Britten's Donne, Hardy and Blake Songs
Presents a first analytical study that looks at the overarching designs of Benjamin Britten's John Donne, Thomas Hardy and William Blake solo song cycles. By questioning when a group of songs ought to be understood not merely as a collection, but as a cycle, Sly shows that Britten's personal selection and arrangement is indispensable to understanding these cycles' extra-musical communication. The Holy Sonnets of John Donne, Winter Words (poems by Hardy) and Songs and Proverbs of William Blake - composed in 1945, 1953 and 1965 respectively - each represent a philosophical exploration. The terrains set out by the three poets are distinct, but also engage one another in important and unexpected ways. Their cyclic architectures are expressed not only in their poetic arrangement, but in their musical settings. Key relationships and motive remain central for Britten. Keys convey a network of interconnections, create groupings of songs, and establish levels of tonal affinity or distance. Motive - often intervals that can fit into any melodic, harmonic or rhythmic context - is used to create aural affinities between or among individual songs. This book also offers a broader narrative revealing Britten's evolving philosophical convictions in post-war Britain. While it may not be the case that Britten intended any broader philosophical comment, the works together outline the cold and brittle state that emerges from loss and aligns with their composer's increasingly stark outlook on humanity.
‟New Romanticism in the Works of Polish Composers After 1975
The monograph concerns one of the most important trends in contemporary classical Polish music. The ‟new romanticism" represented the reaction to the crisis of the avant-garde in the 70s. It appeared in works by the ‟1933 generation" (Penderecki, G籀recki, Kilar), ‟the Stalowa Wola generation" (Knapik, Lasoń, Krzanowski), and others. This music matched tradition with contemporary techniques and strong emotionalism. Its romantic dimension and seriousness were in sheer contrast to the ‟double-coding" of Postmodernism. It stemmed from the political situation in Poland during the ‟Iron Curtain" times. The book also focuses on the topic's American (Schonberg, Rochberg) and European contexts. The author also analyzes 104 compositions and 30 interviews (incl. with Penderecki) to present an even fuller picture.
Were They Ever Here at All? More Epic Tales of the Grateful Dead
Were They Ever Here at All? More Epic Tales of the Grateful Dead is author Scott W. Allen's third and final installment in his written histories of the revered San Francisco group, updating the Dead's history through August 2022. Mr. Allen's series of biographies are the most accurate, in-depth, and current histories of the Dead ever written.The Foreword to Were They Ever Here at All? More Epic Tales of the Grateful Dead was penned by the late Grateful Dead lyricist John Barlow.Were They Ever Here at All? is a positive exploration of the band's history. Included are essays that delve into Grateful Dead songs such as "William Tell," "Ramble on Rose" and "Terrapin Station." The mysterious death of Neal Cassady in February 1968 is examined in never-before-told detail. The meteoric ascension of Dead & Company during the period 2015-22 is also charted. There are stories that chronicle the rise of the Mime Troupe, and the creation of new off-shoot groups such as Wolf Bros, the Phil & Bob duo, and the Bill Kreutzmann and Billy Strings band. A dozen legendary Grateful Dead shows are explored, among them: February 14, 1968; August 16, 1969 (Woodstock); September 2, 1978 (Englishtown); April 22, 1979 (Brent's debut), and June 18, 1992.In his new tome, Scott has penned touching eulogies to Robert Hunter, John Barlow, Gloria Jones (JGB), Deadhead Adam Katz, and a South Bronx teacher and Deadhead named Lew Kirsch who passed away in 2020 from the coronavirus.Readers will also find stories that deepen and grow the legacies of Bill Graham; Wavy Gravy; Robert Hunter; Vince Welnick; Brent Mydland; Bill Walton; Merry Prankster Joe McCord, Jerry, and Billy.There are loving tributes to tape archivist Dick Latvala, lighting director Candace Brightman, Merry Prankster Joe McCord, Betty-Cantor-Jackson, the Jerry Garcia Band, Steve Parish, Ram Rod Shurtliff, Owsley, and Dan Healy.Were They Ever Here at All? also focuses on the last five years of Jerry's life."I have followed Scott during his time at Relix, and on social media, for years now. His insights and stories about the Grateful Dead are always informative and enjoyable to read. He holds a wealth of knowledge about the band, its members, and the Deadhead community. "I loved his first two books, and they would be a welcome addition to anyone's Dead library. I just finished this one, and I think it's my favorite of the three ! "This book is a wonderful mix of history and personal tales that will take you right back to the good old days." - Rob Campbell, Deadhead, Jackson, MI
Bob Marley and Media
Bob Marley and Media: Representation and Audiences presents an analysis of how media, radio, television and print represented Bob Marley, including his popularity after his death. Mike Hajimichael examines unexplored connections between Bob Marley and media representation and the specifics of audiences, including coverage in tabloids, music magazines, and fanzines, as well as radio and television interviews. Hajimichael builds an extensive catalogue of Bob Marley's media engagements and connects Marley to media through forms of political discourse and ideologies relevant to social change in different contexts globally, such as civil rights, anti-racism, Rastafari, and liberation movements. Given that varieties of representation exist, the book unpacks these media discourses with regard to public perceptions and key themes articulated, including mainstream versus fan-based coverage, issues of Rastafari, Black Consciousness, economic crisis, legacies of colonialism, slavery, racism, links to other music idioms, concepts of identity, and Marley's personal relationships.
Feed My Frankenstein
In 1974, Alice Cooper shocked the rock world, scooped up his makeup kit and went solo. Consummated by a legal name change from Vincent Furnier to Alice Cooper, "the man behind the mask" never looked back, writing and recording fully 21 studio albums across a roller-coaster career that is now nearly 60 years on in the business, with almost 50 of that on his own, calling the shots as a man and brand with a plan, often guided by manager Shep Gordon, one of the best in the biz. Feed My Frankenstein: Alice Cooper, the Solo Years charts this action-packed era for Alice, beginning with the smash success of the Welcome to My Nightmare album and tour and hitting a nadir with the blackout years of the early '80s, where Alice nearly died from booze and hard drugs before being brought back by his faith in God and by the good graces of his wife Sheryl. Next came Alice's third wave of major success with Trash and Hey Stoopid, followed by a settling into regular record-making and touring duties, culminating in some of his best work quite recently, with Dirty Diamonds, Along Came a Spider and 2021's Detroit Stories. All of this is celebrated in Feed My Frankenstein, meticulously charted with timeline entries that are extensively explained and corroborated by a gallery of Alice's band members throughout the decades. Helping bring the story to life is a smorgasbord of imagery, from live photography through to all manner of memorabilia, underscoring how visceral the visual has always been for this legendary showman. Get on board and get a sense of how each and every one of Alice's 21 solo albums work, along with an understanding of how absolutely and insanely jam-packed life has been for Alice since 1974 when he and Shep rolled the dice, pooled all their resources and took us on an all-guns-blazing tour of Alice's sleeping brain. Indeed, once rolling, it just never stopped. Next station was Hell, followed by a visit to the asylum and then, down the road apiece, Brutal Planet, Dragontown and finally Michigan for some Detroit Stories. It's all here in red, black and blue - bring your camera.
Augustine Kwasiga Younge
When the Catholic Church realized the itching urge to inject more African Culture in her Christian worship to revitalize the Liturgy and Mass in the 1960s, Mr. A.K. Younge, alias "Master Younge," in a solo effort revolutionized the Roman Catholic Church musical scene by initially replacing the "Old Latin Hymns" with traditional tunes accompanied by African musical instruments. As his determination persisted, he found himself in the greatest imbroglio as some church elders and musicians cast insinuations for what they believed to be anti-Christ (Catholic). With much encouragement from his dear wife Catherine Afiwor Younge and full support by the Papal See in Rome, Master Younge delved deeper. He came out with many compositions and innovations that provided the foundation that seemed to meet the aspirations and expectations of the awakened African Catholicism in Ghana and the Keta Diocese. If traditional African drums, bells, and rattles are heard in Catholic churches today in Ghana, we must, with all certainty and reverence, remember the efforts of Master Younge. He made it happen. His Era's selected contemporaries also covered include Adalbert Kodjo Mensah Tibu, Philip Gbeho, Emmanuel Gakpo Gadzekpo, Togbe Afiatsoa II: Mr. George Kwame Akordor, and Cornelius Kofi Doe-Williams (alias CK). About the Author The sights and sounds of Africa fill the air when Paschal Yao Younge, the Ohio Arts Council, 2020 Ohio Heritage Fellowship Awardee, Carnegie African Diaspora Fellow, a multi-talented and interdisciplinary musician, scholar, composer, author, and performer, presents world percussion music and dance forms internationally, focusing on styles from Africa and the African Diaspora. Dr. Younge, Professor of Music at Ohio University, is currently the Executive and Music Director of Azaguno, Inc., a multi-ethnic ensemble based in Athens, Ohio that focuses on research, preservation, and performance of African, African American, Caribbean, and Latin American Music and Dance. Paschal, the last child of Augustine Kwasiga Younge and Catherine Younge, both musicians. was born at Dzodze, a village in the Volta Region of Ghana. His parents introduced him to western and traditional Ghanaian musical instruments at an early age of 3. It was no surprise that by age 8, Paschal had learned to play the organ and violin, accompanied the church choir with traditional African instruments, and participated in community cultural groups. Throughout his life, Paschal has continued studying and teaching other western musical instruments such as the trumpet, horn, trombone, tuba, alto saxophone, and clarinet, and various traditional Ghanaian musical types and instruments. He further expands his understanding and knowledge of African cultural heritage through drumming, dancing, and research. As a specialist in African choral and brass band music, a clinician in other sub-Saharan African musical arts, world percussion, and advocate of intercultural, interdisciplinary, and multicultural music, Younge has presented and performed at several festivals, concerts, and conferences internationally in over 45 States/Provinces in the US/Canada and 25 countries internationally. Before coming to Ohio University, Younge taught at WVU, where he served as Director of the World Music Center and at the University of Ghana as Principal Music Instructor and director of several ensembles, including brass bands, choirs, and other instrumental groups.
Prince and the Parade and Sign O’ the Times Era Studio Sessions
"[W]ill command the rapt attention of casual fans and scholars alike." Booklist, Starred Review - This 2nd book in the Prince Studio Sessions series chronicles the years immediately following the Purple Rain era.
The Partimenti of Giovanni Paisiello
Reveals the brilliant musical and pedagogical thinking of the famed eighteenth- and early nineteenth-century Neapolitan composer and teacher of royal students. Giovanni Paisiello (1740-1816) was one of the most important composers of opera in the eighteenth century. His operas were performed throughout Europe, and his fame led to appointments as a maestro di cappella and composer at prominent European courts. This book is the first study to address his work as a teacher of composition and what we would today call music theory. The practice of partimento (figured or unfigured bass lines) was an integral part of the training of musicians at the renowned conservatories in eighteenth-century Naples. By employing these often-unprepossessing partimento bass lines, young musicians learned the techniques of variation, improvisation, and composition while seated at the harpsichord. Paisiello's Regole per bene accompagnare il Partimento (Rules for Harpsichordists; 1782) survives in both autograph and printed forms. It contains forty-six partimenti that have long been considered the core of his pedagogic oeuvre. However, two recently discovered manuscripts contain a further forty-one unknown partimenti, notated as two- and three-part disposizioni (realizations). The present study offers numerous insights gleaned from the surviving sources and bolsters our understanding of how to perform the music of Paisiello and his contemporaries: music that has often survived in an incomplete form. These findings are relevant not just for keyboard players but also for singers, instrumentalists, and anyone interested in the inner workings of eighteenth- and early nineteenth-century music.
Opera and the Politics of Tragedy
A curated collection of Enlightenment operas, paintings, and literary works that were all marked by the "Telemacomania" scandal, a furious cultural frenzy with dangerous political stakes. Imaginatively structured as a guided tour, Opera and the Politics of Tragedy captures the tumultuous impact of the so-called Telemacomania crisis through its key artifacts: literary pamphlets, spoken dramas, paintings, engravings, and opera librettos (drammi per musica). Prominently featured in the gallery are two operas with direct ties to this aesthetic and political war: Mozart and Cigna-Santi's Mitridate (1770) and Mozart and Varesco's Idomeneo (1781). Reading and listening across the Enlightenment's cultural spaces (its new public museums, its first encyclopedias, and its ever-controversial operatic theater), this book showcases the Enlightenment's disorderly historical revisionism alongside its progressive politics to expose the fertile creativity that can emerge out of the ambiguous space between what is "ancient" and what is "modern."
The Power of Music
Building on her earlier work, The Power of Music: A Research Synthesis of the Impact of Actively Making Music on the Intellectual, Social and Personal Development of Children and Young People, this volume by Susan Hallam and Evangelos Himonides is an important new resource in the field of music education, practice, and psychology. A well signposted text with helpful subheadings, The Power of Music: An Exploration of the Evidence gathers and synthesises research in neuroscience, psychology, and education to develop our understanding of the effects of listening to and actively making music. Its chapters address music's relationship with literacy and numeracy, transferable skills, its impact on social cohesion and personal wellbeing, as well as the roles that music plays in our everyday lives.Considering evidence from large population samples to individual case studies and across age groups, the authors also pose important methodological questions to the research community. The Power of Music defends qualitative research against a requirement for randomised control trials that can obscure the diverse and often fraught contexts in which people of all ages and backgrounds are exposed to, and engage with, music. This magnificent and comprehensive volume allows the evidence about the power of music to speak for itself, thus providing an essential directory for those researching music education and its social, personal, and cognitive impact across human ages and experiences.
Waltzing Through Europe
From 'folk devils' to ballroom dancers, Waltzing Through Europe explores the changing reception of fashionable couple dances in Europe from the eighteenth century onwards. A refreshing intervention in dance studies, this book brings together elements of historiography, cultural memory, folklore, and dance across comparatively narrow but markedly heterogeneous localities. Rooted in investigations of often newly discovered primary sources, the essays afford many opportunities to compare sociocultural and political reactions to the arrival and practice of popular rotating couple dances, such as the Waltz and the Polka. Leading contributors provide a transnational and affective lens onto strikingly diverse topics, ranging from the evolution of romantic couple dances in Croatia, and Strauss's visits to Hamburg and Altona in the 1830s, to dance as a tool of cultural preservation and expression in twentieth-century Finland. Waltzing Through Europe creates openings for fresh collaborations in dance historiography and cultural history across fields and genres. It is essential reading for researchers of dance in central and northern Europe, while also appealing to the general reader who wants to learn more about the vibrant histories of these familiar dance forms.
Waltzing Through Europe
From 'folk devils' to ballroom dancers, Waltzing Through Europe explores the changing reception of fashionable couple dances in Europe from the eighteenth century onwards. A refreshing intervention in dance studies, this book brings together elements of historiography, cultural memory, folklore, and dance across comparatively narrow but markedly heterogeneous localities. Rooted in investigations of often newly discovered primary sources, the essays afford many opportunities to compare sociocultural and political reactions to the arrival and practice of popular rotating couple dances, such as the Waltz and the Polka. Leading contributors provide a transnational and affective lens onto strikingly diverse topics, ranging from the evolution of romantic couple dances in Croatia, and Strauss's visits to Hamburg and Altona in the 1830s, to dance as a tool of cultural preservation and expression in twentieth-century Finland. Waltzing Through Europe creates openings for fresh collaborations in dance historiography and cultural history across fields and genres. It is essential reading for researchers of dance in central and northern Europe, while also appealing to the general reader who wants to learn more about the vibrant histories of these familiar dance forms.
The Power of Music
Building on her earlier work, The Power of Music: A Research Synthesis of the Impact of Actively Making Music on the Intellectual, Social and Personal Development of Children and Young People, this volume by Susan Hallam and Evangelos Himonides is an important new resource in the field of music education, practice, and psychology. A well signposted text with helpful subheadings, The Power of Music: An Exploration of the Evidence gathers and synthesises research in neuroscience, psychology, and education to develop our understanding of the effects of listening to and actively making music. Its chapters address music's relationship with literacy and numeracy, transferable skills, its impact on social cohesion and personal wellbeing, as well as the roles that music plays in our everyday lives.Considering evidence from large population samples to individual case studies and across age groups, the authors also pose important methodological questions to the research community. The Power of Music defends qualitative research against a requirement for randomised control trials that can obscure the diverse and often fraught contexts in which people of all ages and backgrounds are exposed to, and engage with, music. This magnificent and comprehensive volume allows the evidence about the power of music to speak for itself, thus providing an essential directory for those researching music education and its social, personal, and cognitive impact across human ages and experiences.
Walking with Asafo in Ghana
WINNER: Society for Ethnomusicology - 2024 Nketia Book Prize The first full-length study of the musical pasts of Asafo warrior associations based on the author's "ways of walking" with local scholars along the Ghanaian littoral. What is Asafo ndwom (music)? How and when is it performed? What is the state of this warrrior tradition that once served as the bedrock of the Akan, Ewe, and Ga societies in Ghana? How does Asafo enact the past and serve as an archive for the people? In an attempt to answer these questions, Walking with Asafo in Ghana investigates the musical pasts of Asafo. The book is an ethnography of walking, organized into eight chapters. Each chapter ends with a piece of creative writing in the author's "ethnographic voice," in which she sums up the main ideas. It is Aduonum's attempt at an anticolonial and decolonialist African musicology, one that subverts and decenters white racial framing of research, analysis, and presentation, disrupting how Euro-American concepts frame our ways of telling and experiencing ndwom. Aduonum's goal on this trajectory is to tell her story, create something new, and chart a new path. Through this fluid and complex book, she repositions African Elders' knowledge as "epistemologies of decolonization and de-coloniality" and centers the stories shared by local Fante scholars. The text is polyvocal, multimodal, multiperspective, performative, reflexive, and dialogic, informed by the structure of Asafo ndwom, appellations, proverbs, her mentors' tellings, and "embodied" calling and responding. It is a performative scholarly discourse, ndwom-based: a performance. As a celebration of Asafo, those warriors who insisted their lives matter, the text is meant to be read and performed. This book is openly available in digital formats thanks to a generous grant from the Andrew W. Mellon Foundation.
Music Theatre and the Holy Roman Empire
Packed full of new archival evidence that reveals the interconnected world of music theatre during the 'Classical era', this interdisciplinary study investigates key locations, genres, music, and musicians. Austin Glatthorn explores the extent to which the Holy Roman Empire delineated and networked a cultural entity that found expression through music for the German stage. He maps an extensive network of Central European theatres; reconstructs the repertoire they shared; and explores how print media, personal correspondence, and their dissemination shaped and regulated this music. He then investigates the development of German melodrama and examines how articulations of the Holy Roman Empire on the musical stage expressed imperial belonging. Glatthorn engages with the most recent historical interpretations of the Holy Roman Empire and offers quantitative, empirical analysis of repertoire supported by conventional close readings to illustrate a shared culture of music theatre that transcended traditional boundaries in music scholarship.
Sounding Latin Music, Hearing the Americas
How is Latin American music heard, by whom, and why? Many in the United States believe Latin American musicians make "Latin music"--which carries with it a whole host of assumptions, definitions, and contradictions. In their own countries, these expatriate musicians might generate immense national pride or trigger suspicions of "national betrayals." The making, sounding, and hearing of "Latin music" brings into being the complex array of concepts that constitute "Latin Americanism"--its fissures and paradoxes, but also its universal aspirations. Taking as its center musicians from or with declared roots in Latin America, Jairo Moreno presents us with an innovative analysis of how and why music emerges as a necessary but insufficient shorthand for defining and understanding Latin American, Latinx, and American experiences of modernity. This close look at the growth of music-making by Latin American and Spanish-speaking musicians in the United States at the turn of the twenty-first century reveals diverging understandings of music's social and political possibilities for participation and belonging. Through the stories of musicians--Rub矇n Blades, Shakira, Arturo O'Farrill and the Afro-Latin Jazz Orchestra, and Miguel Zen籀n--Sounding Latin Music, Hearing the Americas traces how artists use music to produce worlds and senses of the world at the ever-transforming conjunction of Latin America and the United States.
Sounding Latin Music, Hearing the Americas
How is Latin American music heard, by whom, and why? Many in the United States believe Latin American musicians make "Latin music"--which carries with it a whole host of assumptions, definitions, and contradictions. In their own countries, these expatriate musicians might generate immense national pride or trigger suspicions of "national betrayals." The making, sounding, and hearing of "Latin music" brings into being the complex array of concepts that constitute "Latin Americanism"--its fissures and paradoxes, but also its universal aspirations. Taking as its center musicians from or with declared roots in Latin America, Jairo Moreno presents us with an innovative analysis of how and why music emerges as a necessary but insufficient shorthand for defining and understanding Latin American, Latinx, and American experiences of modernity. This close look at the growth of music-making by Latin American and Spanish-speaking musicians in the United States at the turn of the twenty-first century reveals diverging understandings of music's social and political possibilities for participation and belonging. Through the stories of musicians--Rub矇n Blades, Shakira, Arturo O'Farrill and the Afro-Latin Jazz Orchestra, and Miguel Zen籀n--Sounding Latin Music, Hearing the Americas traces how artists use music to produce worlds and senses of the world at the ever-transforming conjunction of Latin America and the United States.
Acid for the Children
With "virtuosic vulnerability" (The Atlantic), the iconic bassist and Red Hot Chili peppers co-founder pens a New York Times bestselling love letter to his wild Los Angeles youth in his raw and riveting coming-of-age memoir, now in paperback.In Acid for the Children, Flea takes readers on a deeply personal and revealing tour of his formative years, spanning from Australia to the New York City suburbs to, finally, Los Angeles. Through hilarious anecdotes, poetical meditations, and occasional flights of fantasy, Flea deftly chronicles the experiences that forged him as an artist, a musician, and a young man. His dreamy, jazz-inflected prose makes the Los Angeles of the 1970s and 80s come to gritty, glorious life, including the potential for fun, danger, mayhem, or inspiration that lurked around every corner. It is here that young Flea, looking to escape a turbulent home, found family in a community of musicians, artists, and junkies who also lived on the fringe. He spent most of his time partying and committing petty crimes. But it was in music where he found a higher meaning, a place to channel his frustration, loneliness, and love. This left him open to the life-changing moment when he and his best friends, soul brothers, and partners-in-mischief came up with the idea to start their own band, which became the Red Hot Chili Peppers. Acid for the Children is the debut of a stunning new literary voice, whose prose is as witty, entertaining, and wildly unpredictable as the author himself. It's a tenderly evocative coming-of-age story and a raucous love letter to the power of music and creativity from one of the most renowned musicians of our time. New York Times BestsellerA #1 LA Times BestsellerA USA Today BestsellerOne of NPR's "Favorite Books of 2019"
Niggers Sing Redemption Songs
"Of all the various acts of inequity throughout time, none was more severe than the submission forced upon the indigenous peoples of the earth by their earthly demi-god counterparts. Robbing these peoples of their God given cultural and traditional knowledge of survival, void of cultural references and alienated from their traditional survival techniques and skills, the indigenous peoples had no other choice than to accept the ways of the earthly demi-gods, which was modernity and that came with many social disadvantages, worst of all, they would become second and third class citizens in a racially divided and dystopic world. The standard procedure was the implementation of acts that were intended to impart the greatest degree of fear, the fear of death and the fear of dying; whatever methods the noble savages thought would break the barbarian savages into submission. All manner of unthinkable acts of atrocity were employed against the indigenous peoples, because the objectives of the earthly demi-gods had to be met, which was to expropriate the lands and natural resources from these savages, these 'uncivilized' people." The work of Niggers Sing Redemption Songs: Reggae, The heart-beat of a people takes aim at reaffirming the psyche and glory of the Black self as of utter importance in our efforts to make our world a better place. The unconscionable disregard for the glory of the Black self and by refusing to use it, has successfully stripped away Black humanity from the Black indigenous peoples' collective consciousness; overall leading to a 'niggerization' process done for the benefits of the barbaric and ignobly self-acclaimed earthly demi-gods. The Black peoples of the world must bring back the 'Black' love of self and all things Black, that is your redemption and then, real life will be given to you. Additionally, what was most evidently conspicuous and surprising was a revelation that had emerged from the research of this study. The study has discovered evidences, which would indicate that because of social biases, for example, racial prejudices, and out-right arrogance, coupled with miss-education and deprecated mindsets, the attitudes of many Jamaican historians, the down trodden sectors of the Jamaican society were undermined and were not given meaningful historical documentations. The academics did not document, accurately, the accounts of Afro-Jamaican culture, for instance, the Rastafarians input into the cultural history of Jamaica. Although many academics of the time were themselves Afro- Jamaican, non-sympathizers to the Rasta movement, and, in most cases, just a generation or two removed from slavery, they were non-commiserated towards their people's history and struggles. So much so, that they did not consider the documentation of their Afro-Jamaican culture as a priority, and as such, a deficit in proper documentation of historical material exists today. This becomes quite evident in the footnotes, where due to the lack of material, there is a redundancy in reference materials Therefore, in order to add further depth to the stock of the genre of Black Liberation Literature, this work advances a redemptive process which is aimed, primarily, at every individual that has been niggerized by White supremacy and their racist systems. Therein, that each nigger would cultivate an awareness that would be congruent with his/her Black redemption, as is outlined in this literary work. Thus, that he/her would be empowered sufficiently, to rise above the White supremacist world that had ungratefully grafted him/ her and had restrained him/her to oppressive states of meaningless existences. Black people must rise above their common bound, the social degradation of niggerization, a social construct of the White racist demi-gods and to accept the fundamental merits and opportunities that a Black redemption would have provided, which is, the reconstructed Black self, with all its social advantages, because White Am...
Beyond Sketches of Spain
Few musicians shaped Iberian jazz more than pianist Vicen癟 "Tete" Montoliu i Massana (1933-97). Fascinated by the modernist aesthetics of mid-century jazz, Montoliu was known for a carefully crafted mix of lyricism and dissonance, a penchant for discordant crashes, and a development of highly original compositions. Over the course of his career, he boasted some 100 recordings spanning Denmark, Germany, Holland, Spain, and the United States, and performed with the most notable jazz luminaries including Lionel Hampton, Rahsaan Roland Kirk, Dexter Gordon, and Archie Shepp. In drawing from the Black American jazz form, Montoliu fashioned an adjacent critical space shaped by his experiences as a Catalan and a person with congenital visual impairment living under the dictatorship of Francisco Franco. Beyond Sketches of Spain: Tete Montoliu and the Construction of Iberian Jazz explores the artist's life, musical production, and international reception within a cultural studies framework, invoking Fumi Okiji's notion of gathering in difference. In its investigation of this impressive and often overlooked transnational jazz legend, the book moves beyond mere sketches of Spanish nationhood, challenges conventional scholarly narratives, and recovers links between the United States, Barcelona, Catalonia, Spain, and Europe.
In the Beginning
From the larger production Prophecies of War, In the Beginning is a modern progressive rock / jazz-fusion composition structured in three distinct sections. The piece opens with a solo guitar introduction, gradually expanding into the main body featuring alternating odd meters, and ultimately culminating in an open-ended jazz-fusion solo section.In the Beginning leads listeners from a reflective, slow-building opening into an energetic, rhythmically complex middle section before resolving into an open solo passage that balances compositional structure with improvisational freedom.This work is intended for advanced musicians seeking a challenging and rewarding musical experience. It is well suited for both live performance and studio recording environments.This product includes a full score and individual parts for: Alto saxophoneGuitarBassSynthesizersDrum set
A Change of Heart
A Change of Heart is a contemporary ballad built around two contrasting sections, guiding the listener from an intimate, lyrical opening into a climactic double-time passage.Written for advanced musicians, the piece explores challenging harmonic language and shifting meters while maintaining the transparency of an acoustic trio setting. Though rooted in a jazz ballad tradition, it incorporates subtle jazz-fusion elements, including odd meters, unorthodox harmonies, and driving bass ostinatos.Designed for performers seeking distinctive, concert-ready repertoire, A Change of Heart is well suited for live performance and recording.This product includes a full score and individual parts for alto saxophone, bass, and drum set.
Jazz Piano Fundamentals (Book 2)
Jazz Piano Fundamentals (Book 2) is master-teacher Jeremy Siskind's welcoming, clear, and detailed guide to intermediate jazz piano study.Jazz Piano Fundamentals (Book 2) guides intermediate jazz students through six months (or more) of jazz piano instruction by providing clear, thoughtful, and progressive lessons, improvisation exercises, rote exercises, written exercises, listening guides, transcription projects, and practice plans. Every unit includes frequently asked questions and exclusive video content to ensure that all subjects are presented clearly and with sufficient depth.Subjects include scale patterns, improvising with non-chord tones, improvising in minor keys, motivic development, advanced comping styles, closed-position and drop two voicings, shout-chorus voicings, rhythm changes, playing intros and endings, shell voicings, ballad playing, walking basslines, upper structures, and much more. In the five guided transcription projects, students are coached through completing their own transcriptions of solos by Miles Davis, Hank Mobley, Illinois Jacquet, Horace Silver, and Bud Powell. Then, they are shown how to assimilate elements of these masters' styles into their own improvisations.This book is designed to be used in conjunction with The Real Book, Volume 6.Praise for Jazz Piano Fundamentals, Book 1"I love this book - and plan on using it in at my own school. A must for any beginning jazz piano student!"- Martin Bejerano, jazz pianist/composer and professor, Frost School of Music, University of Miami"Jeremy Siskind's book creates a methodology and answers questions in a way that I have almost never seen done in a jazz educational tome. He breaks down the practice of improvisation to its smallest building blocks, and is careful to relate each lesson to real-life examples from the jazz canon....This book will be excellent for jazz beginners, players of other instruments who wish to bone up on their piano skills, and advanced improvisers may find ways to fill in gaps in their skill sets "- Mark Shilansky, pianist/composer, professor, Berklee College of Music"Jeremy's book is a reflection on who he is as a pianist - a true artist who has done his homework. Behind the meticulous attention to detail is a respect for jazz tradition and a desire to help pianists explore their own creativity."- Aimee Nolte, jazz pianist/vocalist and YouTube Star"Jeremy's book is not only perfect to start this wonderful journey called Jazz Piano, but also one to come back to... Thank you!!"- Otmaro Ruiz, Grammy-nominated jazz pianist and professor, UCLA
Hip Hop Ain't Dead
The book, Hip Hop Ain't Dead: It's Livin' In the White House, is about a man, Barack Obama, who made history. By first, becoming the first Black President in the history of the United States, and second, shattering the mold of conventional politics by making hip hop culture his political ally. Obama's public relationship with hip hop throughout his presidency caused just as much of an explosion of public dialogue as his place in history as the first Black American President. The author Sanford Richmond details moments of his childhood as a hip hop fan, witnessing--and even personally experiencing--firsthand some of the historical moments that granted hip hop the control and influence over the American mainstream that the culture has maintained for the last two decades.Obama's historical presence at the White House, influenced by the social and cultural power of hip hop, should guide and inspire conversations about race relations throughout the duration of the 21st century.
Singing in the Rain
Woodstock has often been called the coming of age of a generation, but that was a convenient spin. Woodstock was the opportunity that a half-million people took to show the world that they were of age, and quite capable of demonstrating that living in peace, love, and kindness was a model the world should follow, that theirs were the footsteps that could change everything, for the better. Singing in the Rain: The Definitive Story of Woodstock at Fifty is an inside look at the creative energy and performances that formed the legacy of Woodstock. Citing hundreds of sources, Singing in the Rain provides a delightfully-meticulous rendering of one of the most important events in living history. It can take decades for all the details of a transformational event such as Woodstock to come to the forefront, and it takes a patient, rock-loving investigator to frame it with the same sardonic humor that characterized much of the events of that weekend in August, 1969. Any student of rock history, anyone interested in popular music, any Woodstock attendee, anyone who has seen the movie will have wondered "what else took place?" from August 15-18, 1969. Readers will be astounded by the chronology of events that shaped the festival. The trials and tribulations the producers and staff faced, the songs that were played during that wonderful weekend, the comments made by lucky fans who attended the festival have been mapped out and presented in this fascinating, critical and historical analysis. This book clarifies what happened before, during, and after a festival that has withstood the test of time, and remains one of the iconic events in our history. The author brings the event back for us in ways we did not consider, demonstrating why Woodstock was the shooting star that remains forever etched in our memories. Plecki counters the erroneous concepts fostered by mass media, by other Woodstock authors, by statements of musicians who performed and did not perform at Woodstock, by politicians bent on preserving what they viewed to be a "healthier" status quo, and by some of the festival's producers themselves. This book connects the dots, dispelling fake news from fact, combining first-hand accounts of the festival's chronology with stories that will delight readers, easing them back into a time before rain delays would have been so micro-managed that they would have been sponsored by the weather channel. It is within this fascinating milieu that the reader will come to understand and appreciate all the music, magic, and hijinks that formed the nonpolitical, political tableau that was Woodstock. Singing in the Rain gives us a very specific, humorous, and heart-warming look at a never-to-be-forgotten era, when, for a brief moment, horizons were unlimited and possibilities were endless--a time when all people, hippies or straight, draft resisters and war veterans, lived for four days in peace and harmony, while being entertained by the best music the rock world has ever witnessed. This is the Woodstock that comes to life when reading Singing in the Rain.
Singing in the Rain
Woodstock has often been called the coming of age of a generation, but that was a convenient spin. Woodstock was the opportunity that a half-million people took to show the world that they were of age, and quite capable of demonstrating that living in peace, love, and kindness was a model the world should follow, that theirs were the footsteps that could change everything, for the better. Singing in the Rain: The Definitive Story of Woodstock at Fifty is an inside look at the creative energy and performances that formed the legacy of Woodstock. Citing hundreds of sources, Singing in the Rain provides a delightfully-meticulous rendering of one of the most important events in living history. It can take decades for all the details of a transformational event such as Woodstock to come to the forefront, and it takes a patient, rock-loving investigator to frame it with the same sardonic humor that characterized much of the events of that weekend in August, 1969. Any student of rock history, anyone interested in popular music, any Woodstock attendee, anyone who has seen the movie will have wondered "what else took place?" from August 15-18, 1969. Readers will be astounded by the chronology of events that shaped the festival. The trials and tribulations the producers and staff faced, the songs that were played during that wonderful weekend, the comments made by lucky fans who attended the festival have been mapped out and presented in this fascinating, critical and historical analysis. This book clarifies what happened before, during, and after a festival that has withstood the test of time, and remains one of the iconic events in our history. The author brings the event back for us in ways we did not consider, demonstrating why Woodstock was the shooting star that remains forever etched in our memories. Plecki counters the erroneous concepts fostered by mass media, by other Woodstock authors, by statements of musicians who performed and did not perform at Woodstock, by politicians bent on preserving what they viewed to be a "healthier" status quo, and by some of the festival's producers themselves. This book connects the dots, dispelling fake news from fact, combining first-hand accounts of the festival's chronology with stories that will delight readers, easing them back into a time before rain delays would have been so micro-managed that they would have been sponsored by the weather channel. It is within this fascinating milieu that the reader will come to understand and appreciate all the music, magic, and hijinks that formed the nonpolitical, political tableau that was Woodstock. Singing in the Rain gives us a very specific, humorous, and heart-warming look at a never-to-be-forgotten era, when, for a brief moment, horizons were unlimited and possibilities were endless--a time when all people, hippies or straight, draft resisters and war veterans, lived for four days in peace and harmony, while being entertained by the best music the rock world has ever witnessed. This is the Woodstock that comes to life when reading Singing in the Rain.
Sheram
It is with great pleasure that we announce the publication of one of Armenia's most important ashoughs' works in transliterated English for the first time in history. Ashough Sheram is one of the most prominent Armenian traditional ashoughs (bard singers). Having been born in 1857 in Aleksandropol (currently Gyumri) as Grigor Talyan, he received "Sheram" as his musical avatar for weaving beautiful melodies.More than 100 songs of Sheram are included in this book, each with a music notation and Armenian lyrics transliterated into English. The reader also gets a deeper understanding of Sheram's ability as a poet of love by reading around thirty of his songs translated into English for the first time.There are five chapters in the book: Love Songs, From the Sad Past, Satirical, Dances, and Appendix. The first four chapters of this book contain transcriptions of songs written by Sheram's son, composer Vardges Talyan circa 1948. There are also transcriptions of several songs by another scholar, musicologist Aram Kocharyan.This book ends with transcriptions of the most popular songs of Sheram, as performed by two of his greatest interpreters, Araksya Gyulzadyan and Ofelia Hambardzumyan.
Who Hears Here?
Guthrie P. Ramsey, Jr., is an award-winning musicologist, music historian, composer, and pianist whose prescient theoretical and critical interventions have bridged Black cultural studies and musicology. Representing twenty-five years of commentary and scholarship, these essays document Ramsey's search to understand America's Black musical past and present and to find his own voice as an African American writer in the field of musicology. This far-reaching collection embraces historiography, ethnography, cultural criticism, musical analysis, and autobiography, traversing the landscape of Black musical expression from sacred music to art music, and jazz to hip-hop. Taken together, these essays and the provocative introduction that precedes them are testament to the legacy work that has come to define a field, as well as a rousing call to readers to continue to ask the hard questions and write the hard truths.
Opera as Art
In Opera as Art: Philosophical Sketches, Paul Thom argues for opera as an art, standing alongside other artforms that employ visual and sonic media to embody the great themes of human life. Thom contends that in great operatic art, the narrative and expressive content collaborate with the work's aesthetic qualities towards achieving this aim. This argument can be extended to modern operatic productions. At their best, these stagings are works of art in themselves, whether they give faithful renditions of the operas they stage and whether their aims go beyond interpretation to commentary and critique. This book is a philosophical introduction to the key practices that comprise the world of opera: the making of the work; its interpretation by directors, critics, and spectators; and the making of an operatic production. Opera has always existed in a context of philosophical ideas, and this book is written for opera-lovers who would like to learn something about that philosophical context.
Boogie Down Predictions
Essays that explore the connections between time, representation, and identity within hip-hop culture. "This book, edited by Roy Christopher, is a moment. It is the deconstructed sample, the researched lyrical metaphors, the aha moment on the way to hip-hop enlightenment. Hip-hop permeates our world, and yet it is continually misunderstood. Hip-hop's intersections with Afrofuturism and science fiction provide fascinating touchpoints that enable us to see our todays and tomorrows. This book can be, for the curious, a window into a hip-hop-infused Alter Destiny--a journey whose spaceship you embarked on some time ago. Are you engaging this work from the gaze of the future? Are you the data thief sailing into the past to U-turn to the now? Or are you the unborn child prepping to build the next universe? No, you're the superhero. Enjoy the journey."--from the introduction by Ytasha L. Womack Through essays by some of hip-hop's most interesting thinkers, theorists, journalists, writers, emcees, and DJs, Boogie Down Predictions embarks on a quest to understand the connections between time, representation, and identity within hip-hop culture and what that means for the culture at large. Introduced by Ytasha L. Womack, author of Afrofuturism: The World of Black Sci-Fi and Fantasy Culture, this book explores these temporalities, possible pasts, and further futures from a diverse, multilayered, interdisciplinary perspective.
The Beatles Rubber Soul to Revolver
The Beatles Rubber Soul to Revolver is the latest installment in Bruce Spizer's Beatles Album Series, covering two of the Beatles most important albums, Rubber Soul and Revolver, as well as Capitol's Yesterday And Today LP and the singles associated with these albums. Rubber Soul and Revolver set new standards for pop and rock records, and presented a maturing and evolving Beatles to the world. The 16 tracks recorded during the Rubber Soul sessions are among the group's finest. With Revolver, the Beatles were looking for more color in their recordings, trying new instruments and techniques. But they were not using studio wizardry to cover weaknesses; they were looking for new sounds to enhance their already brilliant songs. The book contains chapters on the British, American, and Canadian perspectives, an extensive treatment on the infamous Butcher Cover (featuring all of the significant images from the photo sessions and the true story behind the controversial cover). There are also chapters on the recording sessions and album covers, as well as on the news, music, and films of the era to place these albums in their proper context. And, of course, dozens of fan recollections.
Class, Control, and Classical Music
Why is classical music predominantly the preserve of the white middle classes? Contemporary associations between classical music and social class remain underexplored, with classical music primarily studied as a text rather than as a practice until recent years. In order to answer this question, this book outlines a new approach for a socio-cultural analysis of classical music, asking how musical institutions, practices, and aesthetics are shaped by wider conditions of economic inequality, and how music might enable and entrench such inequalities or work against them. This approach is put into practice through a richly detailed ethnography which locates classical music within one of the cultures that produces it - middle-class English youth - and foregrounds classical music as bodily practice of control and restraint. Drawing on the author's own background as a classical musician, this closely observed account examines youth orchestra and youth choir rehearsals as a space where young people learn the unspoken rules of this culture of weighty tradition and gendered control. It highlights how the middle-classes' habitual roles - boundary drawing around their protected spaces and reproducing their privilege through education - can be traced within the everyday spaces of classical music. These practices are camouflaged, however, by the ideology of 'autonomous art' that classical music carries. Rather than solely examining the social relations around the music, the book demonstrates how this reproductive work is facilitated by its very aesthetic, of 'controlled excitement', 'getting it right', precision, and detail. This book is of particular interest at the present moment, thanks to the worldwide proliferation of El Sistema-inspired programmes which teach classical music to children in underserved areas. While such schemes demonstrate a resurgence in defending the value of classical music, there has been a lack of debate over the ways in which its socio-cultural heritage shapes its conventions today. This book locates these contestations within contemporary debates on class, gender and whiteness, making visible what is at stake in such programmes.
Prog Rock Down-under
Follow-up and companion to the author's first book 'Progressive Rock Unmasked' this edition looks at some of Australia's top bands who remain outside the main-stream and public consciousness in general. Some have received international acclaim and attention such as Karnivool and Caligula's Horse. Many find Europe and the US a more satisfying touring circuit where their music is appreciated by larger audiences than at home. Prog Rock Down-Under explores the burgeoning progressive rock scene in Australia through personal discovery and remote interviews. Take a stroll into 'Prog Rock Down-under' to whet the aural senses from a musical genre sadly over-looked by mainstream press and media 'Down-under'. For over 50 years the author has been listening to progressive rock so included are 50 albums which made an important
The Music Dramas of Richard Wagner and His Festival Theatre in Bayreuth
The Music Dramas of Richard Wagner and His Festival Theatre in Bayreuth is an unchanged, high-quality reprint of the original edition of 1898. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.
Breaks in the Air
In Breaks in the Air John Klaess tells the story of rap's emergence on New York City's airwaves by examining how artists and broadcasters adapted hip hop's performance culture to radio. Initially, artists and DJs brought their live practice to radio by buying time on low-bandwidth community stations and building new communities around their shows. Later, stations owned by New York's African American elite, such as WBLS, reluctantly began airing rap even as they pursued a sound rooted in respectability, urban sophistication, and polish. At the same time, large commercial stations like WRKS programmed rap once it became clear that the music attracted a demographic that was valuable to advertisers. Moving between intimate portraits of single radio shows and broader examinations of the legal, financial, cultural, and political forces that indelibly shaped the sound of rap radio, Klaess shows how early rap radio provides a lens through which to better understand the development of rap music as well as the intertwined histories of sounds, institutions, communities, and legal formations that converged in the post-Civil Rights era.
Improvising Boogie-Woogie Volume Two
Improvising Boogie-Woogie Volume.2(Includes Downloadable audio)The second volume in a series of three comprehensive books to teach boogie-woogie piano.From the basics to more advanced techniques and everything in-between, this will give you the help and material you need.Everything will be covered, from the simplest left-hand pattern to right-hand riffs. It really suits a range of abilities, as it starts off easy and introduces more detail as the series progresses, growing as your skills themselves grow.If Boogie-Woogie is your thing, then this series is the most comprehensive available by far.Some examples of contentChord progressionsChords and scalesLeft-hand patternsLeft-hand techniquesRhythmic patternsWalking bass techniquesStride techniquesRight-hand vamping/compingRight-hand riffsRight-hand techniquesHow to use scalesCreating your own riffsAltering existing musicExample boogie-woogie piecesPractice IdeasIncludes Downloadable audio
Free Jazz
In the late 1950s, free jazz broke all the rules, liberating musicians both to create completely spontaneous and unplanned performances and to develop unique personal musical systems. This genre emerged alongside the radical changes of the 1960s, particularly the Civil Rights, Black Arts, and Black Power movements. Free Jazz is a new and accessible introduction to this exciting, controversial, and often misunderstood music, drawing on extensive research, close listening, and the author's experience as a performer. More than a catalog of artists and albums, the book explores the conceptual areas they opened: freedom, spirituality, energy, experimentalism, and self-determination. These are discussed in relation to both the political and artistic currents of the times and to specific musical techniques, explained in language clear to ordinary readers but also useful for musicians.
Sheram
It is with great pleasure that we announce the publication of one of Armenia's most important ashoughs' works in transliterated English for the first time in history. Ashough Sheram is one of the most prominent Armenian traditional ashoughs (bard singers). Having been born in 1857 in Aleksandropol (currently Gyumri) as Grigor Talyan, he received "Sheram" as his musical avatar for weaving beautiful melodies.More than 100 songs of Sheram are included in this book, each with a music notation and Armenian lyrics transliterated into English. The reader also gets a deeper understanding of Sheram's ability as a poet of love by reading around thirty of his songs translated into English for the first time.There are five chapters in the book: Love Songs, From the Sad Past, Satirical, Dances, and Appendix. The first four chapters of this book contain transcriptions of songs written by Sheram's son, composer Vardges Talyan circa 1948. There are also transcriptions of several songs by another scholar, musicologist Aram Kocharyan.This book ends with transcriptions of the most popular songs of Sheram, as performed by two of his greatest interpreters, Araksya Gyulzadyan and Ofelia Hambardzumyan.
Viva Las Vengeance
"It doesn't seem likely that a man would murder his wife and then just crawl back into bed and go to sleep, does it?"1964. Elvis Presley is in Las Vegas for a little R&R before starting his next picture, Roustabout. But the King's work is never done. Before long, Elvis finds himself up to his neck in the hunt for a killer.A tourist turns up ritualistically murdered at one of Las Vegas's preeminent wedding chapels, and Elvis can't help falling into the middle of an inept police investigation. Just before the tourist's death, the Sahara Casino comedian, Howie Pickles, had singled her out for insulting jibes during his show. The rumor spreads all over town that Pickles's gags are deadly.A second tourist is murdered and conspiracy theories multiply: Is it a hotel and casino war? A feud between local wedding chapels? A fight between Sin City's major brothels?Elvis finds himself falling in love with a beautiful dancer living in a commune for faded showbiz characters. He also discovers that a born-again Christian group in town is hailing him as the Second Coming.As the death toll mounts, Elvis forms an unlikely alliance with a pill-popping, enlightenment-seeking Harvard dropout, a Southern belle turned high-class prostitute . . . and the immensely annoying Howie Pickles himself.
Music, Communities, Sustainability
Music, Communities, Sustainability, edited thoughtfully by Huib Schippers and Anthony Seeger, traces the genesis, implementation, and development of the influential 2003 UNESCO Convention on Safeguarding of the Intangible Cultural Heritage and its impact on music practices around the world. With insights from established and emerging scholars who have been there from the early beginnings to those who work with it in communities today, this book tells a riveting story that celebrates the rise in awareness that approaching music as Intangible Cultural Heritage has brought. At the same time, it critiques the discrepancies between ideologies and realities as they emerged across the globe in its first twenty years, and provides perspectives for sound futures for the planet. Gathering such varied perspectives, this essential volume tells a crucial history and expands our understanding of the possibilities and limitations of interventions in music sustainability on a global scale.
Always Different, Always the Same
The Fall were one of the most influential bands to emerge in the British post-punk scene. This groundbreaking text is a thorough and critical examination drawing on a wide variety of disciplines including ethnomusicology, sociology, literary theory, linguistics, journalism, cultural studies, and film and media studies.
Bach in the World
Johann Sebastian Bach's works are often classified as either sacred or secular. While this distinction is fraught, it seems to provide a useful way to distinguish between Bach's vocal works for the liturgy and those he wrote to honor courts and members of the nobility. But even so, the lines cannot be drawn clearly. The political and social systems of the time relied on religion as an ideological foundation, and public displays of political power almost always included religious rituals and thus required some form of sacred music. Social constructs, such as class and gender, were also embedded in religious frameworks. In Bach in the World, author Markus Rathey offers a new exploration of how Bach's music functioned as an agent of affective communication within rituals, such as the installation of the town council, and as a place where socio-political norms were perpetuated and sometimes even challenged. The book does so by analyzing public manifestations of the social order during Bach's time in large-scale celebrations, processions, public performances, and visual displays.
Debt and Redemption in the Blues
This volume explores concepts of freedom and bondage in the blues and argues that this genre of music explicitly calls for a reckoning while expressing faith in a secular justice to come. Placing blues music within its historical context of the post-Reconstruction South, Jim Crow America, and the civil rights era, Julia Simon finds a deep symbolism in the lyrical representations of romantic and sexual betrayal. The blues calls out and indicts the tangled web of deceit and entrapment constraining the physical, socioeconomic, and political movement of African Americans. Surveying blues music from the 1920s to the early twenty-first century, Simon's analyses focus on economic relations, such as sharecropping, house contract sales, debt peonage, criminal surety, and convict lease. She demonstrates how the music reflects this exploitative economic history and how it is shaped by commodification under racialized capitalism. As Simon assesses the lyrics, technique, and styles of a wide range of blues musicians, including Bessie Smith, Blind Lemon Jefferson, Big Bill Broonzy, Muddy Waters, B. B. King, Albert Collins, and Kirk Fletcher, she argues forcefully that the call for racial justice is at the heart of the blues.A highly sophisticated interpretation of the blues tradition steeped in musicology, social history, and critical-cultural hermeneutics, Debt and Redemption not only clarifies blues as an aesthetic tradition but, more importantly, proves that it advances a theory of social and economic development and change.
Laudes Domini
Laudes Domini - A Selection of Spiritual Songs, Ancient and Modern is an unchanged, high-quality reprint of the original edition of 1884. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.
The Politics of Musical Time
How do the temporal features of sacred music affect social life in South Asia? Due to new time constraints in commercial contexts, devotional musicians in Bengal have adapted longstanding features of musical time linked with religious practice to promote their own musical careers.The Politics of Musical Time traces a lineage of singers performing a Hindu devotional song known as kīrtan in the Bengal region of India over the past century to demonstrate the shifting meanings and practices of devotional performance. Focusing on padābalī kīrtan, a type of devotional sung poetry that uses long-duration forms and combines song and storytelling, Eben Graves examines how expressions of religious affect and political belonging linked with the genre become strained in contemporary, shortened performance time frames. To illustrate the political economy of performance in South Asia, Graves also explores how religious performances and texts interact with issues of nationalism, gender, and economic exchange.Combining ethnography, history, and performance analysis, including videos from the author's fieldwork, The Politics of Musical Time reveals how ideas about the sacred and the modern have been expressed and contested through features of musical time found in devotional performance.
The Politics of Musical Time
How do the temporal features of sacred music affect social life in South Asia? Due to new time constraints in commercial contexts, devotional musicians in Bengal have adapted longstanding features of musical time linked with religious practice to promote their own musical careers.The Politics of Musical Time traces a lineage of singers performing a Hindu devotional song known as kīrtan in the Bengal region of India over the past century to demonstrate the shifting meanings and practices of devotional performance. Focusing on padābalī kīrtan, a type of devotional sung poetry that uses long-duration forms and combines song and storytelling, Eben Graves examines how expressions of religious affect and political belonging linked with the genre become strained in contemporary, shortened performance time frames. To illustrate the political economy of performance in South Asia, Graves also explores how religious performances and texts interact with issues of nationalism, gender, and economic exchange.Combining ethnography, history, and performance analysis, including videos from the author's fieldwork, The Politics of Musical Time reveals how ideas about the sacred and the modern have been expressed and contested through features of musical time found in devotional performance.
The Do-Re-Mi of Singing
Teach Yourself to Sing!Discover everything you need to start your singing journey with this two-part singing lessons book.Whether you're just starting out or a seasoned singer that wants to learn new techniques for different genres, this guide will help.Learn about all the singing skills you need, as well as the best techniques to practice them.Start improving your singing today, because this is designed for singers of all genres and capabilities.Get it now.Part One: Singing Lessons for BeginnersLearn the singing fundamentals that every artist needsExplore various genres and find the best one for youDiscover your own soundFind the the best tools and practices depending on your chosen genrePart Two: Intermediate Singing LessonsAdvanced singing exercisesDiscussions and explanations of specific singing techniquesPractical ways of keeping up with trends and techniquesIn-depth practices and toolsLearn about singers' anxiety and how to best treat itIncludes a glossary to explain industry specific wordingLimited Time Only...Get your copy of The Do-Re-Mi of Singing today and you will also receive: Free SF Nonfiction Books new releasesExclusive discount offersDownloadable sample chaptersBonus content... and more!Reach new heights no matter your skill level, because this book contains the most effective vocal exercises around... and more.Get it now.
The Do-Re-Mi of Singing
Teach Yourself to Sing!Discover everything you need to start your singing journey with this two-part singing lessons book.Whether you're just starting out or a seasoned singer that wants to learn new techniques for different genres, this guide will help.Learn about all the singing skills you need, as well as the best techniques to practice them.Start improving your singing today, because this is designed for singers of all genres and capabilities.Get it now.Part One: Singing Lessons for BeginnersLearn the singing fundamentals that every artist needsExplore various genres and find the best one for youDiscover your own soundFind the the best tools and practices depending on your chosen genrePart Two: Intermediate Singing LessonsAdvanced singing exercisesDiscussions and explanations of specific singing techniquesPractical ways of keeping up with trends and techniquesIn-depth practices and toolsLearn about singers' anxiety and how to best treat itIncludes a glossary to explain industry specific wordingLimited Time Only...Get your copy of The Do-Re-Mi of Singing today and you will also receive: Free SF Nonfiction Books new releasesExclusive discount offersDownloadable sample chaptersBonus content... and more!Reach new heights no matter your skill level, because this book contains the most effective vocal exercises around... and more.Get it now.
