The Hot, Sweet, Smokey, Muddy Sound of Chinnichap and Mickie Most - The Greatest Glam Show in the World
This is the story of two of the greatest empires in the history of rock-and how the songwriting and production powerhouse that was Nicky Chinn and Mike Chapman, and the production and promotion genius of Mickey Most came to dominate the British charts for the first half of the 1970s. And not just any old charts. The period 1971-1975 was the era of glam rock, the brightest, loudest, most star-spangled moment in the entire rock'n'roll era. The stars that it threw up-David Bowie, Marc Bolan and T Rex, Elton John, Mott the Hoople, David Essex, Alvin Stardust, Slade-remain idols even today; the also-rans, from Hello to Daddy Maxfield; from Edwina Biglets and the Miglets to Barry Blue, populate an entire new universe known as Junkshop Glam. Up there with psychedelia, which immediately preceded glam, and punk, which promptly followed it, glam rock soundtracked the lives of British, European, Australian, Japanese, and even some American teens with razor sharp accuracy and grampus-like tenacity. But of all of its greatest exponents, there is a select handful who soundtracked it louder than most. The Sweet, Mud and Suzi Quatro, who between them sent almost 325 weeks on the UK chart between 1971-75 (eighteen of them at number one), all with material produced and largely written by Chinn and Chapman.
George Lewis
George Lewis, one of the great traditional jazz clarinetists, was born in 1900 at about the same time that jazz itself first appeared in New Orleans. And by the time he died, on the last day of 1968, New Orleans jazz had pretty much run its course, too. By then a jazz museum stood on Bourbon Street, and a cultural center was under construction where Globe Hall had Stood. Lewis's life thus paralleled that of New Orleans jazz, and in his later years hew as the best known standard bearer of his city's music. He came to the attention of the jazz world at the time of the so-called "New Orleans Revival" of the 1940's, when veteran trumpeter Bunk Johnson was recorded by a number of jazz enthusiasts, notably William Russell. In this new biography, Tom Bethell challenges a favorite myth of the history of jazz: that the music became moribund in New Orleans after the legal red light district, Storyville, was closed in 1917, resulting in most jazz musicians going "up the river." In fact, Bethell shows, many more jazzmen stayed in the city than left, and the musical style continued to develop and grow. Thus the jazz fans who arrived in the city in the early 1940's did not encounter a "revival" of an old style so much as an ongoing tradition, with clarinetists like Lewis having been influenced by Benny Goodman and the Swing Era in addition to Lorenzo Tio and the Creole School. After Bunk Johnson's death in 1949, at a time when many other social changes were beginning to be felt in the city, the New Orleans jazz tradition began to go into a decline. It became increasingly rigid and repetitive, and was often designed to please what one observer called "Dixieland fans yelling for their favorite members." The book is based on lengthy research in New Orleans, including interviews with George Lewis shortly before his death, and unpublished material from the diaries kept by William Russell on his visits to New Orleans between 1942 and 1949. It also includes a statement by Lewis on jazz and the best way to play it and a complete Lewis discography. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1977.
So You Want to Sing Musical Theatre
Broadway vocal coach, voice teacher, and researcher Amanda Flynn provides the skills singers need to successfully sing musical theatre repertoire. The book is updated and expanded for musical theatre performance in the current era, covering a broader array of topics and including more in-depth discussion than the original edition.
George Lewis
George Lewis, one of the great traditional jazz clarinetists, was born in 1900 at about the same time that jazz itself first appeared in New Orleans. And by the time he died, on the last day of 1968, New Orleans jazz had pretty much run its course, too. By then a jazz museum stood on Bourbon Street, and a cultural center was under construction where Globe Hall had Stood. Lewis's life thus paralleled that of New Orleans jazz, and in his later years hew as the best known standard bearer of his city's music. He came to the attention of the jazz world at the time of the so-called "New Orleans Revival" of the 1940's, when veteran trumpeter Bunk Johnson was recorded by a number of jazz enthusiasts, notably William Russell. In this new biography, Tom Bethell challenges a favorite myth of the history of jazz: that the music became moribund in New Orleans after the legal red light district, Storyville, was closed in 1917, resulting in most jazz musicians going "up the river." In fact, Bethell shows, many more jazzmen stayed in the city than left, and the musical style continued to develop and grow. Thus the jazz fans who arrived in the city in the early 1940's did not encounter a "revival" of an old style so much as an ongoing tradition, with clarinetists like Lewis having been influenced by Benny Goodman and the Swing Era in addition to Lorenzo Tio and the Creole School. After Bunk Johnson's death in 1949, at a time when many other social changes were beginning to be felt in the city, the New Orleans jazz tradition began to go into a decline. It became increasingly rigid and repetitive, and was often designed to please what one observer called "Dixieland fans yelling for their favorite members." The book is based on lengthy research in New Orleans, including interviews with George Lewis shortly before his death, and unpublished material from the diaries kept by William Russell on his visits to New Orleans between 1942 and 1949. It also includes a statement by Lewis on jazz and the best way to play it and a complete Lewis discography. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1977.
Ludwig Van Beethoven: A Very Short Introduction
Proposes a new way of listening to Beethoven by understanding his music as an expression of his entire self, not just the iconic scowl Despite the ups and downs of his personal life and professional career - even in the face of deafness - Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, writes the music historian Mark Evan Bonds, provides the key to understanding the composer's life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington's Victory. Beethoven's works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.
For the Love of Hymns
Intermediate to Advanced piano solo arrangements of beloved LDS hymns including: How Great Thou Art Abide With Me 'Tis Eventide Oh, How Lovely Was the Morning Jesus, the Very Thought of Thee A Poor Wayfaring Man of Grief Nearer, Dear Savior, to Thee My Country; 'Tis of Thee Perfect for church services, firesides, or home enjoyment.
Popular Musicology and Identity
Popular Musicology and Identity　paves new paths for studying popular music's entwinement with gender, sexuality, ethnicity, class, locality, and a range of other factors
Rags and Bones
Contributions by Joshua Coleman, Christine Hand Jones, Kevin C. Neece, Charlotte Pence, George Plasketes, Jeffrey Scholes, Jeff Sellars, Toby Thompson, and Jude Warne After performing with Ronnie Hawkins as the Hawks (1957-1964), The Band (Rick Danko, Garth Hudson, Richard Manuel, Robbie Robertson, and Levon Helm) eventually rose to fame in the sixties as backing musicians for Bob Dylan. This collaboration with Dylan presented the group with a chance to expand musically and strike out on their own. The Band's fusion of rock, country, soul, and blues music--all tinged with a southern flavor and musical adventurousness--created a unique soundscape. The combined use of multiple instruments, complex song structures, and poetic lyrics required attentive listening and a sophisticated interpretive framework. It is no surprise, then, that they soon grew to be one of the biggest bands of their era. In Rags and Bones: An Exploration of The Band, scholars and musicians take a broad, multidisciplinary approach to The Band and their music, allowing for examination through sociological, historical, political, religious, technological, cultural, and philosophical means. Each contributor approaches The Band from their field of interest, offering a wide range of investigations into The Band's music and influence. Commercially successful and critically lauded, The Band created a paradoxically mythic and hauntingly realistic lyrical landscape for their songs--and their musicianship enlarged this detailed landscape. This collection offers a rounded examination, allowing the multifaceted music and work of The Band to be appreciated by audiences old and new.
Rags and Bones
Contributions by Joshua Coleman, Christine Hand Jones, Kevin C. Neece, Charlotte Pence, George Plasketes, Jeffrey Scholes, Jeff Sellars, Toby Thompson, and Jude Warne After performing with Ronnie Hawkins as the Hawks (1957-1964), The Band (Rick Danko, Garth Hudson, Richard Manuel, Robbie Robertson, and Levon Helm) eventually rose to fame in the sixties as backing musicians for Bob Dylan. This collaboration with Dylan presented the group with a chance to expand musically and strike out on their own. The Band's fusion of rock, country, soul, and blues music--all tinged with a southern flavor and musical adventurousness--created a unique soundscape. The combined use of multiple instruments, complex song structures, and poetic lyrics required attentive listening and a sophisticated interpretive framework. It is no surprise, then, that they soon grew to be one of the biggest bands of their era. In Rags and Bones: An Exploration of The Band, scholars and musicians take a broad, multidisciplinary approach to The Band and their music, allowing for examination through sociological, historical, political, religious, technological, cultural, and philosophical means. Each contributor approaches The Band from their field of interest, offering a wide range of investigations into The Band's music and influence. Commercially successful and critically lauded, The Band created a paradoxically mythic and hauntingly realistic lyrical landscape for their songs--and their musicianship enlarged this detailed landscape. This collection offers a rounded examination, allowing the multifaceted music and work of The Band to be appreciated by audiences old and new.
Jazz ? La Creole
During the formative years of jazz (1890-1917), the Creoles of Color--as they were then called--played a significant role in the development of jazz as teachers, bandleaders, instrumentalists, singers, and composers. Indeed, music penetrated all aspects of the life of this tight-knit community, proud of its French heritage and language. They played and/or sang classical, military, and dance music as well as popular songs and cantiques that incorporated African, European, and Caribbean elements decades before early jazz appeared. In Jazz ? la Creole: French Creole Music and the Birth of Jazz, the author describes the music played by the Afro-Creole community since the arrival of enslaved Africans in La Louisiane, then a French colony, at the beginning of the eighteenth century, emphasizing the many cultural exchanges that led to the development of jazz. Caroline V矇zina has compiled and analyzed a broad scope of primary sources found in diverse locations from New Orleans to Quebec City, Washington, DC, New York City, and Chicago. Two previously unpublished interviews add valuable insider knowledge about the music on French plantations and the danses Cr矇oles held in Congo Square after the Civil War. Musical and textual analyses of cantiques provide new information about the process of their appropriation by the Creole Catholics as the French counterpart of the Negro spirituals. Finally, a closer look at their musical practices indicates that the Creoles sang and improvised music and/or lyrics of Creole songs, and that some were part of their professional repertoire. As such, they belong to the Black American and the Franco-American folk music traditions that reflect the rich cultural heritage of Louisiana.
Jazz ? La Creole
During the formative years of jazz (1890-1917), the Creoles of Color--as they were then called--played a significant role in the development of jazz as teachers, bandleaders, instrumentalists, singers, and composers. Indeed, music penetrated all aspects of the life of this tight-knit community, proud of its French heritage and language. They played and/or sang classical, military, and dance music as well as popular songs and cantiques that incorporated African, European, and Caribbean elements decades before early jazz appeared. In Jazz ? la Creole: French Creole Music and the Birth of Jazz, the author describes the music played by the Afro-Creole community since the arrival of enslaved Africans in La Louisiane, then a French colony, at the beginning of the eighteenth century, emphasizing the many cultural exchanges that led to the development of jazz. Caroline V矇zina has compiled and analyzed a broad scope of primary sources found in diverse locations from New Orleans to Quebec City, Washington, DC, New York City, and Chicago. Two previously unpublished interviews add valuable insider knowledge about the music on French plantations and the danses Cr矇oles held in Congo Square after the Civil War. Musical and textual analyses of cantiques provide new information about the process of their appropriation by the Creole Catholics as the French counterpart of the Negro spirituals. Finally, a closer look at their musical practices indicates that the Creoles sang and improvised music and/or lyrics of Creole songs, and that some were part of their professional repertoire. As such, they belong to the Black American and the Franco-American folk music traditions that reflect the rich cultural heritage of Louisiana.
1973: The Year in Progressive Rock
During a decade that defined progressive rock, 1973 was a pivotal year. Influential bands like Yes, Genesis, Pink Floyd, Emerson, Lake & Palmer, Jethro Tull and King Crimson released some of their best-selling albums and there was a plethora of releases from less well known, but equally worthy acts. This book is a journey through this creative period; stopping off on route to explore symphonic rock, the Canterbury scene, Krautrock, fusion, progressive folk, art rock, space rock, album artwork and much more.The author was in his late teens in 1973 with an insatiable appetite for music and remembers the period with affection but this book is much more than a nostalgic trip down memory lane. It's a comprehensive and knowledgeable guide to an era when music with multiple sections, rich textures, intricate time signatures, inspired arrangements and diverse influences performed by skilled musicians was a universal language. For the discerning music lover, it was possible to journey to the dark side of the moon, take a dip in topographic oceans, encounter pot head pixies from a distant planet and still be home in time for larks' tongues in aspic.
Contextualizing Melodrama in the Czech Lands
The mention of the term "melodrama" is likely to evoke a response from laymen and musicians alike that betrays an acquaintance only with the popular form of the genre and its greatly heightened drama, exaggerated often to the point of the ridiculous. Few are aware that there exists a type of melodrama that contains in its smaller forms the beauty of the sung ballad and, in the larger-scale works, the appeal of the spoken play. This category of melodrama is one that surfaced in many cultures but was perhaps never so enthusiastically cultivated as in the Czech lands. The melodrama varied greatly at the hands of its Czech advocates. While the works of Zdeněk Fibich and his contemporary Josef Bohuslav Foerster, a composer best known for his songs, remained closely bound to the text, those of conductor/composer Otakar Ostrčil reveal a stance that privileged the music and, given their creator's orchestral experience, are more reminiscent of the symphonic poem. Fibich in his staged works and Josef Suk (composer/violinist and Dvoř獺k's son-in-law), in his incidental music reflect variously late nineteenth-century Romanticism, the influence of Wagner, and early manifestations of Impressionism. In its more recent guise, the principles of the staged melodrama reside quite comfortably in the film score. Judith A. Mabary's important volume will be of interest not only to musicologists, but those working in Central and East European studies, voice studies, European theatre, and those studying music and nationalism.
Musical Gentrification
Musical Gentrification is an exploration of the role of popular music in processes of sociocultural inclusion and exclusion in a variety of contexts.
Nirvana
Nirvana: The Complete Illustrated History tells the fully illustrated story of the band that spoke for Generation X in the '90s. Kurt Cobain, Dave Grohl, and Krist Novoselic comprised Nirvana, the band that unintentionally tore the music world asunder with the 1991 album Nevermind. The record that includes hits such as "Smells like Teen Spirit," "Come as You Are," and "Lithium" continues to rattle speakers with grunge that truly rocks. Here we are, over three decades after Nirvana irrevocably changed rock and roll, and the band is as relevant and influential as ever. Nirvana reveals the band's history with fresh eyes, telling the story of a group that instigated a return to punk-inspired rock. This edition of the complete illustrated history of the immortal grunge Rock and Roll Hall of Fame inductee features: The writing of a sparkling team of grunge-rock experts and word slingers Performance and backstage photography Handbills, singles, ticket stubs, gig posters, and other memorabilia that complement the narrative Album reviews, gear breakdowns, and mini synopses of Cobain's 50 all-time favorite albums Nirvana's ride was a wild one--and all too brief. Discover the full story here.
Isn't Her Grace Amazing!
A unique tribute to often overlooked women who have left an indelible mark on Gospel Music--powerful talents who overcame racism and sexism to define the genre, establish its sound, and set the standard for good sangin' for generations.Nothing in the world soothes the soul better than Gospel music. From the foot-stomping, hand-clapping melodies of yesterday to the head-bobbing, bass-thumping hits of today, Gospel music ignites the spirit and delivers the inspiration that takes us from the rough side of the mountain to the peak of God's love and grace. That feeling of joy, peace, love, and contentment is amplified when it's ringing through the voice of a sister who can SANG, Cheryl Wills reminds us. The remedy for a tough day at work can be alleviated with Mary Mary's uplifting jam Shackles, the answer to your heart's desires can be found in the harmonies of The Clark Sisters Name It, Claim It, and if you need a reminder of God's love, there is nothing more timeless that Aretha Franklin's stirring rendition of Amazing Grace.Some talented performers, like Sister Rosetta Tharpe have faded from history, while singers like Yolanda Adams are at the top of her game. During the twentieth century, Willie Mae Ford spent most of her life encouraging and uplifting Christians both in church and on stage and composed more than 100 Gospel songs, yet it was men like her co-writer, Thomas A. Dorsey, who received the accolades and fame. Many women in the Gospel music industry go unnoticed, unpaid, and under-appreciated for their contributions, yet it is these women who are often the bedrock for songwriting, arranging, directing, and developing singers. Cheryl Wills, the granddaughter of a Gospel singer, at last shines a spotlight on these spectacular women of song. The only book of its kind, Isn't Her Grace Amazing! showcase the talents, gifts, and skills of women in the Gospel music industry. It celebrates these heroines, chronicles their journeys from the choir loft to the world's largest stages, and reveals how they revolutionized this sacred music that is beloved worldwide. From the matriarchs of this movement to today's chart-topping divas, Wills offers in-depth portraits of twenty-five amazing women of Gospel music--based on interviews and extensive research--behind-the-scenes stories of favorite gospel hits, and illuminates what makes each of them shine.
Little Feat
Little Feat may not be a household name, but they are well-known to a good number of musicians who are: Keith Richards rounded up the Rolling Stones to see them perform in Amsterdam in 1975, Robert Plant publicly lamented their lack of success (as Led Zeppelin's soared into the stratosphere), and Bob Dylan and Elton John saw them in concert whenever possible. Legends like Linda Ronstadt, Emmylou Harris, Bonnie Raitt, and Bob Seger helped out on their many record albums, and they backed up Robert Palmer, John Cale, and Chico Hamilton. Yet they never had a hit single, and the closest they came to success was with their 1978 live album, Waiting for Columbus (later performed live in its entirety by jam band Phish) - but not even the death of their leader, Lowell George, could stop the Feats' shoes from sailin' the band reformed in 1988 and has continued since, with Craig Fuller and Shaun Murphy helping out along the way. Little Feat on track dives into the ups and downs of their 50-year career and discusses every album and song, from their idiosyncratic 1971 debut to the post-pandemic optimism of 2021's When All Boats Rise.
The Voice of the Rural
A moving portrait of the contemporary experiences of migrant Moroccan men. Umbria is known to most Americans for its picturesque rolling hills and medieval villages, but to the many migrant Moroccan men who travel there, Umbria is better known for the tobacco fields, construction sites, small industries, and the outdoor weekly markets where they work. Marginalized and far from their homes, these men turn to Moroccan traditions of music and poetry that evoke the countryside they have left-- l-'arubiya, or the rural. In this book, Alessandra Ciucci takes us inside the lives of Moroccan workers, unpacking the way they share a particular musical style of the rural to create a sense of home and belonging in a foreign and inhospitable nation. Along the way, she uncovers how this culture of belonging is not just the product of the struggles of migration, but also tied to the reclamation of a noble and virtuous masculine identity that is inaccessible to Moroccan migrants in Italy. The Voice of the Rural allows us to understand the contemporary experiences of migrant Moroccan men by examining their imagined relationship to the rural through sound, shedding new light on the urgent issues of migration and belonging.
Opeth
There has never been - and never will be - another band like Opeth. Formed in Stockholm, Sweden circa 1989, their roughly thirty-year career showcases a melding of diverse influences; a prevailing commitment to songwriting and instrumental excellence; and unwaveringly chameleonic vision - no matter the cost - that's unmatched by any of their stylistic peers. Be it their most unashamedly brutal early LPs, their multifaceted and near-faultless mid-period opuses, or their somewhat polarizing recent glimpses into macabre 1970s-esque prog/jazz rock eccentricity, mastermind Mikael ?kerfeldt and company continuously create records that push themselves, their audience, and progressive music as a whole, forward. The result is easily among the most extraordinary, dependable, and laudable legacies in modern metal. Using a meticulously crafted mixture of original analysis and behind-the-scenes research, this book digs into all facets of Opeth's output to discover how they innovated and evolved with practically every release. After all, each 'observation' - from their 1990s black metal classics (Morningrise and My Arms, Your Hearse) and 2000s progressive death metal masterpieces (Blackwater Park and Ghost Reveries) to their stunning progressive rock/jazz fusion excursions of the 2010s (Pale Communion and In Cauda Venenum) - found Opeth ceaselessly harvesting a one-of-a-kind catalogue that's still remarkably influential and impressive.
On Jazz
Few musical genres inspire the passionate devotion of jazz. Its mystique goes far beyond the melodies and rhythms, with its key players and singers discussed by aficionados with a respect that borders on reverence. Some books on jazz offer little more than theory or dry facts, thereby relinquishing the 'essence' of the music. This book is different. One of the most influential and internationally known writers on the subject describes, through vivid personal contacts, reminiscences and zesty anecdotes, his life in jazz as a player, broadcaster and observer. Alyn Shipton recalls friendships with legendary musicians, while revealing fresh discoveries about such luminaries as Fats Waller, Louis Armstrong, Count Basie, Duke Ellington, Charlie Parker, Abbey Lincoln and Geri Allen. On Jazz powerfully evokes the atmosphere of clubs and dancehalls, and takes us behind the scenes and up onto the stage, so that this electrifying world is unforgettably spotlighted as never before.
Knix
Imagine a radio station so successful that an entire nationwide music industry admired, celebrated and honored it as a "benchmark" of excellence for all other broadcasters to emulate. Imagine a radio station that countless air personalities set career goals to work at and never wanted to leave? A station so intimate that dedicated listeners become emotional with memories of their favorite air talent making a difference in their lives and made to feel like "family." An award-winning station committed to its community. A ratings juggernaut that was number one for over a decade. And a place where aspiring country singers who became BIG stars knew they had "made it" when their music was added to its playlist! KNIX-FM in Phoenix, Arizona is that station. Country music Hall of Famer BUCK OWENS purchased the station in 1968 and owned it for nearly 31 years. So many great stories, so many lasting memories. Former Air talent and Program Director R.J. Curtis once said, "Getting a job at KNIX was like winning a Rhodes scholarship, no matter where you were after that you could arguably say that you worked at the finest Country radio station in America." Of the 15,000 or so FCC licensed radio stations in the United States there has always been a handful of iconic radio signals that became well known and super served their communities. Many were pioneer stations establishing themselves during the infancy of the radio spectrum. Some great call letters come to mind; WABC, WLS, KOA, KFI, KMOX, WSM, KOB, KOMA, KOY and others. Out in the desert southwest there was one station that would grow to become a ratings juggernaut. That station was KNIX-FM in Phoenix, Arizona. The station has quite a storied past. But its popularity with listeners did not happen overnight! Original owners John and Donna Karshner and young son signed the station on the air in December of 1961 with only 3100 watts and a beautiful music format. It was obscure and floundered at the bottom of the local radio ratings as not many people owned FM radios then. On weekends the station had instructional programs on how to speak French and German!The true timeline for the station's success starts with the emergence of a country singer who had migrated west from Sherman, Texas with his family when he was a child. Alvis Edgar Owens Jr, better known as Buck Owens, was 8 years old in 1937 when his struggling family joined the migration of "Okie" and "Texans" escaping the dust bowl that plagued that area during the Great Depression. Their intended destination was the promised land of California. However, a broken trailer hitch had them settling with relatives in Mesa, Arizona a suburb of Phoenix for several years. In the 1940's young Buck began performing in roadhouses and dancehalls in Arizona, even had his own local radio show with a partner. He was not paid, because he was paying his DUES!
Ethnomusicology and Cultural Diplomacy
Music has long played a prominent role in cultural diplomacy, but until now no resource has comparatively examined policies that shape how non-western countries use music for international relations. Ethnomusicology and Cultural Diplomacy, edited by scholars David G. Hebert and Jonathan McCollum, demonstrates music's role in international relations worldwide. Specifically, this book offers "insider" views from expert contributors writing about music as a part of cultural diplomacy initiatives in Afghanistan, Uzbekistan, Iran, Syria, Japan, China, India, Vietnam, Ethiopia, South Africa, and Nigeria. Unique features include the book's emphasis on diverse legal frameworks, decolonial perspectives, and cultural policies that serve as a basis for how nations outside "the west" use music in their relationships with Europe and North America.
For the Love of Hymns 2
Advanced/Intermediate LDS hymn arrangements for solo piano. Songs include: ► Moonlight Hie to Kolob► The Iron Rod► Jesus Once of Humble Birth medley► For the Beauty of the Earth medley► Teach Me to Walk in the Light► Master the Tempest is Raging► Tis Sweet to Sing medleyPerfect for church services, firesides, or just at home.
The Voice of the Rural
A moving portrait of the contemporary experiences of migrant Moroccan men. Umbria is known to most Americans for its picturesque rolling hills and medieval villages, but to the many migrant Moroccan men who travel there, Umbria is better known for the tobacco fields, construction sites, small industries, and the outdoor weekly markets where they work. Marginalized and far from their homes, these men turn to Moroccan traditions of music and poetry that evoke the countryside they have left-- l-'arubiya, or the rural. In this book, Alessandra Ciucci takes us inside the lives of Moroccan workers, unpacking the way they share a particular musical style of the rural to create a sense of home and belonging in a foreign and inhospitable nation. Along the way, she uncovers how this culture of belonging is not just the product of the struggles of migration, but also tied to the reclamation of a noble and virtuous masculine identity that is inaccessible to Moroccan migrants in Italy. The Voice of the Rural allows us to understand the contemporary experiences of migrant Moroccan men by examining their imagined relationship to the rural through sound, shedding new light on the urgent issues of migration and belonging.
100 Essential Funk Grooves for Guitar
Ready To Get Funked Up?! Nothing teaches more about playing "in the pocket" grooves than Funk guitar! And 100 Essential Funk Grooves for Guitar teaches you to play in the style of the Funk legends... from Jimmy Nolen (James Brown) to Nile Rodgers through to Cory Wong and Adam Smirnoff.But don't mistake this book for a collection of simple player pastiches, it's way more than that! It's a deep dive into each player's approach, ideas and techniques. A Journey Through the Timeline of Funk GuitarLearning how the great Funk players built their parts will quickly improve your rhythm guitar palette and help you compose your own cutting-edge parts.You'll nail the grooves of: - James Brown-era Funk - Jimmy Nolen, Catfish Collins, Cheese Martin- Swamp Funk - the New Orleans connection of Leo Nocentelli- 1970s RnB Funk - Leroy Bonner, Tony Maiden, Steve Cropper, Hamish Stuart/Onnie McIntyre, Bruce Conte- Funk Soul - Curtis Mayfield/Skip Pitts, Sly/Freddie Stone, Wah Wah Watson, Ernie Isley- Disco Funk - Nile Rodgers, Claydes Charles Smith, Al MacKay- Funk Rock - P-Funk, John Frusciante, Nuno Bettencourt- Modern Funk - Adam Smirnoff/Eric Krasno, Mark Lettieri, Cory WongThe Recipe for Perfect Funk GuitarWe all know a great funky guitar hook when we hear it, but what makes it so compelling?In this book, seasoned session player and BIMM tutor Steve Allsworth reveals the secret Funk sauce and teaches you the essential skills that create hypnotic guitar grooves: Learn the chicken scratch technique of Jimmy NolenDiscover stripped-down chord fragments for authentic toneMaster the art of funky syncopation with left/right hand muting techniquesLearn how to create guitar parts that always sit in the pocket Master the Afro-Cuban grooves that underpin all FunkDiscover Mark Lettieri's dextrous Gospel chord chops-Nail Cory Wong's chromatic 3rds, palm-muting and thumbed double-stopsBecome the Ultimate Rhythm Guitarist100 Essential Funk Grooves for Guitar also shows you how each player achieves their distinctive sound and gives a rundown of their guitars, amps and effects. When you're ready to gig, you'll sound totally authentic.
On That Note
FROM TOURETTE'S TO TRIUMPH. FROM CANCER TO CURE. FROM THE SEGREGATED SOUTH TO COMMANDING STAGES AROUND THE WORLD, JAZZ MASTER, MICHAEL WOLFF'S JOURNEY BEGINS WITH PURE GRIT AND ENDS IN PERFECT VICTORY.Award winning jazz musician Michael Wolff's journey nearly ended six years ago at Mount Sinai Beth Israel Hospital in lowerManhattan. After being worked on by doctors and nurses for most of the night, Wolff, with the perfect timing only a world classmusician would have, regained consciousness just in time to hear one of the doctors ask his wife if he had a DNR. Before she could even ask what that was, Wolff used his last ounce of energy to gasp, "Resuscitate me!"After being treated for the wrong cancer for a year and a half, it was discovered that Wolff had an ultra-rare, untreatable cancer called histiocytic sarcoma and had three months to live. Fortunately, he was someone accustomed to surviving the odds.Wolff had already survived a painful childhood overshadowed by Tourette's Syndrome, where his brilliance as a jazz pianistand passion for music saw him through. He went on the road at nineteen, not only performing with some of the great luminaries of Jazz, but also conducting over twenty-five symphony orchestras worldwide.In 1989, Wolff was chosen to be the musical director of Arsenio Hall's groundbreaking late-night talk show, which was extravagantly praised for its diversity of musical guests and brilliant house band. It was through The Arsenio Hall show that Wolff became a household name and where he met and eventually married Actor/Writer/Director Polly Draper when she was a guest on the show. (Their two sons, Nat and Alex Wolff are now highly successful actors and musicians in their own right, so the talent was passed on to the next generation.)In the meantime, Wolff has released twenty-one albums to critical and popular acclaim, written award-winning scores to movies and television series and has managed to beat an untreatable cancer. His compelling story begins with his fish out-of-water story in the segregated South, then moves to politically turbulent Berkley, California in the early sixties and then it takes him around the world as he earns his stripes as a world class Jazz musician.On That Note is more than a memoir. It is like a Jazz score with words, taking the reader on the wild journey of Wolff's singular life. It is a life driven by a passion for music and a passion for being alive. Sometimes hilarious and sometimes harrowing, Wolff's story instantly sweeps us up with it and charms us with a unique voice. Many books claim to be "page turners." This one actually delivers.
Why You Like It
From the chief architect of the Pandora Radio's Music Genome Project comes a definitive and groundbreaking examination of why we respond to music the way we do. Everyone loves music. But what is it that makes music so universally beloved and have such a powerful effect on us? In this sweeping and authoritative book, Dr. Nolan Gasser--a composer, pianist, and musicologist, and the chief architect of the Music Genome Project, which powers Pandora Radio--breaks down what musical taste is, where it comes from, and what our favorite songs say about us. Dr. Gasser delves into the science, psychology, and sociology that explains why humans love music so much; how our brains process music; and why you may love Queen but your best friend loves Kiss. He sheds light on why babies can clap along to rhythmic patterns and reveals the reason behind why different cultures around the globe identify the same kinds of music as happy, sad, or scary. Using easy-to-follow notated musical scores, Dr. Gasser teaches music fans how to become engaged listeners and provides them with the tools to enhance their musical preferences. He takes readers under the hood of their favorite genres--pop, rock, jazz, hip hop, electronica, world music, and classical--and covers songs from Taylor Swift to Led Zeppelin to Kendrick Lamar to Bill Evans to Beethoven, and through their work, Dr. Gasser introduces the musical concepts behind why you hum along, tap your foot, and feel deeply. Why You Like It will teach you how to follow the musical discourse happening within a song and thereby empower your musical taste, so you will never hear music the same way again.
The Meat Puppets and the Lyrics of Curt Kirkwood from Meat Puppets II to No Joke!
Matthew Smith-Lahrman sheds light on the words of Curt Kirkwood, founding member and songwriter of the Meat Puppets, a pioneering rock 'n' roll band of the last four decades. A lyricist whom Rolling Stone writer Kurt Loder once rated alongside Bob Dylan, Kirkwood remains an important, yet overlooked songwriter.
The ABCs of the Grateful Dead
An alphabetical history of rock 'n' roll's most iconic band...the Grateful Dead. Featuring playful rhymes and glorious illustrations, The ABCs of the Grateful Dead celebrates the band's rich and dynamic history. Each letter of the alphabet highlights a significant moment, cultural contribution, or innovation along the band's journey, from their groundbreaking release of American Beauty to their pioneering Wall of Sound, from the beloved dancing bears to their singular community of tape traders. This delightfully kaleidoscopic look back on the Grateful Dead will entertain first-time readers as well as diehard fans of all ages. The Grateful Dead is a social and musical phenomenon that grew into a genuine American treasure. In 1965, an entire generation was linked together by common ideals, gathering by the hundreds and thousands. This movement created a seamless connection between the band and its fans. As the band toured, Dead Heads would follow. Not because it was a part of popular culture, but because it is a true counterculture that exists to this very day-one that earnestly believes in the value of its beliefs. By 1995, the Grateful Dead had attracted the most concert goers in the history of the music business, and today remain one of the all-time leaders in concert ticket sales. Eventually, the caravan evolved into a community with various artists, craftsmen and entrepreneurs supplying a growing demand for merchandise that connected them to the music. Today, the connection is as strong as ever. The band was inducted into the Rock & Roll Hall Of Fame in 1994 and received a Grammy(R) Lifetime Achievement Award in 2007. Their final tally of 2,318 total concerts remains a world record. The Grateful Dead recently celebrated their 53rd top 40 album on the Billboard chart, a feat no other group has achieved.
Singing with the Dogon Prophet
In the Dogon funeral proceedings, a major song cycle called baja ni is performed in a session of at least seven hours. The texts of the chants are attributed to a legendary figure called Abir?, who as a blind singer in the nineteenth century roamed the heartland of the Dogon. The baja ni songs have escaped scholarly attention thus far. Singing with the Dogon Prophet by Walter E.A. van Beek, Oumarou S. Ongoiba, and Atimε D. Saye provides their first publication in English as well as an analysis of these songs. These texts deal with the relations between man and woman, man's ambivalent dependency on the otherworld, and with life and death; the whole night performance is one of the high points of the funeral. Additionally, Abir? is a prophet, and during his life has uttered a great number of prophecies on a wide range of topics, from local issues to the relation of the Dogon with the Fulbe herdsmen, and from the arrival of the colonials to ecological transformation. This book examines how these prophecies with these songs offer an inside view of the way the Dogon construct the present in a continuous dialogue with their past and their projected future.
Music and Story
Music tells stories. Musical stories entertain and stimulate in moments of boredom, they offer solace in times of despair, they create solidarity in times of loneliness, they liberate the imagination and open up visions of a better future. Musical stories also become parts of our personal life narratives that sustain feed us. This book is about the stories that music tells and the beauty and emotional power of these stories. This book is about the stories that music tells and the beauty and emotional power of these stories. When successful, these stories can provide dazzling insights into the lives that we lead, with its joys and sufferings, its reversals, its errors, deceptions and self-deceptions. This book offers a panorama of musical stories linked to pieces of classical music that have long fascinated the author, including operas, symphonies, song-cycles and chamber music. A close reading of these stories shows how profoundly music can affect and change the listeners: how it celebrates the triumphs of the human spirit, opening windows into our own unconscious minds, helping us to better understand ourselves, our fellow human beings, politics, religion, leadership, sex, difference, love, death and every other major aspect of human life. Critical acclaim: Imagine a friend who loved music, and who would keep saying interesting things about the music they loved. Their taste is not the same as yours, but their comments and stories make you want to listen to some of their favourite music, and also give you a different appreciation of the music that you love. Then imagine that this friend's interesting comments were grounded in hours and years of intense listening, that they had an unusual perspective to bring to the party (music as story), and that they said it all with grace and eloquence, and with the light touch of a gossip column. That is what this book is like. Enjoy it, and have your streaming device ready to explore! - David Sims, Storyteller, Musician, Emeritus Professor of Organizational Behaviour City University, In a world where commerce dictates the Arts, it is a joy to read this book, written with love and deep understanding as a heartfelt response to real music by my friend Yiannis, a fellow traveller in search of musical truth! - Bruno Schrecker (cellist with the Allegri String Quartet 1968-1999) 'This is a book for music lovers' says Yiannis Gabriel. The notion of love is crucial here. Academic musicology, however useful and insightful, rarely if ever, touches on the subjective experience of listening to music. But to believe that music is an objective experience, which can be adequately explained in scientific (or quasi-scientific) terms, or reduced to a socio-political epiphenomenon, is an illusion - comforting to some perhaps, but deadly when it comes to the individual's experience of discovering and learning to love a musical work. As with all things that matter to us, we try to make sense of music, not through factual analysis, but by weaving stories in our imaginations. This is both an intensely creative and an intensely personal experience. As the philosopher Ernst Bloch put it, 'When we listen to music, what we really hear is ourselves.' Yiannis Gabriel's book is a highly personal account of his experience of music: of the stories it has told to him and of the life-experiences in which those stories have played a very positive part. Far from being solipsistic or self-indulgent, far from telling us what we should hear when we listen to music, it invites us to follow his example and find stories and meanings of our own within the musical works he loves best. These are those for whom, in Nietzsche's famous phrase, 'Without music, life would be a mistake'. On reading this book, the conclusion we reach is that, with music's help, life is not a mistake, but a creative
The Podium Papers
"The Podium Papers" is an honest and entertaining dispatch from the front lines of one of the world's most interesting and misunderstood professions. Like Anthony Bourdain in his "Kitchen Confidential," Martin Kessler takes the reader through the swinging doors and into the real 'kitchen' of the art of conducting. This non-linear memoir uses the informal essay to explore the life and work of a veteran mid-level artist, and it does so in a voice that excludes no one. It contains a surprising assortment of topics--from sex and drugs, to short-cuts taken and reputations deflated. It also offers elegant portraits of the author's colleagues and mentors, while celebrating the hard work and dedication that this unusual calling requires. Obviously, the book's strongest appeal will be for readers with an interest in classical music--from the casual listener to the seasoned professional. But like any well-written memoir, it is also a snapshot of the author's generational milieu--in this case, coming of age in the '60's and maturing in the 21st century. It should find an avid following in those locales that provide the backdrop for the arc of author's life: college at Harvard, post-graduate studies in London and Salzburg, and of course, in Cleveland and Northeast Ohio, where Mr. Kessler spent the bulk of his conducting career.
The History of Hip Hop
Taboo-breaking jams. Explicit album covers. How hip hop forced America to drop its conservative lens.Discover hip hop's explosive crossover into the mainstream during the 2000s digital revolution in Eric Reese's "The History of Hip Hop: Volume 4". This book navigates an era where scrappy stars like Eminem, Outkast and Nelly evolved from raw hip hop sounds into chart-topping icons with a new pop fusion.The book maps hip hop's cultural geography-from the vibrant Atlanta scene where OutKast pioneered funk-laced rhymes, to the club-filled streets of Nelly's St. Louis where crunk danced into the mainstream. As the internet spread, barriers fell-YouTube, iTunes and streaming services took hip hop global.Insights include: Hip hop's journey from outsider to #1 musicHow digital platforms made rap accessible, unleashing its mainstream popularityThe diversification into sub-genres like crunk, trap and conscious rapMovies and TV absorbing styles and stories from the streetsThe rise of megastars like Kanye West, Lil Wayne and Jay-ZRappers driving social change by tackling injustice and politicsImmerse yourself in a pivotal era where visionaries like Eminem, OutKast and others reinvented hip hop into the culture-dominating sound of today. Feel the beat shift for a new millennium.
The History of Hip Hop
From Bronx block parties to Obama's White House - hip hop steps into the political arena.The 2010s cemented hip hop as the soundtrack of culture and change. "The History of Hip Hop: Volume 5" explores rap's relentless progression in the last decade.Perfect for both newcomers and lifelong hip hop heads, you'll discover: Streaming's seismic impact - how Spotify, SoundCloud and Tidal transformed hip hopRap's renewed social consciousness - artists driving movements like Black Lives MatterFemale rappers shattering ceilings - megastars like Cardi B, Nicki Minaj and RapsodyInnovators like Kendrick Lamar and Tyler the Creator pushing creative boundariesHip hop moguls' entrepreneurial reach - Jay-Z, Kanye, Dr. Dre and Sean Combs' business empiresGeneration Z's arrival - how young rappers made the game their ownFrom the complex bars of Kendrick to the fiery anthems of Meg Thee Stallion, this book explores the evolution of styles, sounds and messages. It was the decade trap went global, rap got political and streaming crowned chart kings and queens.Relive hip hop's rhythmic resonance through perhaps its most groundbreaking era.
The History of Trap
Trap beats, pink cars and hip hop's materialistic reinvention down South.Southern struggle birthed a sound that conquered hip hop. "The History of Trap" charts trap music's underground rise and explosive pop culture breakout.Perfect for both newcomers and lifelong trap fans, you'll discover: Trap's gritty Atlanta origins - pioneers mixing stark lyrics with aggressive beatsKey innovators like T.I., Gucci Mane and Three 6 Mafia amplifying trap's soundTrap's formula - candid hood stories, booming 808s and sinister melodiesTrap exploding from niche Southern rap into a global pop culture phenomenonToday's superstars like Future, Migos and Young Thug taking trap worldwideTrap fashion/culture influencing well beyond musicSocietal commentary in lyrics reflecting life on America's toughest streetsFrom the hoods of Atlanta to running the charts and clubs, this is the definitive history of hip hop's most irresistible sound.
Improvising Boogie-Woogie Volume One
Improvising Boogie-Woogie Volume.1(Includes Downloadable audio)The first 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
Knix
Imagine a radio station so successful that an entire nationwide music industry admired, celebrated and honored it as a "benchmark" of excellence for all other broadcasters to emulate. Imagine a radio station that countless air personalities set career goals to work at and never wanted to leave? A station so intimate that dedicated listeners become emotional with memories of their favorite air talent making a difference in their lives and made to feel like "family." An award-winning station committed to its community. A ratings juggernaut that was number one for over a decade. And a place where aspiring country singers who became BIG stars knew they had "made it" when their music was added to its playlist! KNIX-FM in Phoenix, Arizona is that station. Country music Hall of Famer BUCK OWENS purchased the station in 1968 and owned it for nearly 31 years. So many great stories, so many lasting memories. Former Air talent and Program Director R.J. Curtis once said, "Getting a job at KNIX was like winning a Rhodes scholarship, no matter where you were after that you could arguably say that you worked at the finest Country radio station in America." Of the 15,000 or so FCC licensed radio stations in the United States there has always been a handful of iconic radio signals that became well known and super served their communities. Many were pioneer stations establishing themselves during the infancy of the radio spectrum. Some great call letters come to mind; WABC, WLS, KOA, KFI, KMOX, WSM, KOB, KOMA, KOY and others. Out in the desert southwest there was one station that would grow to become a ratings juggernaut. That station was KNIX-FM in Phoenix, Arizona. The station has quite a storied past. But its popularity with listeners did not happen overnight! Original owners John and Donna Karshner and young son signed the station on the air in December of 1961 with only 3100 watts and a beautiful music format. It was obscure and floundered at the bottom of the local radio ratings as not many people owned FM radios then. On weekends the station had instructional programs on how to speak French and German!The true timeline for the station's success starts with the emergence of a country singer who had migrated west from Sherman, Texas with his family when he was a child. Alvis Edgar Owens Jr, better known as Buck Owens, was 8 years old in 1937 when his struggling family joined the migration of "Okie" and "Texans" escaping the dust bowl that plagued that area during the Great Depression. Their intended destination was the promised land of California. However, a broken trailer hitch had them settling with relatives in Mesa, Arizona a suburb of Phoenix for several years. In the 1940's young Buck began performing in roadhouses and dancehalls in Arizona, even had his own local radio show with a partner. He was not paid, because he was paying his DUES!
Bob Dylan’s New York
A walking tour and history of Bob Dylan's life and time in New York, from Greenwich Village to Woodstock.Bob Dylan's New York is a guidebook and a history of New York's key role through Dylan's lengthy career. It places Dylan's early career in the storied history of Greenwich Village, a hotbed of new developments in the arts. A contemporary of Dylan's, author Dick Weissman walked the same streets, played music in the same venues, and witnessed the growth of the folk music revival from before Dylan became popular to after the height of his impact on the music scene. The book features ten easy-to-follow walking maps and historic photographs, allowing the reader to retrace Dylan's footsteps and simultaneously experience Dylan's New York and contemporary New York. It also goes beyond the Village to include the many areas of the city where Dylan lived and worked, as well as the storied time he spent in Woodstock. Combining cultural history with personal history and anecdotes, Bob Dylan's New York illuminates the life and times of this seminal artist.
Peter Hammill
The British singer, songwriter and musician Peter Hammill is one of the key figures in the history of progressive rock. As the leader and main creative force of Van der Graaf Generator, he was behind some of the most powerful and compelling rock music of the 1970s, and since VdGG reformed in 2005 has continued to lead the group down a unique musical path. But Van der Graaf Generator are only part of the Peter Hammill story. Beginning with 1971's Fool's Mate and continuing all the way to 2021's In Translation, Hammill has carved out a lengthy solo career consisting of some 35 albums, plus a number of live albums and collaborations. The range of styles in evidence on these albums is remarkable, from baroque progressive rock to snotty proto-punk, angular new wave, delicate ballads, electronic experiments and even a full-length opera. This is the first book to offer an in-depth exploration of Peter Hammill's solo discography, revealing the sonic intensity and emotional turmoil that lie at the heart of his work. The book is an invaluable companion to Dan Coffey's Van der Graaf Generator: every album, every song, already published by Sonicbond Publishing.
The Artist and Academia
This edited collection brings together leading artists and scholars (as well as artist-scholars) to offer a variety of philosophical, educational, experiential, reflexive and imaginative perspectives on the artist and academia.
The Tompo of the Ringing
The Tompo of the Ringing answers this question-if an eclectic garage and roll band earning three dollars a night split five ways explodes in an empty Tenderloin bar at 3am, does it make a sound?Tracy Santa offers evidence that someone was listening to that ping in the cosmos. And furthermore documents the journey of a pre-adolescent naturist whose buddies-like Nashville Cats-all play guitar twice as better than he will, out of the tail end of the 60s, through mixed-up confusion in the 70s, rising and crashing in the D.I.Y. free market of the 80s.Rock bios chronicle the triumph of the chosen few. What of the rest of us? Tracy Santa's story of a life in and around the music of his youth works to fill that gap. Thrill to the origin story of Joe Doy, weird scenes inside the sex mine, and being ignored by the Go-Go's.Misunderstandings, marching out of step, and not quite getting it right dominate The Tompo of the Ringing. We've read about playing the Hollywood Bowl doped to the gills. Isn't it time we examined the simple pleasures of watching cartoons with Dee Dee Ramone? Or the strand of dental floss connecting "Wooly Bully" and Caesar's Gallic Wars? And just what-when all is said and done-is The Tompo of the Ringing? The Tompo of the Ringing is a way of seeing that reveals rock and roll as community, as quest, as inquiry, as hopeful practice, and as path, one that imbues Santa's singular tale with broad appeal and larger relevance. Besides, it's just plain fun. Marc Zegans, Pop Matters. The Tompo of the Ringing is really funny, paced at Markey Mark Ramone speed, stirringly written, incisive, and a great testament and time capsule to that whole era. Tim Parrish, author of The Jumper. The literary landscape is littered with rock autobiographies. So many of them follow the same narrative, rags-to-riches-to-rags. Imagine if-get this-a book was well-written and unconventional in its storytelling. In The Tompo of the Ringing, Tracy Santa delivers on this promise. Michael T. Fournier, Razorcake. Tracy Santa's always treated each rock and roll moment like a precious thing. He's the guy smiling when someone throws a drink on the band and tells them to go home, forever. Warren Zanes, author of Petty: The Biography.
Life of Drake
Aubrey Drake Graham was born on October 24, 1986, in Toronto, Ontario. His father, Dennis Graham, is African-American and a practicing Catholic from Memphis, Tennessee, who worked as a drummer, performing alongside country musician Jerry Lee Lewis. His mother, Sandra "Sandi" Graham, is a Canadian of Ashkenazi Jewish heritage who worked as an English teacher and florist. Dennis Graham performed at Club Bluenote in Toronto, where he met Sandra Sher, who was in attendance. Drake is a dual citizen of the United States and Canada, having American citizenship due to his American father. In his youth, he attended a Jewish day school, and became a bar mitzvah.
Larissa, The Mistress of Large Music
LIHello music lovers. I'm Larissa. Your Mistress of Large Music. Large music is classical music for full symphony orchestra. Most of us listen small, to country bands, rock bands, or rappers. We only hear large music in movie soundtracks, or way, way in the background, in elevators or Barnes and Noble Bookstores. In elevators and bookstores, the music is not music. It is wallpaper, hardly noticed at all. And that is why I sit here. I sit here to tell you Classical music, and classical orchestral music in particular, is probably the most interesting and diverse music you are ever likely to hear. Many people have not paid attention to Classical music, through no fault of their own. They have simply not thought much about it. Classical music is rarely featured on Paramount Plus or Amazon Prime or Netflix. We are more likely to see zombies. My video series will give you some of the best orchestral works from 1720 to 2022. I include familiar names, like Mozart and Beethoven, and less well-known composers like, Janacek, Bela Bartok, Paul Creston, Cyril Scott and Silvestre Reveultas.
Race and Gender in the Western Music History Survey
Race and Gender in the Western Music History Survey: A Teacher's Guide provides concrete information and approaches that will help instructors include women and people of color in the typical music history survey course and the foundational music theory classes.
The Sonic Gaze
A central criticism emerging from Black and Creole thinkers is that mainstream, white dominated, culture, consumes sounds and images of Creole and Black people in music, theater, and the white press, while ignoring critiques of the white consumption of black culture. Ironically, critiques of whiteness are found not only in black literature and media, but also within the blues, jazz, and spirituals that whites listened to, loved, collected, and archived. This book argues that whiteness is not only a visual orientation; it is a way of hearing. Inspired by formulations of the race and whiteness in the existential writings of Frantz Fanon, Simone de Beauvoir, Jean-Paul Sartre, W.E.B. Du Bois, Richard Wright, Lewis Gordon, Angela Davis, bell hooks and Sara Ahmed, T Storm Heter introduces the notion of the white sonic gaze. Through case studies and musical examples from the history of American jazz, the book builds a phenomenological archive to demonstrate the bad habits of 'white listening', drawing from black journalism, the autobiographies of Creole musicians, and the lyrics and sonic content of early jazz music emerging from New Orleans. Studying white listening orientations on the plantation, in vaudeville minstrel shows, and in cabarets, the book portrays six types of bad faith white listeners, including the white minstrel listener, the white savior listener, white hipster listener, and the white colorblind listener. Connecting critical race studies, music studies, philosophy of race and existentialism, this book is for students to learn how to critique the phenomenology of whiteness and practice decolonial listening.
The Fuzzbox Diaries
The Fuzzbox Diaries examines the circuitous path that led to Jeffrey Lee Campbell's amazing rocket ship ride as Sting's guitarist ... and the challenges he faced navigating the "jungle gym" of success after falling back to earth. The Fuzzbox Diaries surveys the hits, the misses, and the bullets dodged in a 50-year career. Memorable high- and low-lights; from playing carport concerts and drunken frat parties to surviving biker bars and cheesy weddings; from the thrill of working with legends like Sammy Davis Jr., Sting, Aretha Franklin, Jon Bon Jovi, Andrew Lloyd Webber (and more) to the anxiety of riding out the COVID-19 pandemic in a deserted New York City. Deep truth from the trenches of the music biz-and the real inside scoop on life as a Broadway musician.
What Earl Scruggs Heard
When the story of banjo superstar Earl Scruggs is told, the rich musical environment that produced him is often ignored. During his lifetime Scruggs spun a creation myth around his playing, convincing many that he was the sole originator of a three-finger, up-picking, banjo style. For the first time, this book tells the full story of the music and musicians of the western Carolinas that influenced Earl Scruggs. Based on more than 15 years of in-depth research, this book includes the story of country music recording pioneers Parker and Woolbright, Fisher Hendley and Martin Melody Boys; rare images of area music makers; and the history and development of fiddlers' conventions and radio barn dances. Together, these stories are woven into the biographies of Earl's mentors to reveal the musical atmosphere in which they developed the "three-finger picking" style that so enchanted a young Earl Scruggs.
