Inside the Studio: Spaces of Electronic Music Production
Shouting Out Loud
The first biography of legendary and influential British punk band The Raincoats, who are long revered by those in the international punk scene. The Raincoats were formed in London in 1977 as an experimental punk band synonymous with their indie label, Rough Trade. They went on to create what Vivien Goldman called "a new legacy of punk" and arguably became the most pioneering female band of the post-punk era while inspiring a new wave of DIY and queercore artists. Introduced by Kurt Cobain to a new generation in the 1990s, The Raincoats were invited to tour with Nirvana, and were known as the "godmothers of grunge" and "godmothers of Riot Grrrl" before eventually becoming label mates with Sonic Youth, Nirvana, Hole, Bikini Kill, and Elastica. In the 21st-century, The Raincoats singularly inspired Bikini Kill to reform after a 20-year hiatus. Featuring exclusive interviews and brand new photos from the Raincoats' archives, as well as reproduced ephemera, Shouting Out Loud is the first ever biography of this groundbreaking band and shows how this pioneering group of women paved the way for those that followed in their footsteps. Additionally, the book features original interviews with members of Sonic Youth, Hole, Bikini Kill, Sleater-Kinney, Big Joanie, Liz Phair, and many more. Meticulously researched and sweeping in scope, Shouting Out Loud is the must-have account of a band that became the linchpin of feminist music in the 20th century.
Psalms, Paraphrases, and Hymns, Adapted to the Services of the Church of England, by J. Sandford
Music, Research, and Activism
A radical exploration of how music educators and artists are using research as a tool for justice in an era of crisis and transformation. Can music research drive social and ecological change? Music, Research, and Activism: Prospects and Projects in Northern Europe argues that it can--and must. This bold collection studies the emerging activist turn in music studies, where researchers and artists engage directly in public debates and cultural movements. By questioning systemic inequalities in the music industry and exploring the role of music education in an era of climate crisis, the contributors to this volume reflect on how their work can serve eco-social justice. Drawing on their diverse experiences as educators, critics, DJs, producers, and community organizers, they offer a compelling vision of music research as an agent of transformation. Rooted in the independent research network Suoni, this volume speaks to music scholars and students eager to rethink the role of music in shaping a more equitable world. Engaging and accessible, it challenges us to ask: What does social responsibility look like in music research today?
Psalms, Paraphrases, and Hymns, Adapted to the Services of the Church of England, by J. Sandford
Music, Research, and Activism
A radical exploration of how music educators and artists are using research as a tool for justice in an era of crisis and transformation. Can music research drive social and ecological change? Music, Research, and Activism: Prospects and Projects in Northern Europe argues that it can--and must. This bold collection studies the emerging activist turn in music studies, where researchers and artists engage directly in public debates and cultural movements. By questioning systemic inequalities in the music industry and exploring the role of music education in an era of climate crisis, the contributors to this volume reflect on how their work can serve eco-social justice. Drawing on their diverse experiences as educators, critics, DJs, producers, and community organizers, they offer a compelling vision of music research as an agent of transformation. Rooted in the independent research network Suoni, this volume speaks to music scholars and students eager to rethink the role of music in shaping a more equitable world. Engaging and accessible, it challenges us to ask: What does social responsibility look like in music research today?
Op矇ra de Salon
Op矇ra de salon emerged in the early 1850s out of a much longer tradition of th矇璽tre de soci矇t矇: the cultivation of performing plays in aristocratic town houses and ch璽teaux which continued into the Second Empire of the 1850s and 1860s, and beyond. It consisted of a one-act op矇rette with between six and nine musical compositions separated by spoken dialogue that carried the action in the same way as op矇ra-comique or op矇rette itself. Op矇ra de salon was separated from op矇rette and related genres by its performance context: never shared with the regulated theatre, op矇ra de salon was cultivated in domestic living spaces that were repurposed in ways that ranged from simply pushing back the furniture to building a fully-fledged theatre in one's own home. Op矇ra de salon furthermore found its way into the concert culture hosted by Parisian piano manufacturers Herz, Erard, Pleyel, and others. In Op矇ra de salon: Parisian Societies and Salons in the Second Empire, author Mark Everist brings to light a genre and a set of cultural practices that have long been obscured. Approximately 130 op矇ras de salon were composed and performed up to ca. 1875, and, as Everist demonstrates, they represent a significant generic trajectory in the history of nineteenth century music and theatre. Produced by major composers and librettists of the day, these works play into questions of gender, age, and urban topography in ways unlike other musical and theatrical genres of the day. Everist's focus is on the salon--the domestic, the private--but he also shows how op矇ra de salon moves effortlessly between intimate familial space, the more public salon, to the public and largely commercial concert hall in ways that prompt reflection on the status of all these critical categories. Ultimately, Everist challenges the hermetic discipline of 'opera studies' by opening up massive repertories that are still unknown, and by developing critical practices that go beyond traditional categories of theatres, institutions, consumers, and creators.
Impossible Project
Writing in 1829, a Russian critic referred to the art of ballet as an "impossible project"--impossible because it strives "to give an expressive language to body movements," while completely avoiding spoken dialogue. This impossibility generated an anxiety that, no less than the balletic triumphs typically addressed in historiography, has been fuelling ballet's existence to this day. Some critics of ballet, like Leo Tolstoy, were eager to see this art discontinued for good, which indeed could have happened. Impossible Project follows the ballet debates from the mid-nineteenth to mid-twentieth century, showing that it was the energy of survival, particularly felt by the French-trained ballet masters working in Russia, that turned ballet into something like a religion for its practitioners. The modernist dissent of the early twentieth century only reinforced the near-religious devotion to ballet, which was in turn carried back to the West by Russian ballet figures fleeing from the Revolution and its Soviet aftermath. Ballet--as an art form and an artwork--has always been a corporate operation whose dynamics is impossible to describe in full from a single viewpoint. Impossible Project inspects ballet in the round and explores what its image was in the mind's eye of a hardened balletomane; a nameless corps de ballet danseuse; a politically driven administrator; or a progressive-minded journalist and writer. Author Daria Khitrova puts Russian ballet in the context of the political, religious, and aesthetic debates of its times, and examines it as a changing institution looking from both the wings and the audience.
Discomania
Discomania is a large format 450-page full-colour extravaganza of Disco, Punk & Cinema. Do you believe in Mirrorballs? Alan Jones always has and DISCOMANIA remains his only lifestyle choice, punctuating actions and emotions throughout his entire existence. Everything he has ever felt has been written in Disco. But Jones was also one of the original Punks, working for British designer icon Vivienne Westwood in her World's End boutique SEX, a DJ for Malcolm McLaren's revolutionary band the Sex Pistols at their formative gigs, and appeared in their biopic The Great Rock 'n' Roll Swindle. Not to mention his landmark, front-page 'Naked Cowboy' T-shirt arrest, his role in the infamous 'God Save the Queen' Jubilee Boat Party and his close friendship with neighbor Sid Vicious. So why did he also embrace the strobe-lit glamour and glitz of the thrilling Disco movement? Through 100-plus deluxe reviews of his all-time top Disco movies from 1973 to the present day, the international film critic, broadcaster, festival organiser and pioneering horror journalist reveals all - about his life, loves and scandals in the two exciting musical genres that have marked his extraordinary Dance Card. Sure, you know Saturday Night Fever, The Bitch, Thank God It's Friday, Xanadu, 54, and Can't Stop the Music. But what about White Pop Jesus, Podium, La discoteca del amor, Don't Go in the House, Brigade mondaine, The Face with Two Left Feet, and Bet on My Disco? Why is this little-explored, often maligned, yet exhilarating pop enclave so important culturally? What keynote and classic Disco songs of the Golden Era do they feature? What do the author's chosen favourite Disco icons think of their own work in innovatively contouring the inspiring four-to-the-floor sonic landscape? And what Punk memories does this unprecedented and highly original appraisal evoke, one going way beyond the velvet ropes and epitomizing the Disco zeitgeist? With a foreword by S'Express frontman Mark Moore, from First Choice to 'Last Dance' - You'll Love the Night Life!
Feist Good old Timers; a Collection of 75 Songs You'll Never Forget ... Both Words and Music
Iggy and the Stooges
Exploding onto the late 1960s scene, The Stooges were a band unlike any other before. A bunch of misfit Mid-Western delinquents, their charismatic frontman, Iggy Pop, was a performer extraordinaire. Confrontational and theatrical, this maniacal entertainer was originally joined by the Asheton brothers, Ron and Scott, and their pal, Dave Alexander. This original lineup delivered two albums of primal, brutal-sounding rock noise before the band fractured. A fortuitous crossing of paths with a certain David Bowie in 1971, however, led to a creative rebirth for Iggy and the band. With a new guitarist in place, James Williamson, and the Asheton brothers making up the rhythm section, the reconstituted group ended up delivering a third album of nihilistic ferocity. Once again though, the album bombed, leaving the band to limp on until 1974 before calling it a day - at least for nearly three decades. During their absence, the band's influential legacy blossomed, and in 2003, the original trio of Iggy, Ron and Scott reunited, once again performing under The Stooges banner. The band toured extensively, finally achieving the respect and adulation that had been lacking the first time around. A new album appeared in 2007 before Ron's passing in 2009. James Williamson subsequently returned to the fold, enabling the band to continue touring and recording before more sad news ensued in 2014 when Scott Asheton passed away, thus leading to the cessation of the band. The Stooges' music has influenced countless other bands, artists and genres, and this book examines the band's enduring musical legacy by taking a fully comprehensive look at all the group's officially recorded output in detail.
Unapologetic Expression
A lively, subversive history of the new UK jazz wave, encapsulating its revolutionary spirit and tracing its foundations to the birth of the genre itself. "Not solely a book about jazz, or even a nascent cultural shift; it's a record of a pivotal moment in UK history." - Big IssueFor many in the nineties, jazz was viewed as an obsolete, uncool music, a genre loved by out of touch white men with deeply questionable taste. And yet, by 2019, a new generation of UK jazz musicians were selling out major venues and appearing on festivals line ups around the world. How has UK jazz regenerated its image so totally in twenty-five years? And how did it ever become uncool in the first place? Reaching back to the roots of jazz as the 'unapologetic expression' of oppressed peoples, shaped by the forces of slavery, imperialism and globalisation, Andre織 Marmot places this new wave within the wider context of a divided, postcolonial Britain navigating its identity in a new world order. These artists have crafted a sound which reflects the nation as it is today - a sound connected to the very origins of jazz itself. Drawing upon eighty-four interviews with key architects of this jazz renaissance and those who came before them - from Shabaka Hutchings, Nubya Garcia and Moses Boyd to Gilles Peterson, Courtney Pine and Cleveland Watkiss - Unapologetic Expression captures the radical spirit of a vital British musical movement. "This is history almost in real time, with the con trails still visible in the sky . . . [Marmot] can really write. Not in a fancy way, but with a clarity of thought and a simple elegance of expression that make it a pleasure to turn from page to page . . . as full of life and energy, as sparky and challenging, as the music itself." - Richard Williams, The Blue Moment
A Century of the Madison Symphony Orchestra
A Century of the Madison Symphony Orchestra details and celebrates the history of the MSO: from its beginnings in 1926, as the Madison Civic Symphony, a largely volunteer community ensemble, to the fully professional ensemble that exists today, one of America's finest regional orchestras. It also deals with the histories of two groups closely intertwined with the MSO, the Madison Symphony Chorus and the Madison Opera. Remarkably, the orchestra has had only four music directors in the past century--Sigfrid Prager, Walter Heermann, Roland Johnson, and John DeMain--and each of them are the subject of a biographical chapter here.
