheming, predatory, self-serving multimedia magnate. The book is set in the mid-1960s in Los Angeles, Las Vegas, New York and small town Kenosha, Wisconsin. There is double-crossing, dirty dealing and sexual trysts balanced with family affection, honesty, loyalty and goodness all played out with the 1960s as the backdrop.
Rocking in the Free World
Progressive and libertarian, anti-Communist and revolutionary, Democratic and Republican, quintessentially American but simultaneously universal. By the late 1980s, rock music had acquired a dizzying array of political labels. These claims about its political significance shared one common thread: that the music could set you free. Rocking in the Free World explains how Americans came to believe they had learned the truth about rock 'n' roll, a truth shaped by the Cold War anxieties of the Fifties, the countercultural revolutions (and counter-revolutions) of the Sixties and Seventies, and the end-of-history triumphalism of the Eighties. How did rock 'n' roll become enmeshed with so many different competing ideas about freedom? And what does that story reveal about the promise-and the limits-of rock music as a political force in postwar America?
Ludwig Van Beethoven - Sheet Music
Sheet Music by Composer Ludwig Van Beethoven.Beethoven remains one of the most admired composers in the history of Western music; his works rank amongst the most performed of the classical music repertoire and span the transition from the Classical period to the Romantic era in classical music.Ludwig van Beethoven wrote 32 mature piano sonatas between 1795 and 1822. (He also wrote 3 juvenile sonatas at the age of 13 and one unfinished sonata, WoO. 51.)Although originally not intended to be a meaningful whole, as a set they comprise one of the most important collections of works in the history of music.Hans von B羹low called them "The New Testament" of piano literature (Johann Sebastian Bach's The Well-Tempered Clavier being "The Old Testament").Beethoven's piano sonatas came to be seen as the first cycle of major piano pieces suited to both private and public performance.They form "a bridge between the worlds of the salon and the concert hall".The first person to play them all in a single concert cycle was Hans von B羹low; the first complete recording is Artur Schnabel's for the label His Master's Voice.In this Volume: Piano Sonata No.27 in E minor, op.90Piano Sonata No.28 in A major, op.101Piano Sonata No.29 in B flat major, op.106 "Hammerklavier"Piano Sonata No.30 in E major, op.109Piano Sonata No.31 in A flat major, op.110Piano Sonata No.32 in C minor, op.111Size 8,5 x 11 inchPages 144Special Launch Price
Chopin Frederic SHEET MUSIC Solo Piano Miscellaneous
Chopin Frederic SHEET MUSIC Solo Piano MiscellaneousVariations Brillantes in B flat major Bolero in A minor Tarantelle in A flat major Allegro de Concert in A major Fantasie in F minor Berceuse in D flat major Barcarolle in F sharp major Marche Funebre in C minor 3 Ecossaises Variations on "Der Schweizerbub"In this volume: Citations of the life and works10 Exclusive illustrations Variations Brillantes in B flat major, Op.12Bolero in A minor, Op.19Tarantelle in A flat major, Op.43Allegro de Concert in A major, Op.46Fantasie in F minor, Op.49Berceuse in D flat major, Op.57Barcarolle in F sharp major, Op.60Marche Funebre in C minor, Op.72, no.23 Ecossaises, Op.72, no.3Variations on "Der Schweizerbub", B.14 Size 8,5 x 11 inchPages 102
Songs of the Empty Place
For 31 months between 1979 and 1995, James F. Weiner conducted anthropological research amongst the Foi people in Southern Highlands Province, Papua New Guinea. This book contains the transcriptions, translations, and descriptions of the songs he recorded. The texts of women's sago songs (obedobora), men's ceremonial songs (sorohabora), and women's sorohabora are included. Men turn the prosaic content of women穩s sago songs into their own sorohabora songs, which are performed the night following large-scale inter-community pig kills, called dawa. While women sing sago songs by themselves, men sing their ceremonial songs in groups of paired men. Women also have their own ceremonial versions of such songs. The songs are memorial in intent; they are designed to commemorate the lives of men who are no longer living. Most commonly they do so by naming the places the deceased inhabited during his lifetime. These song texts and translations are introduced by Weiner. Ethnomusicologist Don Niles then brings together information about each type of song and considers these Foi genres in relation to those of neighbouring groups, highlighting aspects of regional performance styles. Consideration is also given to the poetic devices used in Papua New Guinea songs. Eighteen recordings illustrating the Foi genres discussed in this book are available for download. It remains uncertain how such songs may be affected by the major oil extraction project that has been undertaken in the region for more than two decades. This book will interest students of anthropology, ethnomusicology, linguistics, verbal art, aesthetics, and cultural heritage.
