Alpha Boys School
Behind Jamaica's global musical reverberation lies the unlikely story of a boarding school run by Roman Catholic nuns, with a brass band that helped shape the sound of some the world's most beloved musical forms. Under a strict disciplinarian regime, 'wayward boys, ' many of whom were orphaned or from deeply troubled backgrounds and hailing from some of the toughest streets in the world, went on to lay the foundations of Jamaican jazz, ska, rocksteady, reggae, dancehall and dub. Alpha Boys School: Cradle Of Jamaican Music takes a look at the lives of over forty of these influential musicians who against a backdrop of extreme poverty, gun culture, street gangs and an urban civil war, attained virtuoso musicianship to create their own sonic revolution. Told in a narrative style with a wealth of interviews, exclusive photos and archival material this book is a long overdue look at the lives and impact of the Alpha Boys. The book also tells the story of Sister Mary Ignatius, the remarkable nun who ran the music department at Alpha Boys School for 64 years, inspiring generations of young men to make music their occupation. Famed for operating her own bass-heavy sound system where she would spin her collection of the hippest jazz, r'n'b and ska 45s, Sister Ignatius was adored by her boys and remained friends with them throughout their lives, wherever they were in the world. She is true Godmother of Ska and Reggae. Featuring a foreword by world renowned reggae DJ and broadcaster David Rodigan and stunning cover art by French oil painter Jean-Christophe Molineris.
The Passion Hymns Of Iceland, Being Translations From The Passion-Hymns Of Hallgrim Petursson And From The Hymns Of The Modern Icelandic Hymn Book
This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this book in a print format as the same form as it was originally first published. Hence any marks or annotations seen are left intentionally to preserve its true nature.
Universal Tonality
Since ascending onto the world stage in the 1990s as one of the premier bassists and composers of his generation, William Parker has perpetually toured around the world and released over forty albums as a leader. He is one of the most influential jazz artists alive today. In Universal Tonality historian and critic Cisco Bradley tells the story of Parker's life and music. Drawing on interviews with Parker and his collaborators, Bradley traces Parker's ancestral roots in West Africa via the Carolinas to his childhood in the South Bronx, and illustrates his rise from the 1970s jazz lofts and extended work with pianist Cecil Taylor to the present day. He outlines how Parker's early influences--Ornette Coleman, John Coltrane, Albert Ayler, and writers of the Black Arts Movement--grounded Parker's aesthetic and musical practice in a commitment to community and the struggle for justice and freedom. Throughout, Bradley foregrounds Parker's understanding of music, the role of the artist, and the relationship between art, politics, and social transformation. Intimate and capacious, Universal Tonality is the definitive work on Parker's life and music.
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.
Industry
Amidst the heated fray of the Culture Wars emerged a scrappy festival in downtown New York City called Bang on a Can. Presenting eclectic, irreverent marathons of experimental music in crumbling venues on the Lower East Side, Bang on a Can sold out concerts for a genre that had been long considered box office poison. Through the 1980s and 1990s, three young, visionary composers--David Lang, Michael Gordon, and Julia Wolfe--nurtured Bang on a Can into a multifaceted organization with a major record deal, a virtuosic in-house ensemble, and a seat at the table at Lincoln Center, and in the process changed the landscape of avant-garde music in the United States. Bang on a Can captured a new public for new music. But they did not do so alone. As the twentieth century came to a close, the world of American composition pivoted away from the insular academy and towards the broader marketplace. In the wake of the unexpected popularity of Steve Reich and Philip Glass, classical presenters looked to contemporary music for relevance and record labels scrambled to reap its potential profits, all while government funding was imperilled by the evangelical right. Other institutions faltered amidst the vagaries of late capitalism, but the renegade Bang on a Can survived--and thrived--in a tumultuous and idealistic moment that made new music what it is today.
The Abelard Hymnal
This hymnal is a collection of early Christian poems translated into English and set to melodies from the medieval period. The 56 poems are selected from 'One Hundred Latin Hymns: Ambrose to Aquinas' (OHLH), edited by Peter G. Walsh and Christopher Husch. OHLH is number 18 in the Dumbarton Oaks Medieval Library series and is a critical edition of early Christian poems written between the 4th and 13th centuries. The 183 melodies for the poems are taken from 'Die mittelalterlichen Hymnenmelodien des Abendlandes' (HA), volume 1 in B瓣renreiter's Monumenta Monodica Medii Aevi series. HA, written by Bruno St瓣blein, is a catalogue of hymns from medieval Europe and contains well over 1000 different melodies. The melodies that were selected come from manuscripts that date between the 11th and 15th centuries. The translations for the poems are taken from a variety of sources, though most are from 19th-century England.
Codex Metallum
A sumptuous, illustrated guide to the symbolism of heavy metal, told through 300 of its greatest album covers Metal music has consistently offered some of the most gnarly artwork to accompany it's equally hardcore music, this book is a celebration of just that! More than any other genre of music, metal is steeped in a rich world of symbolism. From death and the devil to mythology and fantasy, its record covers are awash with iconography that carries a complex deeper meaning. In Codex Metallum, more than 80 of these visual themes are explored and explained, accompanied by 300 of metal's most incredible album covers, including Slipknot, Marilyn Manson, Mot繹rhead, Black Sabbath, Rammstein and more. With bespoke illustrations from Rammstein collaborators F繪rtifem, this unique guide decodes the genre's imagery, ranging from serpents and demons to sigils, castles, zombies, dragons and more. Packaged in a stunning leather-effect case with foil finishes, Codex Metallum is a beautiful object in its own right, and essential reading for any metalhead.
Dead Man’s Curve
Jan Berry, leader of the music duo Jan & Dean from the late 1950s to mid-1960s, was an intense character who experienced more in his first 25 years than many do in a lifetime. As an architect of the West Coast sound, he was one of rock 'n' roll's original rebels--brilliant, charismatic, reckless, and flawed. As a songwriter, music arranger, and record producer for Nevin-Kirshner Associates and Screen Gems-Columbia Music, Berry was one of the pioneering self-produced artists of his era in Hollywood. He lived a dual life, reaching the top of the charts with Jan & Dean while transitioning from college student to medical student, until an automobile accident in 1966 changed his trajectory forever. Suffering from brain damage and partial paralysis, Jan spent the rest of his life trying to come back from Dead Man's Curve. His story is told here in-depth for the first time, based on extensive primary source documentation and supplemented by the stories and memories of Jan's family members, friends, music industry colleagues, and contemporaries. From the birth of rock to the bitter end, Berry's life story is thrilling, humorous, unsettling, and disturbing, yet ultimately uplifting.
The Twenty Seven Club
It's 1994. The music industry is mourning Kurt Cobain, Right Said Fred have re-emerged as an 'ironic' pop act and John Major is the country's prime minister. Nothing is as it should be. Emma, a working-class rock music fan from Hull, with a penchant for a flaming Drambuie and a line of coke with her best mate Dave down The Angel, is troubled. Trev, her beloved whippet, has doggy IBS, and her job ordering bathroom supplies at the local caravan company is far from challenging. So when her dad, Tel, informs her that Kurt Cobain has killed himself aged 27, Emma is consumed with anxiety. Janis Joplin, Brian Jones, Jim Morrison, Jimi Hendrix...why have so many rock musicians died aged 27? And will Emma be next to join The Twenty Seven Club?The Twenty Seven Club is a nostalgic, often humorous, drug and booze-infused tale of friendship, discovery and anxiety as Emma tries, for once, to focus on life, rather than death.
Rockin’ On The Rideau
The music world exploded into Technicolor on February 9, 1964, when the Beatles appeared on the Ed Sullivan Show and ignited the music phenomenon dubbed "The British Invasion". In the weeks and months to come, hundreds, perhaps thousands, of Ottawa teenagers put away their hockey sticks and picked up guitars, starting up bands in basements and garages, with visions of screaming girls and stardom dancing in their heads. For some, that dream came true, in packed High School Gymnasiums, Church basements, bowling alleys and every other venue they could find. Groups were working three or four nights a week on both sides of the Ottawa River. The Esquires, The Staccatos, The Townsmen, Don Norman and the Other Four and many others cut records that were as good as anything coming out of Britain or the States. DJ's Gord Atkinson, Nelson Davis and Al "Pussycat" Pascal make them stars by playing their records. Sandy Gardiner followed their exploits in his weekly "teen" column in the Ottawa Journal, and we checked out the weekly "Swing Set" to get the lowdown on the newest groups.From the day Elvis Presley came to town in 1957, to the release of The Five Man Electrical Band's mega-hit "Signs", we relive those memories with the bands, the clubs, the concerts and the colorful cast of characters who made it happen. Pull back the curtain on the magic of "Ottawa's Golden Age of Rock and Roll",
Stranded
The definitive book on Australian punk and post-punk music, long unavailable, now reissued in a much-expanded new edition with 175 photos. Stranded offers the inside story of the emergence of the Saints, the Birthday Party, the Laughing Clowns, the Go-Betweens, Nick Cave, the Triffids, the Moodists, the Scientists, and many more great Australian bands, told by a writer who witnessed it all first-hand and is acknowledged as the leading chronicler of the Australian music scene.
Richard Wagner’s Essays on Conducting
Richard Wagner was one of the leading conductors of his time. Through his disciples Hans von B羹low, Hans Richter, Anton Seidl, Felix Mottl, Arthur Nikisch, and their many notable prot矇g矇s, a Wagnerian art of interpretation became the norm in Europe and America until well into the twentieth century. Wagner's essays on conducting had an even longer impact, and were upheld as central to their art by later generations of conductors from Mahler to Strauss, Furtw瓣ngler, B繹hm, Scherchen, and beyond.This is the first complete, modern translation of Wagner's conducting essays to appear in English, and the first-ever edition to offer extensive annotations explaining their reception and impact. The accompanying critical essay offers a detailed analysis of Wagner's conducting practices, his innovations in tempo and the art of transition, his creation of a new vocabulary to describe his art, and his success in establishing a school of conductors to promote his works and his aesthetic.Chris Walton teaches music history at the Basel University of Music.
Transcending Dystopia
By the end of the Second World War, Germany was in ruins and its Jewish population so gravely diminished that a rich cultural life seemed unthinkable. And yet, as surviving Jews returned from hiding, the camps, and their exiles abroad, so did their music. Transcending Dystopia tells the story of the remarkable revival of Jewish musical activity that developed in postwar Germany against all odds. Author Tina Fr羹hauf provides a kaleidoscopic panorama of musical practices in worship and social life across the country to illuminate how music contributed to transitions and transformations within and beyond Jewish communities in the aftermath of the Holocaust. Drawing on newly unearthed sources from archives and private collections, this book covers a wide spectrum of musical activity-from its role in commemorations and community events to synagogue concerts and its presence on the radio-across the divided Germany until the Fall of the Wall in 1989. Fr羹hauf's use of mobility as a conceptual framework reveals the myriad ways in which the reemergence of Jewish music in Germany was shaped by cultural transfer and exchange that often relied on the circulation of musicians, their ideas, and practices within and between communities. By illuminating the centrality of mobility to Jewish experiences and highlighting how postwar Jewish musical practices in Germany were defined by politics that reached across national borders to the United States and Israel, this pioneering study makes a major contribution to our understanding of Jewish life and culture in a transnational context.
Kylie Minogue
Kylie Ann Minogue, OBE, born on 28th May 1968, Melbourne, Victoria, Australia, is a singer and actress, who came to fame when starring in the Australian soap opera Neighbours, playing tomboy mechanic Charlene Robinson. While appearing in the series for two years, Charlene married Scott Robinson, played by Jason Donovan, in an episode watched by nearly 20 million viewers in the UK, making it one of the most watched Australian TV episodes ever.
MULTIPLE FACES - Lead Sheets
Multiple Faces - Lead Sheets is a collection of all the original scores of the album by the legendary Alain Caron, considered one of the most influential bassists in the world in recent decades. In this book, there are all the 8 tracks of 2013 Multiple Faces album, for bass, guitar, and keyboards, in standard notation. CONTENTS: - Right After 4 - Sfing - The Lost Foot - Jazz Pool - Slick Shift - Canuba - Hurry Up And Wait - Then And After Warning: the book does not contain the transcripts note by note or minus one tracks. DETAILS: Dimensions: 8,5" x 11" Number of Pages: 260
Voices of the Field
Ethnomusicologists face complex and challenging professional landscapes for which graduate studies in the field do not fully prepare them. The essays in Voices of the Field: Pathways in Public Ethnomusicology, edited by Le籀n F. Garc穩a Corona and Kathleen Wiens, provide a reflection on the challenges, opportunities, and often overlooked importance of public ethnomusicology. These essays capture years of experience of fourteen scholars who have simultaneously navigated the worlds within and outside of academia, sharing valuable lessons often missing in ethnomusicological training. Power and organizational structures, marketing, content management and production are among the themes explored as an extension and re-evaluation of what constitutes the field of/in ethnomusicology. Many of the authors in this volume share how to successfully acquire funding for a project, while others illustrate how to navigate non-academic workplaces, and yet others share perspectives on reconciling business-like mindsets with humanistic goals. Grounded in case studies in multiple institutional and geographical locations, authors advocate for the importance and relevance of ethnomusicology in our society at large.
Turkish Folk Music Between Ghent and Turkey
Shaped by the processes of migration, diasporization and cosmopolitanization, musical performance conditions and contexts constantly change, while new musical forms emerge and evolve. The development of Turkish folk music is well-documented and provides rich material for study in the motherland and in the diaspora. This book explores, describes, interprets and links musical, contextual and functional aspects of Turkish folk music in contemporary Turkey and the Turkish diaspora in the Belgian city of Ghent.The Turkish presence in Ghent is particularly interesting in its size (approximately ten per cent of the population) and constitution (mostly originating in the West Anatolian town of Emirdağ). Anchored in detailed ethnographic reality, this book expands our views on what Turkish folk music signifies in the early twenty-first century, and adds to the understanding and appreciation of this multifaceted, topical musical phenomenon. This book's multi-sited, transnational and comparative outlook is unique, with an added dimension generated by the inclusion of rural and small-town contexts that complement the urban perspective. It makes new contributions to scholarship in this area by including the transcription and analysis of performance styles, the evaluation of Turkish Radio and Television discourses and practices, and the exploration of understudied research contexts of Ghent and Emirdağ.
Bikutsi
This book offers the first ethnographically informed, in-depth historical study of the Cameroonian popular music genre bikutsi. The thriving dance music in Cameroon's day-to-day life has its foundation in the specific historical processes of the 1970s and 1980s, which led to the recognition of bikutsi as a distinct genre of Cameroonian dance music. Examining these processes in detail, this book analyses the various factors involved in the rise of a popular music genre within a national music scene. The book begins by tracing the roots of bikutsi in the musical traditions of the ethnic groups of the Beti who live in and around Cameroon's capital Yaounde, as well as in the manifold popular dance music practices fashionable in mid-20th-century Cameroon. The volume then considers the musical work of successful groups and musicians, framing their musical practices and success within the socio-political circumstances, musical environment, and ambitions of individuals. Offering an explanation for the changes in Cameroon's musical life, these analyses illustrate the interplay between the innovative ambitions of individual musicians, a specific political situation within the power structure of the post-colonial state, dedicated individuals in media and the music market, and technological changes in recording and disseminating music.
Turkish Folk Music Between Ghent and Turkey
Shaped by the processes of migration, diasporization and cosmopolitanization, musical performance conditions and contexts constantly change, while new musical forms emerge and evolve. The development of Turkish folk music is well-documented and provides rich material for study in the motherland and in the diaspora. This book explores, describes, interprets and links musical, contextual and functional aspects of Turkish folk music in contemporary Turkey and the Turkish diaspora in the Belgian city of Ghent.The Turkish presence in Ghent is particularly interesting in its size (approximately ten per cent of the population) and constitution (mostly originating in the West Anatolian town of Emirdağ). Anchored in detailed ethnographic reality, this book expands our views on what Turkish folk music signifies in the early twenty-first century, and adds to the understanding and appreciation of this multifaceted, topical musical phenomenon. This book's multi-sited, transnational and comparative outlook is unique, with an added dimension generated by the inclusion of rural and small-town contexts that complement the urban perspective. It makes new contributions to scholarship in this area by including the transcription and analysis of performance styles, the evaluation of Turkish Radio and Television discourses and practices, and the exploration of understudied research contexts of Ghent and Emirdağ.
KRLA Chronological Archives Vol 5
An amazing trip back to the mid-1960s!The KRLA Chronological Archives series presents the original KRLA newsletters and Beat publications that ran from 1964-1968. They represented pop music culture including exclusive interviews and photos. Starting with Beatles articles and coverage of things related to the radio station DJs (including Casey Kasem and Bob Eubanks), the articles are a cross section of teen music over the years including a heavy emphasis on The Beatles, The Rolling Stones, The Beach Boys, The Monkees, Sonny and Cher, The Mamas and the Papas. They also covered Bob Dylan, The Turtles, Jan & Dean, The Association, Yellow Balloon, Nancy Sinatra, The Everly Brothers, The Righteous Brothers, Dusty Springfield, Simon & Garfunkle, and many many more.Later in the run, the Beat covered issues like the draft, drugs and religion. But the main focus was on pop stars. The Beat also featured a reader's letter column, an ongoing column by Robin Boyd and columns geared "For Girls Only."This volume covers the issues published during the time period listed.8 Volumes cover the entire run of the publication.
KRLA Chronological Archives Vol 8
An amazing trip back to the mid-1960s!The KRLA Chronological Archives series presents the original KRLA newsletters and Beat publications that ran from 1964-1968. They represented pop music culture including exclusive interviews and photos. Starting with Beatles articles and coverage of things related to the radio station DJs (including Casey Kasem and Bob Eubanks), the articles are a cross section of teen music over the years including a heavy emphasis on The Beatles, The Rolling Stones, The Beach Boys, The Monkees, Sonny and Cher, The Mamas and the Papas. They also covered Bob Dylan, The Turtles, Jan & Dean, The Association, Yellow Balloon, Nancy Sinatra, The Everly Brothers, The Righteous Brothers, Dusty Springfield, Simon & Garfunkle, and many many more.Later in the run, the Beat covered issues like the draft, drugs and religion. But the main focus was on pop stars. The Beat also featured a reader's letter column, an ongoing column by Robin Boyd and columns geared "For Girls Only."This volume covers the issues published during the time period listed.8 Volumes cover the entire run of the publication.
Power Ballads And The Stories Behind
Power Ballads is a term that derives from the 1970s and especially from an era when Led Zeppelin, Lynyrd Skynyrd and other associated acts conquered the airwaves with their electrified ballads. Millions of listeners were attracted to the songs that were a mix of slow tempo and electric guitar outbreaks to satisfy the fans. This book features exclusive interviews with rock artists that composed or performed in the recordings of popular Power Ballads. The artists discuss the stories behind the songs that were recorded in 1970s, 1980s, 1990s and beyond... You can read interviews with current or former members of: ALIEN, ARC ANGEL, ARGENT, ASIA, AXE, AXXIS, BRIGHTON ROCK, EVERY MOTHER'S NIGHTMARE, FIONA, GOTTHARD, GREAT WHITE, HARDLINE, HOOTERS, JEAN BEAUVOIR, LETCHEN GREY, LIONHEART, LITA FORD, MARTIN BRILEY, MR. BIG, PINK CREAM 69, PRAYING MANTIS, Q5, ROBERT TEPPER, ROBIN BECK, KEEL, STAGE DOLLS, STAN BUSH, STARZ, TALISMAN, TOUCH, TRIXTER, TYKETTO, WARRIOR SOUL, WHITE LION, Y&T and many more!
Musician in the Museum
In recent years, popular music museums have been established in high profile locations in many of the presumed "musical capitals" of the world, such as Los Angeles, Liverpool, Seattle, Memphis, and Nashville. Most of these are defined by expansive experiential infrastructures centered around spectacular, high-tech displays of varying sizes and types. Through over-the-top acts of display, these museums influence and reflect the values and priorities in the public life of popular music. This book examines the phenomenon of the popular music museum outside the typical and familiar frames of heritage and tourism. Instead, it looks at these institutions as markers of the broader entertainment industry in the era of its rise to global dominance. It highlights the multiple manifestations of power as read across a range of institutions and material forms and discusses how this contributes to shaping the experience of popular culture.
Genealogies of Music and Memory
The history of music is most often written as a sequence of composers and works. But a richer understanding of the music of the past may be obtained by also considering the afterlives of a composer's works. Genealogies of Music and Memory asks how the stage works of Christoph Willibald Gluck (1714-87) were cultivated in nineteenth-century Paris, and concludes that although the composer was not represented formally on the stage until 1859, his music was known from a wide range of musical and literary environments. Received opinion has Hector Berlioz as the sole guardian of the Gluckian flame from the 1820s onwards, and responsible -- together with the soprano Pauline Viardot -- for the 'revival' of the composer's Orfeo in 1859. The picture is much clarified by looking at the concert performances of Gluck during the first two thirds of the nineteenth century, and the ways in which they were received and the literary discourses they engendered. Coupled to questions of music publication, pedagogy, and the institutional status of the composer, such a study reveals a wide range of individual agents active in the promotion of Gluck's music for the Parisian stage. The 'revival' of Orfeo is contextualised among other attempts at reviving Gluck's works in the 1860s, and the role of Berlioz, Viardot and a host of others re-examined.
Multilingual Metal MusicSociocultural, Linguistic and Literary Perspectives on Heavy Metal
This multi-disciplinary edited collection explores the textual analysis of heavy metal lyrics written in languages other than English, including Yiddish, Latin, Russian, Austrian German, Spanish and Italian. The volume features fascinating chapters on the role of ancient language in heavy metal, the significance of metal in minority-language communities, Slovenian mythology in metal, heavy metal lyrics and politics in the Soviet Union and Taiwan, processing bereavement in Danish black metal, cultural identity in Norwegian-medium metal, and the Kawaii metal scene in Japan, amongst others. Applying a range of methodological approaches - from literary and content analysis to quantitative corpus methods and critical approaches - the book conceptualises various forms of identity via lyrical text and identifies a number of global themes in heavy metal lyrics, including authenticity, parody and the desire to sound extreme, that reoccur across different countries and languages. The book is essential reading for researchers and students of metal music and culture, as well as those with broader interests in cultural studies, musicology, literary studies and popular culture studies.
Queercore
Queercore: How to Punk a Revolution: An Oral History is the very first comprehensive overview of the movement that defied both the music underground and the LGBT mainstream community--queercore. Through exclusive interviews with protagonists like Bruce LaBruce, G.B. Jones, Jayne County, Kathleen Hanna of Bikini Kill and Le Tigre, film director and author John Waters, Lynn Breedlove of Tribe 8, Jon Ginoli of Pansy Division, and many more, alongside a treasure trove of never-before-seen photographs and reprinted zines from the time, Queercore traces the history of a scene originally "fabricated" in the bedrooms and coffee shops of Toronto and San Francisco by a few young, queer punks to its emergence as a relevant and real revolution. Queercore gets a down-to-details firsthand account of the movement explored through the people that lived it--from punk's early queer elements, to the moments Toronto kids decided they needed to create a scene that didn't exist, to the infiltration of the mainstream by Pansy Division, and the emergence of riot grrrl as a sister movement--as well as the clothes, zines, art, film, and music that made this movement an exciting in-your-face middle finger to complacent gay and straight society. Queercore will stand as both a testament to radically gay politics and culture and an important reference for those who wish to better understand this explosive movement.
Sonic Overload
Sonic Overload offers a new, music-centered cultural history of the late Soviet Union. It focuses on polystylism in music as a response to the information overload swamping listeners in the Soviet Union during its final decades. It traces the ways in which leading composers Alfred Schnittke and Valentin Silvestrov initially embraced popular sources before ultimately rejecting them. Polystylism first responded to the utopian impulses of Soviet ideology with utopian impulses to encompass all musical styles, from "high" to "low". But these initial all-embracing aspirations were soon followed by retreats to alternate utopias founded on carefully selecting satisfactory borrowings, as familiar hierarchies of culture, taste, and class reasserted themselves. Looking at polystylism in the late USSR tells us about past and present, near and far, as it probes the musical roots of the overloaded, distracted present.? Based on archival research, oral historical interviews, and other overlooked primary materials, as well as close listening and thorough examination of scores and recordings, Sonic Overload presents a multilayered and comprehensive portrait of late-Soviet polystylism and cultural life, and of the music of Silvestrov and Schnittke. Sonic Overload is intended for musicologists and Soviet, Russian, and Ukrainian specialists in history, the arts, film, and literature, as well as readers interested in twentieth- and twenty-first century music; modernism and postmodernism; quotation and collage; the intersections of "high" and "low" cultures; and politics and the arts.
Wings Live
This is the first detailed study of Paul McCartney's Wings on tour in the 1970s. It covers every single concert from the University Tour of 1972, ending with the abandoned tour of Japan in January 1980. A wide variety of primary sources have been consulted, including all available audio and video recordings; press reviews; fan recollections; newspaper reports and tour programmes. The author pinpoints wider trends in McCartney's approach to touring - from the informality of the early gigs, to the spectacular excesses of the 1976 Wings over America tour. The narrative is woven around a wider overview of Wings' recording activities in the decade, covering albums such as the landmark Band on the Run (1973). The book concludes with a detailed interview with Laurence Juber, Wings' lead guitarist from 1978 until the break-up of the band in 1981. This is the third book about Paul McCartney/Wings by Adrian Allan. His previous two books were greeted with almost universal praise. Adrian Allan is a music teacher, postgraduate student, and author based in Manchester, UK.
Jota de C?rcer
En la Jota de C?rcer Enrique Hernandis vol aportar m繳sica a la importancia de la Jota com a ball tradicional Valenci?. Es tracta d' una pe癟a de nova creaci籀, encara que les jotes solen ser populars, sense autor穩a. El subt穩tol "perqu癡 em d籀na la gana" fa refer癡ncia al text cantable, del mateix autor, que reviu c籀micament al personatge an簷nim que tradicionalment viu amb llibertat, sense preocupacions alienes que li puguen afectar.
Victorian Vocalists
Victorian Vocalists is a masterful and entertaining collection of 100 biographies of mid- to late-19th-century singers and stars. Kurt G瓣nzl paints a vivid picture of the Victorian operatic and concert world, revealing the backgrounds, journeys, successes, failures and misdemeanours of these singers. This volume is not only an outstanding reference work for anyone interested in vocalists of the era, but also a compelling, meticulously researched picture of life in the vast shark tank that was Victorian music.
New Music Theatre in Europe
Between 1955 and 1975 music theatre became a central preoccupation for European composers digesting the consequences of the revolutionary experiments in musical language that followed the end of the Second World War. The 'new music theatre' wrought multiple, significant transformations, serving as a crucible for the experimental rethinking of theatrical traditions, artistic genres, the conventions of performance, and the composer's relation to society. This volume brings together leading specialists from across Europe to offer a new appraisal of the genre. It is structured according to six themes that investigate: the relation of new music theatre to earlier and contemporaneous theories of drama; the use of new technologies; the relation of new music theatre to progressive politics; the role of new venues and environments; the advancement of new conceptions of the performer; and the challenges that new music theatre lays down for music analysis. Contributing authors address canonical works by composers such as Berio, Birtwistle, Henze, Kagel, Ligeti, Nono, and Zimmermann, but also expand the field to figures and artistic developments not regularly represented in existing music histories. Particular attention is given to new music theatre as a site of intense exchange - between practitioners of different art forms, across national borders, and with diverse mediating institutions.
Improvising Sabor
Improvising Sabor: Cuban Dance Music in New York begins in 1960s New York and examines in rich detail the playing styles and international influence of important figures in US Latin music. Such innovators as Jos矇 Fajardo, Johnny Pacheco, George Castro, and Eddy Zervig籀n dazzled the Palladium ballroom and other Latin music venues in those crucible years. Author Sue Miller focuses on the Cuban flute style in light of its transformations in the US after the 1959 revolution and within the vibrant context of 1960s New York. While much about Latin jazz and salsa has been written, this book focuses on the relatively unexplored New York charangas that were performing during the chachach獺 and pachanga craze of the early sixties. Indeed, many accounts cut straight from the 1950s and the mambo to the bugal繳's development in the late 1960s with little mention of the chachach獺 and pachanga's popularity in the mid-twentieth century. Improvising Sabor addresses not only this lost and ignored history, but contends with issues of race, class, and identity while evaluating differences in style between players from prerevolution Cuban charangas and those of 1960s New York. Through comprehensive explorations and transcriptions of numerous musical examples as well as interviews with and commentary from Latin musicians, Improvising Sabor highlights a specific sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York. The distinctive styles generated by these musicians sparked compelling points of departure and influence.
Improvising Sabor
Improvising Sabor: Cuban Dance Music in New York begins in 1960s New York and examines in rich detail the playing styles and international influence of important figures in US Latin music. Such innovators as Jos矇 Fajardo, Johnny Pacheco, George Castro, and Eddy Zervig籀n dazzled the Palladium ballroom and other Latin music venues in those crucible years. Author Sue Miller focuses on the Cuban flute style in light of its transformations in the US after the 1959 revolution and within the vibrant context of 1960s New York. While much about Latin jazz and salsa has been written, this book focuses on the relatively unexplored New York charangas that were performing during the chachach獺 and pachanga craze of the early sixties. Indeed, many accounts cut straight from the 1950s and the mambo to the bugal繳's development in the late 1960s with little mention of the chachach獺 and pachanga's popularity in the mid-twentieth century. Improvising Sabor addresses not only this lost and ignored history, but contends with issues of race, class, and identity while evaluating differences in style between players from prerevolution Cuban charangas and those of 1960s New York. Through comprehensive explorations and transcriptions of numerous musical examples as well as interviews with and commentary from Latin musicians, Improvising Sabor highlights a specific sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York. The distinctive styles generated by these musicians sparked compelling points of departure and influence.
Gods and Guitars
Though American attitudes toward religion changed dramatically during the 1960s, interest in spirituality itself never diminished. If we listen closely, Michael Gilmour contends, we can hear an extensive religious vocabulary in the popular music of the decades that followed--articulating each generation's spiritual quest, a yearning for social justice, and the emotional highs of love and sex. Probing the lyrical canons of seminal artists including Cat Stevens, the Rolling Stones, Bob Dylan, Eric Clapton, Joni Mitchell, Neil Young, U2, Ozzy Osbourne, Pearl Jam, Madonna, and Kanye West, Gilmour considers the ways--and reasons why--pop music's secular poets and prophets adopted religious phrases, motifs, and sacred texts.
An Outkast Reader
OutKast, the Atlanta-based hip-hop duo formed in 1992, is one of the most influential musical groups within American popular culture of the past twenty-five years. Through Grammy-winning albums, music videos, feature films, theatrical performances, and fashion, Andr矇 "Andr矇 3000" Benjamin and Antwan "Big Boi" Patton have articulated a vision of postmodern, post-civil rights southern identity that combines the roots of funk, psychedelia, haute couture, R&B, faith and spirituality, and Afrofuturism into a style all its own. This postmodern southern aesthetic, largely promulgated and disseminated by OutKast and its collaborators, is now so prevalent in mainstream American culture (neither Beyonc矇 Knowles's "Formation" nor Joss Whedon's sci-fi /western mashup Firefly could exist without OutKast's collage aesthetic) that we rarely consider how challenging and experimental it actually is to create a new southern aesthetic. An OutKast Reader, then, takes the group's aesthetic as a lens through which readers can understand and explore contemporary issues of Blackness, gender, urbanism, southern aesthetics, and southern studies more generally. Divided into sections on regional influences, gender, and visuality, the essays collectively offer a vision of OutKast as a key shaper of conceptions of the twenty-first-century South, expanding that vision beyond long-held archetypes and cultural signifiers. The volume includes a who's who of hip-hop studies and African American studies scholarship, including Charlie Braxton, Susana M. Morris, Howard Ramsby II, Reynaldo Anderson, and Ruth Nicole Brown.
Mary Sings Praises to Hymn
This volume of the "To Hymn" series studies carols, songs, and hymns that focus on the Virgin Mary, mother of our Lord Jesus Christ. This book looks at not only the hymn verses, it also reflects on what Scripture says as well as comment on how Mary felt going through this ordeal.
The Politics of Opera
A wide-ranging look at the interplay of opera and political ideas through the centuries The Politics of Opera takes readers on a fascinating journey into the entwined development of opera and politics, from the Renaissance through the turn of the nineteenth century. What political backdrops have shaped opera? How has opera conveyed the political ideas of its times? Delving into European history and thought and music by such greats as Monteverdi, Lully, Rameau, and Mozart, Mitchell Cohen reveals how politics--through story lines, symbols, harmonies, and musical motifs--has played an operatic role both robust and sotto voce. This is an engrossing book that will interest all who love opera and are intrigued by politics.
Rebel Music in the Triumphant Empire
At the dawn of the 1990s, as the United States celebrated its victory in the Cold War and sole superpower status by waging war on Iraq and proclaiming democratic capitalism as the best possible society, the 1990s underground punk renaissance transformed the punk scene into a site of radical opposition to American empire. Nazi skinheads were ejected from the punk scene; apathetic attitudes were challenged; women, Latino, and LGBTQ participants asserted their identities and perspectives within punk; the scene debated the virtues of maintaining DIY purity versus venturing into the musical mainstream; and punks participated in protest movements from animal rights to stopping the execution of Mumia Abu-Jamal to shutting down the 1999 WTO meeting. Punk lyrics offered strident critiques of American empire, from its exploitation of the Third World to its warped social relations. Numerous subgenres of punk proliferated to deliver this critique, such as the blazing hardcore punk of bands like Los Crudos, propagandistic crust-punk/dis-core, grindcore and power violence with tempos over 800 beats per minute, and So-Cal punk with its combination of melody and hardcore. Musical analysis of each of these styles and the expressive efficacy of numerous bands reveals that punk is not merely simplistic three-chord rock music, but a genre that is constantly revolutionizing itself in which nuances of guitar riffs, vocal timbres, drum beats, and song structures are deeply meaningful to its audience, as corroborated by the robust discourse in punk zines.
Life in the Stocks
Life in the Stocks: Veracious conversations with musicians & creatives is a collection of rock 'n' roll stories taken from the iTunes chart-topping podcast, Life in the Stocks--hosted by UK-based DJ, presenter, and writer, Matt Stocks (Ex-Kerrang! Radio/Metal Hammer). Featuring B-Real (Cypress Hill), Clem Burke (Blondie), Nick Oliveri (Queens of the Stone Age), Doug Stanhope (Comedian), Kyle Gass (Tenacious D), Steven Van Zandt (Bruce Springsteen/The Sopranos), Monique Powell (Save Ferris), Robb Flynn (Machine Head), Tom Green (Comedian), Steve-O (Jackass), Andrew W.K. and many more...
All We Are Saying
The last major interview with John Lennon and Yoko Ono, conducted by New York Times bestselling author David Sheff, featuring a new introduction that reflects on the fortieth anniversary of Lennon's deathOriginally published by Playboy Press in 1981 just after John Lennon's assassination, All We Are Saying is a rich and vivid interview with Lennon and Yoko Ono, wide-ranging in its coverage of art, creativity, the music business, their extraordinary childhoods, privacy, the true story of how the Beatles broke up, how Lennon and Paul McCartney collaborated on the greatest Beatles songs, parenthood, money, feminism, religion, and insecurity. Of course, at the heart of the conversation is the deep, rare romantic and spiritual bond between Lennon and Ono. Sympathetic and insightful questions from New York Times bestselling author David Sheff set the tone for Lennon's responses, and Sheff's presence sets the scene, as he walks through the kitchen door of the musicians' Dakota apartment and accompanies the famous couple to the studio, where they were recording what would turn out to be Lennon's final albums. Sheff's new introduction looks at his forty-year-old interview afresh, and examines how what he learned from Lennon has resonated with him as a man and a parent. This is a knockout interview and a crucial piece of Beatles history: playful, intense, and inspiring.
American Orchestras in the Nineteenth Century
Studies of concert life in nineteenth-century America have generally been limited to large orchestras and the programs we are familiar with today. But as this book reveals, audiences of that era enjoyed far more diverse musical experiences than this focus would suggest. To hear an orchestra, people were more likely to head to a beer garden, restaurant, or summer resort than to a concert hall. And what they heard weren't just symphonic works-programs also included opera excerpts and arrangements, instrumental showpieces, comic numbers, and medleys of patriotic tunes. This book brings together musicologists and historians to investigate the many orchestras and programs that developed in nineteenth-century America. In addition to reflecting on the music that orchestras played and the socioeconomic aspects of building and maintaining orchestras, the book considers a wide range of topics, including audiences, entrepreneurs, concert arrangements, tours, and musicians' unions. The authors also show that the period saw a massive influx of immigrant performers, the increasing ability of orchestras to travel across the nation, and the rising influence of women as listeners, patrons, and players. Painting a rich and detailed picture of nineteenth-century concert life, this collection will greatly broaden our understanding of America's musical history.
The Pleasures of Death
The year 2019 marked the twenty-fifth anniversary of the death of Kurt Cobain, an artist whose music, words, and images continue to move millions of fans worldwide. As the first academic study that provides a literary analysis of Cobain's creative writings, Arthur Flannigan Saint-Aubin's The Pleasures of Death: Kurt Cobain's Masochistic and Melancholic Persona approaches the journals and songs crafted by Nirvana's iconic front man from the perspective of cultural theory and psychoanalytic aesthetics. Drawing on critiques and reformulations of psychoanalytic theory by feminist, queer, and antiracist scholars, Saint-Aubin considers the literary means by which Cobain creates the persona of a young, white, heterosexual man who expresses masochistic and melancholic behaviors. On the one hand, this individual welcomes pain and humiliation as atonement for unpardonable sins; on the other, he experiences a profound sense of loss and grief, seeking death as the ultimate act of pleasure. The first-person narrators and characters that populate Cobain's texts underscore the political and aesthetic repercussions of his art. Cobain's distinctive version of grunge, understood as a subculture, a literary genre, and a cultural practice, represents a specific performance of race and gender, one that facilitates an understanding of the self as part of a larger social order. Saint-Aubin approaches Cobain's writings independently of the artist's biography, positioning these texts within the tradition of postmodern representations of masculinity in twentieth-century American fiction, while also suggesting connections to European Romantic traditions from the nineteenth century that postulate a relation between melancholy (or depression) and creativity. In turn, through Saint-Aubin's elegant analysis, Cobain's creative writings illuminate contradictions and inconsistencies within psychoanalytic theory itself concerning the intersection of masculinity, masochism, melancholy, and the death drive. By foregrounding Cobain's ability to challenge coextensive links between gender, sexuality, and race, The Pleasures of Death reveals how the cultural politics and aesthetics of this tragic icon's works align with feminist strategies, invite queer readings, and perform antiracist critiques of American culture.
A Sonata Theory Handbook
Sonata form is the most commonly encountered organizational plan in the works of the classical-music masters, from Haydn, Mozart, and Beethoven to Schubert, Brahms, and beyond. Sonata Theory, an analytic approach developed by James Hepokoski and Warren Darcy in their award-winning Elements of Sonata Theory (2006), has emerged as one of the most influential frameworks for understanding this musical structure. What can this method from "the new Formenlehre" teach us about how these composers put together their most iconic pieces and to what expressive ends? In this new Sonata Theory Handbook, Hepokoski introduces readers step-by-step to the main ideas of this approach. At the heart of the book are close readings of eight individual movements from Mozart's Piano Sonata in B-flat, K. 333, to such structurally complex pieces as Schubert's "Death and the Maiden" String Quartet and the finale of Brahms's Symphony No 1 that show this analytical method in action. These illustrative analyses are supplemented with four updated discussions of the foundational concepts behind the theory, including dialogic form, expositional action zones, trajectories toward generically normative cadences, rotation theory, and the five sonata types. With its detailed examples and deep engagements with recent developments in form theory, schema theory, and cognitive research, this handbook updates and advances Sonata Theory and confirms its status as a key lens for analyzing sonata form.
Soundworks
In Soundworks Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958-1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially. Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes.
Soundworks
In Soundworks Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958-1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially. Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes.
Romanticism and Film
The relationship between Romanticism and film remains one of the most neglected topics in film theory and history, with analysis often focusing on the proto-cinematic significance of Richard Wagner's music-dramas. One new and interesting way of examining this relationship is by looking beyond Wagner, and developing a concept of audio-visual explanation rooted in Romantic philosophical aesthetics, and employing it in the analysis of film discourse and representation. Using this concept of audio-visual explanation, the cultural image of the Hungarian pianist and composer Franz Liszt, a contemporary of Wagner and another significant practitioner of Romantic audio-visual aesthetics, is examined in reference to specific case studies, including the rarely-explored films Song Without End (1960) and Lisztomania (1975). This multifaceted study of film discourse and representation employs Liszt as a guiding-thread, structuring a general exploration of the concept of Romanticism and its relationship with film more generally. This exploration is supported by new theories of representation based on schematic cognition, the philosophy of explanation, and the recently-developed film theory of Jacques Ranci癡re. Individual chapters address the historical background of audio-visual explanation in Romantic philosophical aesthetics, Liszt's role in the historical discourses of film and film music, and various filmic representations of Liszt and his compositions. Throughout these investigations, Will Kitchen explores the various ways that films explain, or 'make sense' of things, through a 'Romantic' aesthetic combination of sound and vision.
Stratusphunk
Stratusphunk - George Russell was a unique figure in jazz. He was a theoretician, a composer of note, a working musician, and an educator. He began his life's work developing the Lydian Chromatic Concept of Tonal Organization in the mid-forties. One of a rare breed of thinker-musicians, through his ideas and music, Russell had a remarkable influence on the development of jazz after 1950. From his early composition with Dizzy Gillespie of "Cubano-Be, Cubano-Bop," through the changes wrought by modal jazz as a consequence of his ideas, to his impact on the Scandinavian and European scenes, his achievements are among the most outstanding in the music.His life story weaves its way through contemporary jazz intersecting with the lives of many of its most colourful characters. Charlie "Bird" Parker, Dizzy Gillespie, Miles Davis, John Coltrane, Bill Evans, Gerry Mulligan, John Lewis, Gil Evans, Charlie Mingus, and Carla Bley were not just Russell's contemporaries. They were his peers, his colleagues and his friends. He touched their lives and music and, in turn, was encouraged by them.Originally published in 2010 under the title George Russell: The Story of an American Composer, Duncan Heining's biography of George Russell appears in a newly revised paperback edition for the first time.
